October 2005
Vol. 46 0 no 4 J!1.~ 'C,CI~'J;. :~1J. ('~~~.{7;( l®~' .." ..
Baltic Portraits: Mikalojus Konstantinas Ciurli6nis, 24 Lithuanian Composer and Painter ' by Vance D. Wolverton
Beethoven's Choral Director, Ignaz Karl Dirzka (1779-1827). 34 by Grant William Cook III
I : ,;,'
Research Reports Research and Poster Session Abstr9bt~ . I 51 by Hilary Apfelstadt
. . On the Voice You Pray Double When You Sing: 59 Ceremonial Singing at the San Juan Pueblo by William J. Lavonis
. Hallelujah! Recommended Sacred Choral Repertoire 81 from Canadian Composers . by Patricia Abbott
Repertoire & Standards by Nancy Co)(
i6ok Reviews ·/e,.'. - ;~-:; >;':~j.(·X; I. by Stephen Town Reviews "Ch6~al1 . by Lyn Schenbeck National Officers
PRESIDENT Michele Holt Providence, RI 02918 From the Executive 401/822-1030 (voice)
INDIANA etters t t e itor CHORAL DIRECTORS ASSOCIATION President· Marie Palmer '12664 Avocet Drive Carmel, IN 46033
Dear Editor, Treasurer· Paula J. Alles 1471 Altmeyer Rd Jasper, IN 47546 . I usually enjoy reading the different articles published in Choral Journal. However, in the August 2005 issue in the R&S Music in Worship article, IOWA CHORAL DIRECTORS ASSOCIATION "ANew Chance for Chant," I was appalled to see that Mr. Dean wrote that· President· Tim Watson 9271stAve SE chant was "disposed of in the reforms of Vatican II." I don't know where he Le Mars, IA51031 got his information or why he didn't research Vatican II documents before Secretaryrrreasurer • Joleen Nelson he wrote that. Sacrosanctum Concilium [The Constitution on the Sacred 209 Oak Ridge Dr Liturgy] states in paragraph 116, "The Church acknowledges Gregorian MountVemon,IA52314 chant as distinctive of the Roman liturgy; therefore, other things being . AMERICAN CHORAL DIRECTORS ASSOCIATION OF MINNESOTA equal, it should be given pride of place in liturgical services." "Pride of President· Mary Kay Geston place" doesn't sound like "disposed of' to me. The Constitution does, 5717 Woodstock Ave Golden Valley, MN 55422 of course, state that other forms of sacred music are to be "fostered with Treasurer· Charles Hellie great care" (SC, 114) and may be used in the Roman liturgy (SC, 118). As 306 North Elm a Roman Catholic m~sic director in a large suburban parish, I try to select Sauk Centre, MN 56378 music for our Masses from the many different musical genres, including' MONTANA chant. Sometimes chant works great at a particular point in the liturgy and CHORAL DIRECTORS ASSOCIATION President· Kevin Allen Schmid other times it doesn't. 644 4th Ave. West If Mr. Dean would like a copy of The Constitution on the Sacred Lit Kalispeli, MT 59901 urgy, I would be happy to send him one-he should read all of Chapter Treasurer· Scott Corey Billings Senior High School VI: "Sacred Music." This might enlighten him a little. And I'm sure Fr. 425 Grand Ave Larry Heimann would be happy to talk with him about chant in the Roman Billings, MT 59101 liturgy. (If he doesn't know who Fr. Larry Heimann is,. then Mr. Dean has NEBRASKA CHORAL DIRECTORS ASSOCIATION no business writing a scholarly article about Gregorian chant.) President· Fred Ritter 167331stAve Robert Noble Columbus, NE 68601 Yukon,OK Treasurer· E.J. Gardner 2810 18th St ,Columbus, NE 68601
OHIO Response: Mr. Noble has commented on my article "ANew Chance for Chant" CHORAL DIRECTORS ASSOCIATION [September 8] and I have a few comments in reply. He takes umbrage at my President· Mark Munson College of Musical Arts choice of words in a comment dealing with the infrequent appearance of Bowling Green State University chant in contemporary liturgies and sacred choral repertoire. I said " .. .isn't Bowling Green, OH 43.403 it ironic that what was disposed of in the reforms of Vatican IT for its inabil- Treasurer· Jacqueline Nelson P.O. Box 567 Tiffin, OH 44883 (Continued on page 70) TEXAS CHORAL DIRECTORS ASSOCIATION President· Danny Detrick Colleyville Herttage High School 5401 Heritage Ave. Colleyville, TX 76034 The Choral Joumql is the offiCial publication of The American Choral Directors Association (ACDA). ACDA is a nonprofit professional organization of choral directors from schools, colleges, and Treasurer· Beth Gove , . universities; community, church, and professional choral ensembles; and industry and institutional 2007 Spring Hollow Path organizations. Choral Journal circulation: 21,000. Annual dues (includes subscription to the Choral Round Rock, TX 78681 Journal): Active $75, Industry $125, Institutional $100, Retired $35, and Student $30.' One-year membership begins on date of dues acceptance. Library annual sUbscription rates: U.S. $35; Canada WISCONSIN $40; Foreign Surface $43; Foreign Air $75. Single Copy $3; Back Issues $4. ACDA isa founding CHORAL DIRECTORS ASSOCIATION member of,the International Federation for Choral Music. ACDA supports and endorses the goals President· Bob Demaree and purposes of Chorus America in promoting the excellence of choral music throughout the world. University of Wisconsin-Platteville , ACDAreserves the right to approve any applications for appearance and to edit all materials proposed 1 University Plaza for ,distribution. Permission is granted to all ACDA members to reproduce articles from the Choral Platteville, WI 53818 Journal for noncommercial, educational purposes only. Nonmembers wishing to reproduce articles may request permission by writing to ACDA.The Choral Journal is supported in part by a grant from Treasurer· James A. Carpenter . the National Endowment for the Arts, Ii federal agency.© 2005 by the American Choral Directors As- . 2730 Hickory Dr . sociation, 545 Couch Drive, OKC, Oklahoma 73102. Telephone: 405/232-8161. All rights reserved. University of Wisconsin The Choral Journal (US ISSN 0009-5028) is issued monthly. Printed in. the United States ofAmerica. Plover, WI 54467 Periodicals postag~ paid at OKC, Oklahoma, and additional mailing office. POSTMASTER: Send . address changes to Choral Journal, P.O. Box 2720, OKC, Oklahoma 73101-2720. . /:' ~:;';~""~' ';'. Ni ..?Uu L~~;"';C~()rtVt~,~:~~fVtd pr()j~t , " ...... ')., ... ,', ',' " ,. ,,', ':.'" ..
Alan McClung, chair Nancy Cox, Co-chair
/ Historically the middle level vocal student has well-defined musical needs. These musi cal needs require choral music teachers with distinctive pedagogical insights and practices that produce successful singers. An effort is underway to share these insights with choral . directors throughout the country.
The November 2006 issue of the Choral Journal will be dedicated to the middle level choral music classroom. In an effort to include the teaching philosophies of the many . master teachers at the middle level (grades 6-9), a set of questions has been compiled that suggest some of the issues faced by choral music teachers of this age group.
Middle level choral music teachers are encouraged to respond to these questions with thoughtful pedagogical perspectives that will be used to guide and improve instruction. Teachers may choose to answer all seven questions, or they may choose to limit their response(s) to the question(s) they find most compelling. Forthe November 2006 issue, a panel will select five co'ncise responses for each of the seven questions. All persons sub mitting legitimate responses will be recognized at the end of the article, "Master Teachers in Middle Level Choral Music Speak-Up/'
One way to make the project a sucess is by submitting your responses to the ques tions listed below. Accomplished writing skills are not a prerequisite; however, teaching skills and age-appropriate knowledge are! Another way to ensure success is to encourage other master teachers to submit responses. By pooling our resources, we can produce something special. ,"', M~#fe:~e:%~,clu)r~t .t1f&rfV~t €roje,vt .. ~ ~ :'-
Questions for Middle Level Master Teachers
1. Some middle level choral programs segregate the males and females, choosing to create single gender classes. Other middle level choral programs choose, or are required, to have mixed gender classes. Describe the pros and cons of single gender vs. mixed gender choral performance classes at this level.
2. When constructing th~ middle level choral music curriculum, what level of importance do you assign to the development of music reading (sight-singing) skills?
3. When assigning voice parts, some middle level choral music teachers assign the baritone part to all males. What are the positives and the negatives of assigning all middle level males to the same vocal part?
4. Finding quality choral literature that reinforces and develops the middle level student's beginning music reading skills, is difficult for many middle level choral teachers. Comment on why this may be so ahd what can be done to improve the situation.
S a. As a female teacher, what practice do you use when modeling range for middle level males? b. As a male teacher, what practice do you use when modeling range for middle level females? '
6. List and explain three practical procedures that promote positive classroom management in the middle level choral music classroom.
7. Classroom success for the middle level choral music teacher requires a variety of skills: group and individual vocal pedagogy techniques (with special insights into changing voices, both male and female), instructional strategies in sight-singing; conducting and choral techniques, appropriate repertoire selection, classroom management techniques, piano capabilities, and communication strategies. Rate, rank, and comment on each skill, using the following scales as a guide.
(a) Essential for success; (b) Practical, but nonessential for success; (c) Impractical, but essential for success; (d) Impractical and nonessential. (e) List additional skills
Please send responses by February 15, 2006 to:
Alan McClung Secondary Choral Music Education College of Music, University of North Texas
,'.~ ~.:,:'.;, '., --- ~~. , -Ji_J
• I --i . 'i . '< 1 I -v Corigliano's
An Addition to the Twentieth-Century Reptertoire for High School and College Choruses by Victor V. Bobetsky Victor V. Bobetsky is associate professor of music and director of the teacher education program in music at Hunter College of the City University of New York.
And as I was green and carefree, famous among the barns About the happy yard and singing as the farm was home, , . In the sun that is young onc:e only, . Time let me play and be .Golden in the mercy of his means, . And green and golden I was huntsman and herdsman, the calves Sang to my ~prll' the foxes on the hills barked clear and cold, .. '. And the sabbath rang slowly . I~-=he pebbles of the 1101y strea11ls. . All the sunJ.o~g it was ~unning; it was l()"Vely, the h~y, . Fields high asthe house, tlletunes from tl:t~c::llimneys, it was air And playing;l()vely and watery . And fire green as grass. . And nightly under the simple stars •..', i. .... As I rode to sle(!p the o!Vls were bearing thefarmaway,«. All the moon long lheard, blt;!ssed amollg stables,.the. night jars Flying with the ricks, and the horses. ,. , Flashing into the dark.
And then to awake, and. the farm, like a wanderer white With the dew, come back, the cock on his shoulder: it was all . Shining, it was Adam and maiden, . . 'The sky gathered again And the sun grew round that very day. . " So, itmusthavebeimf1iter the birth of the simple light In the first, spinning place"tJtespelibound horses walking warm . . p~t of the wJll,nllyinggreen s~able . i, On to the fields of praise AndhonoureJ;;trioIigfoxes~~~'~h~as~nts by the gay house Under the new. fIlide clouds and happy as the heart was long, . .In. the sun born over and over I ran myheedlessways, ""My wishes raced through the house high hay And nothing I cared'llt my sky blue trades, that time allows In ali his tullefui turning so few and such morning songs . Befo~e the chUdren green and golden Follow him out of grace.
'Nothingl caied,inthe l~~bwhite days, that time would take me Up to the~'!#l~w thronged loft by the shadow of my hand, . .... ',' 'IIl;the moon t~at is~ways rising, ,,',)' Northllt ri(}illgJ()·sleep . I sllOllldh,eai~im BY'Y~th the high fields And wake totliefarIllforeverBed from the chUdless land. Oh as,Iwa.!'iy~~rig:~ilp.easyin the mercy of his means, " .•.. ·"'J:'im~;~~ld me green and dying 'Ih()'Il'gltI~llrig in my chains like the sea. ,'"' ".'. ·v,' " .", horal directors know that artistic level"; the repertoire should be is an examination of Corigliano's Fern quality repertoire for school appropriate to students' emotional and Hill, and explains why it is an example performing groups should intellectual development and should of exemplary choral literature. be artistic, engage students' facilitate musical learning. 1 Fern Hill, emotions and imaginations, and be mu a choral setting of Dylan Thomas's John Corigliano poem by American composer, John sically interesting and challenging. In John Corigliano Jr., one of America's Corigliano, satisfies the above criteria Choral Triad, distributed by the National best known contemporary composers, and can be effectively performed by a Association for Music Education, Chris was born in Brooklyn, New York, in good high school or college choir. This tine Jordanoff and Robert Page suggest 1938. His father, John Corigliano Sr., of a choral work should be article provides background informa that the text served as concertmaster of the New York tion about the author and composer and "good literature" that "reaches a high Philharmonic (1943-66).2 Corigliano at tended Midwood High School, where the choral director, Bella Tillis, noticed his talent and encouraged him to consider a career in music. He studied composition with Otto Luening at Columbia Univer sity and, later, with Vittorio Giannini and Paul Creston.3 Corigliano's works· include music for solo voice, chorus, piano, orchestra, an opera, and several film scores. He received an Academy Award in 2000 for his score to The Red Violin,4 and the Pulitzer Prize in 2001 for his Symphony No. 2.5 John Corigliano does not restrict him- . self to one readily identifiable composi tional style. What does remain constant is his desire to communicate with, and, involve his audiences. Mark Adamo calls this his "oft-stated commitment to intel ligibility.,,6 In an interview with Allan Kozinn, Corigliano discussed some influ ences about his early compositional style: '.'Fern Hill was written when I was much more innocent musically. The language that I loved at the time was the language of Copland, Barber, and Bernstein."7 Corigliano created his setting of Fern Hill from 1959 to 1961, dedicating the work to Bella Tillis. Tillis taught Fern Hill to the Midwood High School Chorus and conducted the work's premiere in 1961 with piano accompaniment.s Later in his career, Corigliano included Fern Hill as the first part of a larger work, A Dylan Thomas Trilogy.9
Dylan Thomas's Fern Hill Corigliano was inspired by the works of Dylan Thomas, a well-known Welsh poet, who lived from 1914 to 1953. In Fern Hill, which he completed in 1945 at the age of thirty-one,lO Thomas ro manticizes childhood memories of visits to his aunt's farm in Carmarthenshire.11 This poignant poem, with its naturally
.12 CHORAL JOURNAL • October 2005 flowing rhythm and vibrant imagery, symbolized or meant was of very second perform. The choral director and author recreates the wonder and innocence of ary importance; what mattered was the Linda Swears states this very simply and childhood and contrasts these feelings sound of them ... and these words were, succinctly: "If it's not worth saying, it's with the poet's apprehension about death. to me, as the notes of bells; the sounds not worth singing."14 Examples of the poem's images of nature of musical instruments .... " 12 The young include phrases such as, "happy as the Corigliano was inspired by the musical grass was green," "hay fields high as the quality and the natural, flowing rhythm of Corigliano's Musical Setting house," and "I was prince of the apple Thomas's poetry. Commenting on Thom Fern Hill is written for four-part cho towns." Thomas idealizes the experi as's poetry, Corigliano said, "I think it is rus, mezzo-soprano soloist, and orchestra ence of youth: "It was all shining, it was important to hear words musically. I think along with a piano reduction. The range and tessitura of the vocal parts are typi cal of most literature for mixed chorus; this helps make Fern Hill accessible to a he young Corigliano was inspired by good high school or college chorus. The dynamic range of the vocal writing lies, the musical quality and· the natural,' flowing for the most prut, between the levels of pianissimo andjortissimo. However, for rhythm of Thomas's poetry. dramatic effect Corigliano does exceed these limits in several phrases. Fern Hill contains many long phrases, which need Adam and maiden." The poem continues that's why Dylan Thomas is good to set to be well supported and sustained. Cori with allusions to the passage of time and [to music] ...."13 Music educators know gliano sets most of the poem sy llabicall y; to the young boy's lack of awareness of that it is very important to consider the however, he also writes melismatic lines time's progress. For example, the words, intrinsic value of the text when choosing at climactic moments in the text and for "In the sun that is young once only time a choral work for students to study and the purposes of word painting. In general, let me play and be golden in .the mercy of his means." lead to the phrase, "Time held me green and dying though I sang in my chains like the sea." The complete text of the poem is reprinted on the pre ceding page. The text of Fern Hill is outstanding, not only for the qUality of the poetry, but also for the adaptability of the poetry to music. For example, Dylan Thomas's poetry emphasized the sounds of words. He wrote, "What the words stood for, Anne Tomlinson • July 3 -11, 2006 "The TIlscallY lniemational Childrell's OlOrlls Festival provides wOllderfll1 IIIlIslcal experlellces while foslerlllg cllltllral ellrlch/llelll of ti,e hlgltest caliber. " Anne Tomlinson, Director, Los Angeles Children's Chorus, and Children's Chorus Mistress, Los Angeles Opera
Henry Leek • July 1-10, 2007 "Musica Mundi's festivals are plumol11cllnl ;11 all aspects." Henry Leek, Founder·and Director;Indianapolis Olildren's Chorus Professionally Tailored Copenhagen International Children's Chorus Festival Gowns of Copenhagen • Odense • HeIsinger Lasting Jean Ashworth Bartle • June.26 - July 3, 2006 Beauty "01/ a sealeof1 to 10, IheTIlscallY [lIlematiollal CI,llarell's OlOms Festival Is all lJl [ /mow l will be able 10 say Ille sallie abOllt lite Copellitagel/ Inlernatlollal Chlldrell's Cltorlls Festival." Jean Ashworth Bartle, FREE Founder, Toronto Children's Chorus catalog Judith Willoughby • July 9 -16, 2007 18009471991 & fabric "Clloml pelJOl7llnllCeS III Delllllark's magical settlllgs provide III/paralleled· tours@musicamundLcom opportuNities for musical stinting, growth find intercultural I.!xclmnge. 1 Muska Mundi Concert Tours samples look fOlward 10 COl/dllellllg Mllsica MIII/di's "moest, 1I0tabie festival for 101 First Street, Suite 454 d,llarell's cltornses." Judith Willoughby, Found.ing (former) Music Los Altos, CA 94022 Director, Temple University Children's Choir, Associate Professor Ph 650 9491991 • Fax 650 9491626 1.800.847.7977· Iyricrobes.com of Conducting and Music Education, Northwestern University www.musicamundi.eom
October 2005 • CHORAL JOURNAL 13 there is a balance that occurs between ho stresses, and speech inflections. times give them credit for ... teenagers mophonic and polyphonic vocal texture usually undertake willingly a serious text throughout Fern Hill. Corigliano used a that they can understand."16 temary form in his musical setting in order Emotional Content Corigliano skillfully evokes these very to support the ternary structure ofThom The emotional content of Fern Hill different emotional states through his as's poem. This approach is characteristic moves from a fond reminiscence of use of harmony, melody, dynamics, and of Corigliano's belief that, when setting a childhood, to anxiety as time passes and, rhythm. In the gently flowing introduc poem to music, "the musical form must finally, to anger at the thought of death. tion, the composer anticipates the wistful, reinforce the poetic structure." 15 The first Most high school and college students narrative-like quality of the beginning of A section contains stanzas one and two; will view childhood as a different and Thomas's poem. The steady repetition the B section, stanzas three and four; and perhaps simpler stage in their own lives of a major-and lmnor- seventh pattern in the final A section, stanzas five and six. as they become more emotionally and in- the lower instruments helps to make the passage feel suspended in time, while a lyrical melody in the strings creates a narrative effect. origliano used a ternary form in his Corigliano uses stable tonal centers along with legato, arch-shaped melodies musical setting in order to supporl the ternary to illustrate calm and peaceful passages in the poem, and more complex harmo structure of Thomas's poem. nies along with angular melodic lines to imply tension and anxiety. For example, the first choral theme in the A section, a Corigliano's musical setting captures the tellectually able to reflect on the concept beautifully shaped melody over an. im essence of Thomas 's poem through expert of aging. They will respond positively to plied F-major seventh tonal center, serves use of the elements of music, imaginative the message of the text. Charles Hoffer to reinforce the idyllic, wistful feeling word painting, and faithfulness to the . observes that, "Teenagers are more dis of the poetry (Figure 1). In contrast, he poem's authentic sounds, rhythms, word cerning about poetry than adults some- s~ts, "The foxes on the hills barked clear
27 p dolce e legato ,.!#. 3 - s - - It! Now as I was young and eas - y-- un-der the ap ~ pIe boughs_ p dolce e legato #. A
r---' Now as
.. .. ~ r. ~ ,$ " : 'I r: r'- r r~r pp !- I I I I I I I . I I r~r Pi -'I , or wr ~ .~
Figure 1. John Corigliano, A Dylan ,Thomas Trilogy, "Fern Hill," mm. 27-33.
All of the musical examples in this article are printed.with permission.
Fern HiI! From A Dylan Thomas Trilogy, Music by John Corigliano, Poem by Dyian Thomas Copyrighf© 1963 (Renewed) byG; Shirmer, Inc. (ASCAP) . Poem Copyright © 1945 by DylanThomas International Copyright Secured. all Rights reserved.
14 CHORAL JOURNAL • October 2005 162 f marcalo (slow cresc ) -'" > s . .; r r ~ hom, the fox-- - es on the if.for-3--, , f marcato (slow cresc.) A " .; > -,t' -,t -,t -,t -,t horn, the fox - es on the f marcato (slow cresc.) " if.fo r:;: 3 -. ~.--- T .
~ horn, the fox - es on the hills barked clear and cold, if.fo.r-3-. f marcato (slow cresc.) ~ B : I horn, the fox'- - es on- the hills barked clear and cold, " ~ - ~ i""""'I"'"' i""""'I"'"' .; ;: ,Int >1fiI' > .. ~ .. "* ~ lint . ~ lint ~ "* f secco slow cresco I~~" -..' ~ r-r-, I i."'TI r7Ti i."'TI r7Ti i."'TI i""""'I"'"' L i""""'I"'"' : - - > > > ;: .. I:f* "* "* "* i-J-I i!"~ ~> ~ Figure 2. John Corigliano, A Dylan Thomas Trilogy, "Fern Hill," rnm. 162-167.
and cold" to a more angular melodic for full chorus, ranging fromfortisissimo remembrances of youth turn angry as line, harmonized by a sequence of major to pianissimo, occurs near the end of the he realizes that time has "held me green seconds moving to major thirds. The work. The text reads, "Oh, as I was young and dying." The emotional effect of this dissonance and bareness of the resulting and easy in the mercy of his means." At loud, unison passage is enhanced by a sound, accompanied by a series of broken this point in the poem, the author's fond sudden change in harmony and texture. polychords, reinforces the starkness of the text (Figure 2). An extremely dramatic unison passage ,THE UNl SCHOOL OF MUSIC WELCOMES THEREES HIBBARD TO THE FACULTY.
Therees Tkach Hibbard joins the faculty of the University of Nebraksa-Lincoln School of Music as Assistant Professor Choral Conducting and Literature. Ms. Hibbard trained as a conductor and singer in the United L.R, back row: Peler Eklund, Direclor of Choral Activities; States, and has studied with master conductors from and Dean; John W. Richmond, Professor and Dire<:torof Ihe Germany, Sweden, and America. She holds a Bachelor of Rhonda Fuelberih, Assislanl Professor Choral Music Education; Music Honors degree in voice and music education from Longwood College, Virginia; a Master of Music degree in voice and choral condUcting from Colorado State University; and a Doctor of Musical Arts degree in choral conducting and vocal music education from the University of Oregon School of Music. She has conducted choirs ranging from young children to professional singers; and has served as adjudicator, work· shop leader, and guest conductor for numerous choral organizations throughout Great Britain, Ireland, and North America. In addition to her work as a conductor, she also performs professionally as a vocal soloist and chorus member both in London and the United States. She has sung for composers and conductors such as Aaron ' Copland, Helmuth Rilling, and Mistlav Rostropovich; and has had the opportunity to premiere Ne~~I~l°!"" works by Arvo Part, Krystof Penderecki, and a vocal chamber piece by Shostakovich conducted :Ulu..i:)l'\d by Rostropovich in Carnegie Hall. She is a member of the professional Oregon Bach Festival Lincoln Choir, recipients of the Grammy award in 2000 for their performance of CREDO by Penderecki. SCHOOL OF MUSIC
An equal opportunily educalor and employer wilh a comprehensive plan for divel5ily. www.unl.edu/music
October 2005 • CHORAL JOURNAL 15 443 m biller!), rit. e dbi,. -. .. s - - - t!l > > > > > > > > Oh as I was young and eas - y-- in the mer - cy of his means, m billerl)' fil. edim. A " - - - t!l > > > > > > > > Oh as I was young and eas - y-- in the mer - cy of his means, m billerl)' rir. edim. .- T - - ~> > > > > > .> ~ > Oh as I was young and eas - y-- in the mer - cy of his means, mbifferl)' rit. edim. L>. > L> > > > L> >..--... - - L- L------~ B : .
Oh as I was young- and eas -.y-- in the mer - cy of- his means, I I I ::::::--- . I " : : : : ~. I-"d-. - ('''d-. _"d-. 'j-, Efff.fo rir. --- ~:- .):-- -:):-- :~:
> ------Figure------3. John Corigliano, ------A Dylan Thomas Trilogy, "Fern Hill," mm. 443-448.
The original wistful choral theme which outlined a perfect fourth now appears as a tragic phrase outlining a diminished fourth (Figure 3).
Word Painting Corigliano's creative use of word painting throughout Fern Hill will appeal
Anacortes, Washington: Pastoral Assistant HAVE for Music and Liturgy Full time position. Our PA for Music 85 YEARS OF TRUST and Liturgy must be a skilled singer and choral conductor with a broaCi knowledge of Sacred music from Gregorian Chant to Renaissance Polyphony to the best work of the HIGHEST QUALITY . 20th Century and beyond .. Duties: hiring directing and arr OF APPAREL. anging music ~or small Instrumental ensembles, since brass and string quartets are often used to enhance special liturgies. Other duties: recruits, trains and For Additional information schedules ,Altar Servers, Lectors and Eucharistic Ministers. Finally-, the call 1-800-637-1124. PA for M&L assists with some office Talk to Kathy at ext. #518 or work therefore must possess a rea sonable degree of computer literacy Diane at #509 nd admini!?trative skills. For more information contact: ." . www:robes.com [email protected]
16 CHORAL JOURNAL • October 2005 , 51 1Wp-= r---~ ~3-, ,.."" =,.;.. s - - eJ Time let me hail and climb Gold, - - en_ 1Wp-= = " 3 3 ...... l-. ~ A -., tV .. ~ -...:::::: .~ I Time let me hall and climb - Gold en_ - -
1Wp , 3.----"1 -= 3---' r--3 ~3-, ,.-3~ = ,.-3':::::;:= == r:;:::::::-::;..,.. " ~ ~ .u. T -- ,; Time let me hail and climb, Time let me hail and climb Gold - - en_
1Wp-= 3 ---' r---3 ::::---, r--3----, = == '~3C r--3----, ~ . ,.,----. B : " ---..; i...--I ~ I..---oJ ~ Time let me hail and climb, Time let me hail and climb Gold -- en_ .u~J) I" ~ .uJ---- l I I 1\ " " : : ------1----: ------eJ 'I I ~I 1 --I I -- ., r' J ~- - ,-. .uJ:---:J. ~I~ . J~. ~ 'J .. 1\ : : I. 91'
Figure 4. John Corigliano, A Dylan Thomas Trilogy, "Fern Hill," mm. 51-55.
to students' and audiences' imaginations. In the opening A section, the words, 304 - ~ "Time let me hail and climb," are set to r" a rising melodic motive, which is sung r"OJ ~ - And the sun grew round_ thaI ver - y day..------first by the tenors and basses, and then echoed by the sopranos and altos. This ~ I ~ ::::::---- is followed by an ascending melismatic " -eJ,-,( -~ "~- ~ ------.. -.J if<" .~'" passage sung by all four parts on the 'PP p U#f word, "climb," culminating in a jorte, ~~ } 11..------': ~ 1.:- ~ : shimmering B~-major chord on the word, "golden" (see Figure 4). I 1...-../ r Another example of word painting oc W curs near the end of the B section as the Figure 5. John Corigliano, A Dylan Thomas Trilogy, "Fern Hill," mm. 304-306. soloist sings, "And the sun grew round that very day." Corigliano conveys a sense of the roundness of the sun by set ting these words to an arc-shaped melodic phrase and by using a fermata to further emphasize the word "round" (Figure 5).
Treatment of theText Corigliano's setting of Fern Hill suc .ceeds in capturing the flow, sound, and natural emphasis of Thomas's words. In his 1985 dissertation, "The Union of Poetry and Music in John Corigliano's A Dylan Thomas Trilogy," John Dick To receive an invitation, and for more information: son explains that Corigliano remains www.music-contact.com faithful to the original speech inflection Music Contact International 1-800-624-0166
October 2005 • CHORAL JOURNAL 17 of Thomas's poem by preserving "the able to communicate the work's meaning the author, Bella Tillis said that she began natural rhythmic relationship of syllables in performance. teaching Fern Hill to her high school within a word" and by keeping "the students by speaking the beginning of natural flow of the line by carefully high the first phrase ("Now as I was young lighting the innate word stresses within Suggestions for Teaching and easy/ ... ") and asking the students to a poetic phrase.,,17 Throughout Fern Fern Hill identify the words that she emphasized Hill, Corigliano uses melody, rhythmic Fern Hill can be effectively performed the most. Tillis then asked the students, articulation, and phrasing to'support and by a good high school or college chorus, - "What would the phrase sound like if we accurately reflect the natural sound and a mezzo-soprano soloist, and either an emphasized a different word?" Students word stresses of Thomas's poetry. In the advanced school orchestra or a skilled were given the opportunity to try different following example, written in 6/8 meter, student pianist. Corigliano recalled, stresses and emphases. Tillis then asked" Corigliano accentuates the speech rhythm "Fern Hill was written as a gift to Bella "What do you think Thomas meant by , as well as the playfulness of the words, Tillis who was my high school teacher 'easy'?" This led to a discussion of the "My wishes raced through the house high and who headed the chorus at Midwood students' own childhood memories. Tillis hay" (Figure 6). High School ... I gave her [Fern HilT] and gave everyone in the chorus an assign As the soloist sings of the "night jars she performed it. I knew that a lot of her ment to interview an older relative about flying with the ricks and the horses flash students didn't read [music], they were his or her childhood and what it felt like taught the parts by rote. So it had to be to be a child. 19 ing into the dark," the passage is given I extra emphasis and drama by the way a piece, even though it was sizeable, that Gwendolyn A. Simmons, a former iJ? which Corigliano captures the natural was simple. That governed a lot of the New York City music educator who has speech rhythm of the words and by his writing in the sense that I had to think of performed Fern Hill as a member of placement of accent marks (Figure 7). a good high school chorus composed of the Dessoff Choirs, offered additional By learning to recognize how Cori a lot cif students that couldn't read music. suggestions for introducing students to gliano's music complements Thomas's So I wrote it with that in mind."i8 the work. In a recent interview with the poem - from emotional content to word author, Simmons suggested working out painting, to preserving the poem's au a project with the school's language arts thentic sound and flow-students will Begin with the Poem teachers where students would learn the develop a greater understanding of and The teaching of Fern Hill should begin poem and write an essay about similar appreciation for the work and be better with the poem. In a recent interview with experiences in their childhood. Sim-
370 mf playfully ,""II s v > ways, My wish - es raced through the house high hay rn/playfully - : A " . . v > ways, My wish - es raced through the house high hay mf playfully II oil. .,>. T .
I ran my heed - less w~ys, wish - es raced through the house high hay mf pla)iully : mf " > ~ .,.. : • B , I ran my heed - less ways, wish - es raced through the house high hay And ,,- .--:=::::::-... oIl~ -:-- - - ,v , = ,mf leg~u -:.. II r - :
t.liii '11 l¥* l¥* ~'/ ~ '/ 7iii '/ ~'iT '/ 7iii '/ iii ~ ~
Figure 6. John Corigliano, A Dylan Thomas Trilogy, "Fern Hill," mm. 370-372.
18 CHORAL JOURNAL • October 2005 and comfortable with the poem, This approach helps students to establish per with excitement 267 sonal and emotional connections with the f > poem and increases student interest and v motivation. The teacher should provide the night - jars Fly - ing with the ricks, __ and the with excitement the students with background information about John Corigliano and Dylan Thomas (see resources for additional information about Dylan Thomas found at the end of this article). The teacher might then further discuss Dylan Thomas's poetry, and students could participate in a dra matic reading of Fern Hill, which would 271 cresc ,..,,, ..> >\> further enhance their understanding of the poem's meaning and of Thomas's i'eJ hors - es Flash-ing in - to the dark. writing style. Reading the poem will also J =J. > help to develop students' vocabulary by " i 1 :J >\> introducing them to unfamiliar words i.e., "dingle starry," "nightjars," and "ricks". eJ J:tf. ~iT&'. ~-.J . i r ~ 7 ~ ~ > .~ fagitato cresco .;; "Dingle" is defiJ)ed as a deep, narrow cleft r L] loP- I\'~. ~ ~~ between hills or a shady dell. "Nightjars" : are noctun1al European birds which have ,... .~~~. ~ ~ :tt r T~r '[ t short bills and wide mouths, and feed on insects. A "rick" is defined as a large, Figure 7. John Corigliano, A Dylan Thomas Trilogy, "Fern Hill," rrim. 267-273 usually rectangular stack or pile of hay, straw, corn or the like in a field, especially when thatched or covered by a tarpaulin, or as an outdoor, makeshift mow. 21 The mons commented, "This is a perfect ask the students whether they think that teacher can ask the students to research opportunity for high school students to Corigliano was successful in painting the meaning of these words. .explore their thoughts and feelings in a this poem niusically.,,2o Both these ex literary context, using Thomas's poem perienced music educators recommended as a springboard. As a music teacher, I activities that encourage students to think Learn the Most Difficult would also discuss the poem. I would about childhood as they became familiar Sections first After an initial overview, specific at tention should be paid to the end portion of the first A section (mm.146-189). Since this musical material is among the most difficult, the chorus will develop a sense of accomplishment by mastering it early. Throughout mm.146-189 the students are required to execute accents, crescendi, and sJorzati within the context of an overall Jorte and Jortissimo sound. The singers must maintain excellent breath support and control throughout Recent publicatio'ns about Dylan Thomas's life and work include: this section so that they can effectively articulate the many accents and sJorzati. Paul Ferris, Dylan Thomas: The Biography (London: Phoenix, 2000) In addition, some of the most obvious dis sonances in Fern Hill occur between rnm. John Goodby and Chris Wigginton, eds., Dylan Thomas: Contemporary 146-189. The singers will benefit from Critical Essays (Basingstoke: Palgrave, 2001) practicing these dissonances within the piece and out of context, and from rec Andrew Lycett, Dylan Thomas: A New Life (London: Weidenfeld and ognizing how these dissonances support Nicholson,2003) . the text. For example, Corigliano sets the phrase "The calves sang to my horn," us-
October 2005 • CHORAL JOURNAL 19 ing a stretto passage, where dissonances can ask students to describe the overall on one extended chord for twenty-six accumulate with the entrance of each musical form of Fern Hill and initiate a beats, ending in a fade out (Figure 9, voice part (Figure 8). These dissonances discussion about whether that form is a mm. 457-471). In order to perform the depict the horn calls described in the text. good fit for Thomas's poem. The students coda effectively, the singers must work The conductor may wish to have the stu should be able to identify examples of on developing excellent stagger breath dents work on this passage out of context, how Corigliano uses the elements of ing skills. repeating the intervals and rhythm while music to express the emotional content of the poem, recognize specific examples of moving higher or lower chromatically. Conclusion This procedure should increase students' word painting and comment on the gener confidence in executing the passage. al speech-like setting of Thomas's words. This article has examined Fern Hill, In order to keep the students motivated These activities are all linked to the Na written by the contemporary American while working on the most difficult sec tional Standards jor Music Education and composer John Corigliano, and explained tions of Fern Hill, the conductor can especially support content standards six why it is an example of excellent choral simultaneously focus on the opening of and eight ("Listening to, analyzing and literature suitable for a good high school the piece, which is less complicated. This . describing music" and "Understanding or college chorus. High school and col strategy will give students an occasional relationships between music, the other lege choral students can learn about the break from the more difficult passages arts, and disciplines outside the arts,,).22 inter-relationship between music and while increasing the amount of new mate poetry by studying and performing this rial they are learning. work. John Corigliano was approxi Technical Challenges mately twenty-one and Dylan Thomas in the Coda approximately thirty-one years old when Explore the Connections The coda presents three specific they began writing their respective Fern between Corigliano's Music technical challenges to the chorus. The Hills. The idea of reflecting on youth, and Thomas's Poetry singers must build a chord, section by the passage of time and aging obviously As they begin to study and learn the section, simultaneously execute a gradual appealed to both young adults as it can to music, students can explore the close re crescendo from pianissimo to jortisissimo high school and college students today. lationship between Corigliano's musical and, finally, produce a gradual diminu setting and Thomas's poetry. The teacher endo from jortisissimo to pianisissimo
if if.fo 157 div .--3---.-= 3 ,//\ ~ > > > r;:--' s " > r -.J L-,[b ~ ...... horn. 3 the calves sang to my horn. 1ff.fo f ::: 1ff.fo .-3-, .--3---, 3 3 ,--3-, A " -.J ~. > > > > > > > > > > horn. the calves sang to my. calves sang to my horn. f if.fo if.fo.-3-, .---3--. .--3---, .--3--. .--3---, ,--3-, fmarc. > > > > > > > > > > > > > > T " > horn. the calves sang to my. calves sang to my. calves sang to my horn. the " f ::: if.fo .---3--. .---3--. .--3---, .--3--. .--3---. if.fo.-3-, ~3-' fmarc. ~ ~ ~ ~ .. ~ ~ ..~~. ~ ~ ~... ~ ~ -~ -~ ~ .j: B : I' > horn. the calves sang to my. calves sang to my. calves sang to my. calves sang to my horn. the /I ~ - ~ ii""i ~ > ~.~ ~ ~ ~. ~~~ f~: ~~ .. ~ Il!-tt .. ~: ~~~ il!-tt··~~~~~~ >- :::: f se= "* !., ~ r-"T'"-! 1T~ Il* ~>
Figure 8. John Corigliano, A Dylan Thomas Trilogy, "Fern Hill," mm. 157-162.
20 CHORAL JOURNAL • October 2005 ff like ____ sea. ______cresco poco a poco fchains ::::::==-- mf dim. A : : mf;~.---.-- my ______--- --_ sea. ______up cresc poco a poco in~ ______~ mfdim. ~ I I I I I T
1 - 1- -I~ sang ______- - _ sea. ______p cresc poco a poco ::::::==-- mf dim. ~iv.~. i------,-----,-----,----, Blm~I~:~: ~:~:~:~~~~ ~ Though ______~'-sea. ___-:::::::::::::::::::::::::::::::::::::::::=== __
a tempo
fespr. , ritard. d~' ~:~-- ritard. a tempo rallelltalldo 465 up(dim.) P (stagger breathe) pp PP'P (Jade alit) .,/"", .- .- .------.---- S --- - .- - .- - - eJ up (dim.) dt. p (stagger breathe) pp PP'P (Jade Olll) A " eJ ______
p (stagger breathe) pp PP'P (Jade alit) I 1 1 1 1 T~~r~-' ------up (dim.) p (stagger breathe) PP'P====- (Jade alit)
eJ . \....J-J l - \....J-J \....J-J (dim.) up rit. ~p: a tempo rail. ~I ~ ,... I,~: ,.II. : r r r
Figure 9. John Corigliano, A Dylan Thomas Trilogy, "Fern Hill," mm. 457-471.
NOTES Nicholas Slonimsky, (New York: Comes Home With an Oscar," The New Schirmers, 1978), 350. York Times (March 29, 2000): B8. 1. Christine Jordanoff and Robert Page, 3. "Corigliano, John Jr.", A Dictionary 5. Karen W. Arenson, "A Faculty for Pulitzers," Choral Triad (Philadelphia: QED of American Composers, ed. Neil The New York Times (May 1,2002): B8. Communications, 1994),49. Butterworth, (New YorkILondon: Garland 6. "Corigliano, John (Paul)," by Adamo, Mark 2. "Corigliano, John, Sr.," Baker's Biographical Publications Inc., 1984),104. in vol. 6 of The New Grove Dictionmy of Dictionary of Musicians, 6th ed., ed. 4. Karen W. Arenson, "A Lehman Music Teacher Music and Musicians, 2nd ed., ed. Stanley
October 2005 • CHORAL JOURNAL 21 Sadie/executive editor John Tyrrell (London: Macmillan, 2001), 466. 7. Allan Kozinn; "Decades in the Making: John Corigliano's 'Dylan Thomas' Gets Its Premiere," The New York Times (March 26, 1999): E6. 8'-Bella Tillis, interview with the author, August 2,2004. 9. For a recent discussion of A Dylan Thomas Trilogy, see Alfred S. Townsend, "Perspectives on John Corigliano's A Dylan Thomas Trilogy," Choral Journal 44, (November 2003): 29-37. 10. Bernard Holland, "Highbrow Music to Hum," The New York Times Magazine (Jan. 31, 1982): 24. 11. Jacob Korg; Dylan Thomas (New York: Twayne Publishers, Inc.,1965), 3-4. 12. Thomas, Dylan, Poetic Manifesto, 1951, in The,Poet's Work (Twenty-Nine Masters of Twentieth CentlllY PoetJy on the Origins and Practice of their Art) ed. Reginald Gibbons (Boston: Houghton ¥ifflin Company, 1979), 184. 13. Interview with John Corigliano, John Howard Dickson, Jr., "The Union of Poetry and Music in John Corigliano's A Dylan Thomas Trilogy" (D.M.A. dissertation, The University of North Texas at Austin, 1985),22. 14. Linda Swears, Teaching the Elementmy Chorus (West Nyack: Parker Publishing Company, Inc., 1985), 161. 15. Dickson, op. cit, p.18. 16. Charles R Hoffer, Teaching Music in the Secondmy Schools, 4th ed., (Belmont, California: Wadsworth Publishing Company, 1991), 168. 17. Dickson, op. cit, p. 62. 18. Interview with John Corigliano, Alfred S. Townsend, "Unity and Variety in A Dylan Thomas Trilogy" (ph.D. dissertation, New York University, 1986), 63. 19. Bella Tillis, interview with the author, October 20, 2004. 20. Gwendolyn A. Simmon~, interview with the author, November 18,2004. 21. Random House Webster's Unabridged Dictionary, 2nd ed, New York: Random House, Inc., 2000. 22. Consortium of National Arts Education Associations, National Standards for Arts Education (Reston, Virginia: MENC, 1994).
Q The Weill Music Institute CARNEGIE HALL ~ at Carnegie Hall hi
22 CHORAL JOURNAL • October 2005 Circle of Love Campaign A global campaign to support the New Orleans Children's Chorus during the aftermath of Hurricane Katrina
On behalf of the Association of Choral Music Education (ACME), and in response to Hurricane Katrina, the "Circle of Love Campaign" has been established for the New Orleans Children's Chorus (NOCC). While there are many physical needs of the survivors being met bya variety of organizations, we want to give direct support to one of our dedicated ACME members, Cheryl Dupont, and her beloved Children's Chorus through this grass roots and global campaign.
Many folks have come up with wonderful ideas to demonstrate support for the NOCC. To begin our Circle of Love Campaign, we invite you and/or your. organization to make a financial contribution to the New Orleans Children's Chorus, a 501(c)3, non-profit organization. All checks should be made out directly to the New Orleans Children's Chorus and mailed to:
New Orleans Children's Chorus c/o Donna Thomasson 2472 Howell Mill Rd. Atlanta, GA 30318 USA
. All money will be deposited into the New Orleans Children's Chorus account, which will allow the New Orleans Children's Chorus to manage their needs directly for any part of their operational expenses. This type of financial support demonstrates our care and concern for Cheryl and her children's chorus, both of which are well respected in our country.
Thank you for your efforts as we all try to embrace Cheryl and the New Orleans Children's Chorus with our love. '
With heartfelt gratitude,
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The Association of Choral Music Education wishes to express gratitude to ACDA for this advertisement
For updates: www.neworleanschildrenschorus.org
October 2005 • CHORAL JOURNAL 23 v Baltic Portraits: Mikalojus Konstantinas Ciurlionis,
Lithuanian COD;lposer and P~inter by Vance D. Wolverton arlier installments in this series of articles explored of the estate's orchestra. Duke Oginskis took a liking to the the music of four Estonian. composers (Cyril young flutist and offered to provide him with an allowance to Ius Kreek, Choral Journal, Vol. 40, No.2; 1999; enable him to get a proper education. In this way, at the age of Rudolph Tobias, Choral Journal, Vol. 41, No.7, eighteen, Ciurlionis was able to make his way to Warsaw where 2000; Urmas Sisask, Choral Journal, Vol. 42, No.8, 2002; he enrolled in the Institute of Music. At the institute, Mikalojus Erkki-Sven Tuur, Choral Journal, Vol. 43, No.1, 2002) and initially studied piano, switching to composition after three and the patriarch of the Latvian art music tradition, Jazeps VItols, a half years. While yet a student, he composed piano fugues, Choral Journal, Vol. 44, No.1, 2003. The present article moves choral works (psalm settings), piano' variations, sonatas and the focus to Lithuania, featuring the life and works of Mikalojus other works for piano, and the cantata De Profundis for mixed Konstantinas Ciurlionis. Like Tobias in Estonia and VItols in choir and orchestra (1899). He graduated in June of 1899 in the Latvia, Ciurlionis was the founding father of the art musictradi class of Zygmunt Noskowski (1846-1909). tion in his native country. Unlike the others, he also founded a While in,warsaw, Ciurlionis tried his hand at writing-one national tradition in the visual arts. The prominent Lithuanian of his early poems dating from 1899. He also developed an musicologist Adeodatas Tauragis (1936-2004) has stated the amateur interest in painting and drawing, which he had begun to following about Ciurlionis: pursue while living in Plunge. Above all else, he devoted him self to reading, becoming especially enamored of the popular M.K. Ciurlionis's name was like a bright star in the science works on various terrestrial and celestial phenomena constellation. With his arrival professional Lithuanian by the French astronomer Camille Flarnmarion (1842-1925). national art, just taking its first halting steps, at long last· After his graduation from the Institute of Music, Mikalojus con . had an artist and composer of rare talent. The significance tinued to reside in Warsaw until the spring of 1901, supporting of Ciurlionis's work for Lithuanian culture was enormous. himself by teaching private lessons. Rising like a bright star in the firmament, Ciurlionis In 1901-02 Ciurlionis studied counterpoint, composi too quickly burnt out. However, his work, [and] all his tion and instrumentation in Leipzig with Salomon Jadassohn activities, remain an inspiring example of selfless creative (1831-1902) and Carl Reinecke (1824-1910). In Leipzig he effort for generations of Lithuanian artists to come. The composed major musical compositions that far surpassed his work of Ciurlionis is an inseparable part of the cultural student work, but his future was still unclear to him.4 He was heritage of our nation-a very valuable contribution to the offered a position at the Warsaw Institute of Music, but turned it treasury of world art. 1 down. Instead, he began attending classes at the Warsaw School of Drawing. In the spring of 1904, while composing his musical Mikalojus Konstantinas Ciurlionis was born on September masterpiece, the symphonic poem titled The Sea, he enrolled in 22, 1875, in Varena, in southern Lithuania, at that time the the newly opened Warsaw School of Art. Although he strove to Kaunas province of the Russian Empire. His father, Konstan become a professional artist, political developments provided a tinas Ciurlionis, was a church organist. His mother, Adele more concrete direction to his ambitions. Radmanaite, met his father when she visited the Catholic church The revolution in Russia and military failure in the war with where Konstantinas played and was struck by both the sound Japan forced the tsarist government to make liberal concessions of the organ and the appearance of the organist. 2 to inhabitants of the outlying regions of the empire. In 1905, Mikalojus was the first of eleven children born to Konstan the Warsaw Lithuanian community was awarded the right to tinas and Adele; nine of whom survived into adulthood. In 1878. establish a mutual aid society. The Society soon organized a the family moved to Druskininkai, a resOlt town in the Gardinas choir and Ciurlionis agreed, offering to become its director province. Life was difficult for the family. Konstantinas earned without salary. Ciurlionis also became active in the Lithuanian ten rubles per month as parish organist and Adele sewed and National Revival Movement. The Movement needed musicians gave private lessons to supplement her husband's meager in and artists, the choirs needed songs, and the books needed il come. In Druskininkai, young Mikalojus Konstantinas attended lustrators. Ciurlionis received commissions to harmonize folk the local primary school where Russian was the language of. songs or compose new songs for a Lithuanian school song instruction; "Learning to read a sheet of music, playing the book, to design a cover for the primer and similar tasks. In these piano, listening to his parents' songs or his father's organ and ways, Ciurlionis joined those patriots who had set out to foster choir provided the young Ciurlionis with his first glimpses into a Lithuanian national culture and he soon became a leading the world of art."3 figure in that movement.5 . From 1889 to 1893 Mikalojus lived ih Plunge, on the estate In the autumn of 1907, Ciurlionis settled in Vilnius wherehe of Duke Mykolas Oginskis, taking music lessons in the estate's was able to make a modest living as the conductor of the choir orchestral school. Mikalojus played the flute and, from the age "Vilniaus Kankles". In addition, he taught private lessons to the of seventeen, he began to earn a regular salary as a member choir members, nurtured plans for a future music school and dreamed of organizing large annual concerts of Lithuanian mu Vance D. Wolverton is professor of music and" chairman of sic. He also continued to present piano recitals and conduct the the Department of Music at Northern Kentucky University, choir, arranging folk songs and composing original works for Highland Heights, Kentucky.
October 2005 • CHORAL JOURNAL 25 With her help, he was able to gain a bet returned to Lithuania where he and Sofija characteristics of Lithuanian folk song ter mastery of the Lithuanian language were married on January 14, 1909. After and Lithuanian composers. and soon found himself falling in love. the wedding, he and Sofija returned to St. In late November of 1909, Mikalo Throughout 1908, Ciurlionis continued to . Petersburg where, in addition to show jus returned to St. Petersburg with the compose and conduct new choral works ing his paintings, his piano preludes and goal of securing a permanent position. set to Sofija's lyrics and, in the spring, he landscapes from The Sea were performed Sofija, who was pregnant, remained in was able to mount the first performance in a concert sponsored by the Society of Lithuania until such time as her husband of his cantata De profundis. In October Contemporary Music. In March 1909, could provide adequately for her and the 1908, Ciurlionis traveled to St. Petersburg the Ciurlionises returned to Lithuania baby. As early as the autumn of 1908, where he was invited to exhibit several of where they collaborated on a collection Ciurlionis had suffered from episodes of his paintings. He tried to find a permanent of essays titled In Lithuania including depression. Shortly after his return to St. position there, but was unsuccessful. He a lengthy chapter by Mikalojus on the Petersburg, weighted down by the lack of prospects and loneliness, he began to suffer bouts of insomnia and his strength began to fail. Sofija traveled to St. Peters~ burg where she found Mikalojus in poor health and spirits. Following the advice of a psychiatrist, she brought her husband home to Drilskininkai. In 1910, he had to be placed in a sanatorium outside War saw. While no documents of his medical history have survived, his diagnosis, in modem medical terms, would no doubt be schizophrenia.6 Following the collapse that resulted in his hospitalization, he was
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26 CHORAL JOURNAL • October 2005 A - gnus De - qui to
A '---"' '-----'"" "--' A ~ gnus De - qui - to - lis pe ea ~ ta, pe~ca~ r---. Tl~~~~~~~~~~~~~~~~~~~~~~ A - gnus De - qui to lis_ pe - en - ta mun - di, pe ~ ea ~ ta mun - di, pe - ea - 9
"--! -lis qui to - lis pe - ea ta mun di, qui to - lis pe - ea - ta, pe - ea - 'tao A - gnus_
tao A - gnus
'--" -ta qui to - lis, pe - ea ta mun~d" - I, qUi to - lis pe - ea ta mun di.
Figure 1. M. K. Ciurlionis, Kyrie, Gloria, Sanctus, Agnus Dei, "Agnus Dei," mm. 1-17. © 1998 Knunas: Petronis Editions. Used by Permission.
never able to resume his creative work. pieces (Kyrie, Gloria, Agnus Dei) exist harmonically and formally it is quite so In the spring of 1911, he caught a cold' in two manuscript versions-with text phisticated, even if it were not the work that developed into pneumonia. He died and without text, suggesting that the of a student. on April 10, 1911, and was laid to rest in composer intended them for performance Ciurlionis composed two additional the Rasos Cemetery in Vilnius on April not only with choir, but also for organ Mass movements, Kyrie II and Sanctus; in 13. The remainder of this article' will alone.? V. Landsbergis has noted that Leipzig in 1902. Romaldas MisiukeviCius focus on Ciurlionis' choral oeuvre. these "youthful pieces are not lacking in notes that these movements were pub Ciurlionis' choral compositions can be expression and vividness" and that "more lished in several collections and "are divided into three groups: original com than one of them merits peliormance.,,8 among the most mature and most often positions on religious texts (1898-1902), Figure 1 is an excerpt of Ciurlionis's performed compositions of Ciurlionis."9 harmonizations offolk songs (1905-08), three-voice Agnus Dei from 1898. Both Avenir Mikhailov (1914-1983), famed and original compositions on the words of Sofija Kymantaite-Ciurlioniene (1908-09). Three Mass movements, written in 1898 while Ciurlionis was a student at Sing to the world in concert with the Warsaw Institute of Music, were pub Witte Travel & Tours. Our expertise guarantees careful attention to travel lished for the first time in 1993. Darius and performance details, customized KuCinskas, who edited these works for itineraries, well-received concerts, publication, points out that each of these and a memorable tour for your entire group.
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October 2005 • CHORAL JOURNAL 27 J fI u Andante con moto f S t!J Sane - tus, sane - tus, De-us- Sa - ba - flu f A - "-' Sane tus._ sane tus, i;';;':'us Sa - ba - Jl # f T ~ Sane-tus, sane- tus, sane - tus Do-mi-nus- Do-mi-nus ~s Sa-ba- ~ f ...u. : J' ./J "':" 17 B
Sane .' tus, sane - tus, sane - tus Do -mi- nus,__ Do -rni-nus De-us Sa - ba - .------.
oth. ______Sane- tus, sane - tus, sane tus Do mi- nus.
oth,_ De-us Sa-ba - oth. Sane - tus,_ sane - tus, sane tus Do - mi-nus, ~
oth,_ De-us Sa-ba - oth. Sane - tus, sane tus Do mi-nus,
oth. Sane - tus Do - mi-nus,
Figure 2. M. K. Ciurlionis, Kyrie, Gloria, Sanctus, Agnlls Dei, "Sanctus," mm. 1-12. © 1998 Kaunas: Petronis Editions. Used by Pennission.
conductor of the Leningrad State Glinka Academic Choir, frequently programmed Ciurlionis' Sanctus and referred to the I piece as one of the most vivid examples of this genre in the literature of music. 10 Ciurlionis' Sanctus is not a typical setting Experiellce of the text. He employs dotted rhythms, 'W~,have planned divisi, and sudden significant changes in performing arts tours>:,. dynamics to impart a sense of high drama for ,50 years ... and it shows. to the angels' declamation (Figure 2) . .'. ",.', "".\" "," The cantata De profundis (1899), . The care you tbok in }vorki;g'1¥ith: ' .: the locaZ.col1cert organizerstd.:" cantata for mixed choir and orchestra or assure a positive experience for piano, is the composer's diploma work the cHoiHepresents the highest< from the Warsaw Institute of Music. It is 'levelofachievement in yO~lr indl/stry.. This is where ACFE~ his only concerted choral work, all others " true colors shine: ' '. being unaccompanied. De proftindis was
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28 CHORAL JOURNAL • October 2005 premiered by the composer in Vilnius by the question in male voices, .choir. Ciurlionis took very seriously the in 1908 with piano accompaniment, the 'Who, then, oh Lord, will be task of providing an artistically satisfying orchestral parts apparently having been righteous before You?,' sounding in and appropriately challenging body of added at a later date. The text of De pro the empty space over the remaining folk song adaptations. Regarding this task fundis is based upon the first eight lines tremolo of the 'depths.' The reprise, he wrote the following to his peers: "Let's of Jan Kochanowskis' metrical transla slightly modified, expanded, and not forget the big responsibility that we tion into Lithuanian of Psalm 130. V. dramatized, ends on a: grim note, have to bear. We are the first Lithuanian Landsbergis has described the piece as full of resignation, offering no composers, and the coming generations follows: answer and no consolation. I I will use our works as examples. We are a kind of link between folk songs and The music is vivid, elated, and De profundis has been recorded by the future Lithuanian music .... "12 dramatic, particularly in its opening Lithuanian National Symphony Orches The pieces for treble voices were and closing sections. In its variety tra and Kaunas State Choir, conducted by intended for use in the new Lithuanian of texture and form, as well as Juozas Domarkas. Figure 3.is an excerpt schools that were being established the important role assigned to the from the opening of De profundis. after many years of czarist prohibition. orchestra and the bold modulations, The second group of Ciurlionis' choral These were published in the small vol the work is unmistakably Neo works consists of harmonizations of folk ume Vieverselis [The Skylark] in 1908. Romantic, while its culminations songs (1905-08). In this group, there are Although they are uncomplicated set are reminiscent of Wagner, whom 26 pieces for treble voices, 25 pieces for tings intended for inexperienced singers, Ciurlionis admired. In the middle mixed choir, and 12 pieces for men's section, where God is addressed they could also be sung by adults. The choir. These pieces were composed dur not with humility but with harmonizations for mixed and men's rationalist elaboration, Ciurlionis ing the time Ciurlionis was the leader voices are significantly more sophisti results. [sic] to a Handelian fugato of the choir of the Lithuanian Society cated, characterized by more elaborate in a major key. With the dawning of Mutual Aid in Warsaw and, later, the textures (canons, counterpoint) and dar realization of just whom is being choir of the "Vilniaus Kankles" Society. ing chromatic harmonies that were signal addressed, however, an impressive These choirs lacked for Lithuanian rep in Lithuanian music of the period. These psychological contrast is provided ertoire, especially folk songs adapted for stylistic tendencies are derived from the
II r... p mf p s v '-----'" Se - mia-mas ne - lai mil! tva------no, r. r... P 11!f p A ., v --.~... -. 7tf ~.g ~ 3" .g' Se - mia-mas ne - lai mil! tva - - -- no, r. r... P 11!f p T V Se - mia~mas ne - lai - mil! tva - - - no, r... P ~r3..., ~r3"" p~ B : Se - mia-masne - lai - mil[, ne-Iai-mil! tva - -- no. r. d .] - .-3..., r-3, V IfF ~ ,.;Jl.)f:j- ~ij -Ef =d -Ef =d q$ q::O ~ q ==--p rP55 f p _ .....J-. r-3 fa f r... i. ...;!....., r;31, Pr---h r---h r---h ~ - : - :':L :;]__ :z:j:. -"=J ~ 7tf...... :z:j:~=J:;;I:"''''' qr qr q IV :eo I q r=-lJ 3
Figure 3. M. K. Ciurlionis, De projimdis, mm. 1-10. © 1998 Kaunas: Petronis Editions. Used by Pennission.
October 2005 • CHORAL JOURNAL 29 Andante p ~======-
Be - kit, ba - re - Iiai,_
Be - kit, bn - ra - liai, ga - Ian va - la - ka, ga - Ian va -In- ka, ga -. Ian va-
BI~~P~~~=~~~~~~~~~~~~~~~~~~~l~ '-' '--' '-' u Be - kit, ba - re - Iiai, ga - Ian va -In- ka, ga - Ian va - In - ka, ga-Ian va - In - ko, ga-Ian va - In - ko, ___ ga - Ian
la - ko, ga-Ian va - la - ko. ____ Be - kit,__ bn - re - liai, ga - Ian va - In - ko. Be - kit. f~ Bl~~~~~~~~~~~~~~~~ va - III ko, ga - Ian va - I;;--====------ko, ga - lan,_ Be - kit, __ bn - re - Iini.
Figure 4. M. K. Ciurlionis, Bekit Bareliai, lUlU. 1-15. © 1998 Kaunas: Petronis Editions. Used by Penn iss ion.
sutartine, a genre of polyphonic folk In that black boat sat a young man. In like manner, each of Ciurlionis' folk song unique to Lithuania. The principal "Come here, young maiden," he said. song harmonizations is composition characteristic of the sutrutine is its con "Come sit in the boat with me." ally unique. The most recent (1995) and struction on simultaneous major seconds complete edition of Ciurlionis' folk song that are not resolved. Ciurlionis' mastery Translation by Joseph A. Graves. settings is Liaudies dainos chorams [Folk of contrapuntal technique is clearly il Used by permission. Songs for Choirs] published by the firm lustrated in Bekit, Bareliai [To the End of Jonas Petronis, Kaunas. All 25 of the of the Field] for four-part men's voices Both Bekit, Bareliai and Siunte Mane harmonizations for mixed choir have unaccompanied (Figure 4). A translation Mociute illustrate Ciurlionis' under been recorded by the chamber choir of the text follows: standing of the archaic modal character JAUNA MUZlKA, under the direction of of Lithuanian folk songs and his abil Vaclovas Augustinas. 13 Move quickly, mow, ity to emphasize that character through The third group of Ciurlionis' choral Move quickly, mow, harmonic means and textural- means. output, dating from 1908-09 and mark- o the end of the field. Move quickly, mow.
Translation by Joseph A. Graves. 1 Used by permission,
Siun - te ma ne mo-ciu - te jU - res Figure 5 presents Siunte Mane MoCiute J~...l do :i :i [My Mother Sent Me Away], a charming '-' and harmonically sophisticated miniature :1 ~ '--' for four-part mixed voices unaccompa 5 nied. A translation of the text follows: '-' van - de - ne - lio, i jU - res van-de-ne-lio. Mama sent me to the sea to fetch 'J q:i some water n:.J with a linden bucket of white on a
copper-hooked pole to carry it. Figure 5. M. K. Ciurlionis, Sillnte Mane MoCillte, lUlU. 1-9. As I was scooping upthe water, a © 1998 Kaunas: Petronis Editions. Used by Permission. black rowboat drew near.
30 CHORAL JOURNAL • October 2005 ing the final chapter of his musical cre To war! To war! only begun to be known in the western ativity, is comprised of five settings of A brave man called, world through the efforts of musicologist texts by the composer's fiancee, Sofija riding away through the fields. Darius Kucinskas and choir conductor Kymantaite. All five pieces are set for To war! To war! Romaldas Misiukevicius, editors of the men's voices unaccompanied. These collected volumes of Ciurlionis' choral pieces. are musically challenging and Tomorrow you must meet works (Petronis Editions, 1995-2000), were performed by the "more competent" at the door of the council chamber, and recordings by the Kaunas State Choir members of the "Vilnius Kankles" Soci all of you-Samogitians and Lithuanians, and fAUNA MUZlKA. While it is true ety chorr.14 The Penki Chorai [Five Cho and all those beyond-will be expected! that musical taste and temperament have ruses] exhibit a wide variety of textures evolved well past the oeuvre of this most and forms based upon the composer's Forests heard the call. talented and sympathetic of composers, desire to express the contrasting texts. The treetops swung wildly, his music was at the forefront of the cre Fugato sections alternated with ho forwarding the message far and wide ... ative impulse during his lifetime and is mophony, free imitative polyphony, word the message of the Headman: thus well deservmg of the attention it is painting, and the juxtaposition of solo To war! To war! . receiving currently. voices, against a background of a more neutral choral palette are reminiscent of Translation by Darius Kucinskas. NOTES Renaissance and early Baroque genres. I Used by permission. karuz~ [To War], excerpted in Figure 6, 1. Adeodatas Tauragis, Lithuanian Music-Past is distinctly madrigalesque in character, Despite his premature death at the age and Present (Vilnius: Gintaras, 1971), clearly demonstrating the composer's use of 36, Mikalojus Konstantinas Ciurlionis 70ff. of word painting in the simulated gunfire is a towering figure in the history of 2. Alfred Erich Senn, "Mikalojus Konstantinas beginning at measure nine. A translation Lithuanian art music and painting. Sadly, Ciurlionis: A Life" (chapter) in Ciurlionis: of the text follows: due to years of czarist and subsequent Painter and Composer/Collected Essays Soviet suppression, his choral works have and Notes, 1906-1989, ed. Stasys
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"---= -., ...... , ...... "'--"= ~ Bnss Rn In In tn In tn In In, ro In to tn tn tn In In, ro In In tn' tn In. su - si -rink - ti tu • rit, su - si-rink-ti tu rit. f 3 P 3 3 ff 'if II
Ru tn In In, rn In In tu, ru In In tn, m In In In, rn tn In In, ra tn tn su - si -rink - ti tu - rit. su - si-rink~ti lu ------rit.
rit, 14 I~~ I
~
f 3 P
r Rn In In In In In In In, m tn til In In In In In, m tn In In In In In In, rn In III In In In In In, rn tn In In la In tn'ta, m In In In In In tn tn, f . H;'------""
.-•• >. Kn5 ze-mni lis, lie tu vys, 0 10- linu kns bus - i~ - vysl p,...... , ,....., , f..-. . ft ... J ..-. . ft .... J . ft .... J H...... , H.... I ,..-, . .U~_ J '-= '--' '-= ...... ---= ...... -.. Ra til In In til In In In, m In In la In III In tn. ro tn In In In Iu In In, ro In "'"""""In In In In In tn, rn In ~Inln In tn, ro In ~tn In In tn. f 3 P "
Rnln In In, m In In In, mIn IUln, m In In In, m In In Ill, m In In In, m In In tn, m In In In, m la In In, m In In In, m In In In, min tn tn,
Figure 6. M. K. CiurIionis, [karui~, mm. 9-19. © 1998 Kaunns: Pelronis Editions. Used by Pennission.
October 2005 • CHORAL JOURNAL 31 Gostautas (Vilnius: Vaga, 1994),30. 3. Vytautas Landsbergis: M.K. CiurliOliis-Time and Content (Vilnius: Lituanus, 1992), PERFORMANCE MANAGEMENT 25. Landsbergis, an accomplished concert POSITIONS pianist and respected musicologist, served as the first president of Lithuania following the re-establishment of inde Westminster Choir College - pendence in 1991. He has also recorded Rider University the piano works of M.K. Ciurlionis on EMl Records #66791 (2001). Westminster Choir College of Rider University seeks 4. Vytautas Landsbergis: M.K. Ciurlionis-Time and Content (Vilnius: Lituanus, 1992), applicants for the following positions in its Performance 31. Management Department: 5. Vytautas Landsbergis: M.K. Ciurlionis-Time and Content (Vilnius: Lituanus, 1992), DIRECTOR, PERFORMANCE MANAGEMENT 32. 6. Vytautas Landsbergis: M.K. Ciurlionis-Time Will create, coordinate, and supervise development and and Content (Vilnius: Lituanus, 1992), implementation of master event calendar, scheduling, and 45. performance management. Will implement policy related to 7. Darius Kucinskas: Kyrie, Gloria, Sanctus, facility access and its use, as well as oversee and create related Agnus Dei [introductory remarks] (Kaunas: Petronis Editions, 1998),2. budgets. Minimum of a Bachelor's degree with emphasis on Arts 8. Vytautas Landsbergis: M.K. Ciurlionis-Time Management or Business Management required. Three to five and Content (Vilnius: Lituanus, 1992), years experience managing an Arts-related business necessary, 65. preferably music. Experience with budget management and ,9. Romaldas Misiukevicius: "Preface" to Religious Choir Music (Kaunas: Petronis knowledge of concert/event productions strongly preferred. Editions, 2000), 6. Position # 477001. 10. Romaldas Misitikevicius: "Preface" to Religious Choir Music (Kaunas: Petronis PRODUCTION COORDINATOR. Editions, 2000), 6 Responsible for production aspects of ensembles, opera, music 11 Vytautas Landsbergis: M.K. Ciurlionis-Time and Content (Vilnius: Lituanus, 1992), theater, and concerts, as well as stage management with ushers, 66. ticket sales, and concerts. Will develop procedures and timelines for 12 M.K. Ciurlionis (translated by Romaldas set-ups. Will manage logistics for tours, runouts, and other campus Misiukevicius): Apie muzikq ir dailf2' events. Bachelor's degree required. Degree in Music or Arts, 315. 13 Mikalojus Konstantinas Ciurlionis: preferred. At least 3 years experience in Arts, Music Productions Symphonic Poems, Fugues, String or related activities necessary. Must be highly organized and have Quartet, Piano Works, Folk Songs for ability to multi-task. Position # 477010. Choii's [three CD set], (Vilnius: Semplice, 2000). Please send letter of application, resume, and salary requirements 14. Vytautas Landsbergis: Ciurlionio Muzika to: Manager of Employment, Human Resources, Rider University, [The Music of Ciurlionis], monograph (Vilnius: Vaga, 1985),320. 2083 Lawrenceville Road, Lawrenceville, NJ 08648-3099 or·to [email protected]. Review of applications will begin immediately and continue until positions are filled.
Visit Rider University on the Internet: www.rider.edu Rider. CDsforSi ngers. com University Demos of Vocal Teaching Literature for Students and Teachers Rider University is an equal opportunity/affirmative action employer and does not discriminate on the Online: www.CDsforSingers.com basis of age, race, sex, sexual orientation, national origin, religion, or any other non-job related criteria. Phone: (800) 827-2495
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P.O. Box 267030, San Diego, CA 92796 , . ~ 5 CHOIR DIRECTOR: Ignaz Karl Dirzka (1779-1927)
by Grant W. Cook III Introduction brother, Johann Paul, died in Poland on July 22, 1820, leaving he literature about Beethoven's symphonies, espe- his wife, Maria Anna, and two children, Theodor and Maria.6 dally his Ninth Symphony, is vast. Yet, the chorus According to Dirzka's estate record, he was not married at . master for the premiere of the composer's final the time of his death'? However, census records indicate that symphony has been virtually ignored by scholars, he lived for an extended period of time with Maria Anna von U 8 becoming no more than a footnote in music history. Details EndrOdy. Although never married, the depth of their long-time concerning the preparations for and aftermath of the concert relationship is poignantly articulated in Dirzka's last will and on May 7, 1824, at which the Ninth Symphony received its first testament, in which he writes: "Since 1802, Madame Maria pelformance, are given in Beethoven's conversation books - the von EndrOdy ... [has shown me] such cordial friendship and notebooks used by those who came into contact with the deaf sympathy and has even bore with tender feeling and sympathy composer from about 1818 onward to communicate with him in the misfortunes which have befallen rne, such that a married wliting. Following Beethoven's death in March, 1827, his secre woman would hardly be better and more honestly united [with tary Anton Schindler (1795-1864) confiscated the conversation her spouse]. Therefore, she shall be, after my death, and if the books and in January, 1846, sold them to the Prussian Royal dear Lord blesses my fortunes, the sole heir of all that I pos Library in Berlin. It is here that the American Beethoven scholar sess."9 Alexander Wheelock Thayer (1817-97) examined them, mak The aforementioned estate record also indicates that Dirzka ing extensive notes for his future biography of the composer. was survived by an adopted daughter, Karolina Beinitz, a choral For many years, Thayer carefully mined the conversation books singer at the Kal'ntnertor Theater. JO Dirzka seemingly adopted and in the process was the first to identify Beethoven's choral Beinitz shortly after her bilth in Weimar in 1806,11 where he director~ the court singer and conductor Ignaz Karl Dirzka had been engaged as a singer. 12 In late April or early May 1808, (1779-1827), about whom little has been known. I Curiously, Dirzka brought the infant with him to Vienna, where, in Febru in 1993, Nicholas Cook posited that famous French dancer and ary 1832 at the age of 26; she married Johann Rebeck, a choral choreographer Louis Antoine Duport (1783-1853), who was singer at the Theater an del' Wien. 13 engaged as ballet-master in Vienna in 1812 and later managed the Karntnertor Theater, "trained" the chorus for the first per formance of the Ninth Symphony.2 New documentary evidence, Singing Career however, confirms Thayer's original research and solidifies On May 14, 1808, Ignaz Dirzka made his debut in Vienna Dirzka's place in music history. In the following article, I shall with the Imperial Royal Opera Company, singing the role of provide a brief biographical sketch of Ignaz Dirzka and survey Milceli in Graf Armand, also known as Wassertrager, the Ger his professional activities, with particular attention given to his man version of Cherubini's Les deuxjounu!es. 14 Later that same role as chorus master for the premiere of Beethoven's Ninth month, he sang the role of Osmin in Mozart's Die Entfiihrung Symphony. aus dem Serail, which, according to Adolf Bauerle's Theater Almanac, was "his best role."15 The Vienna correspondent for the Leipzig Allgemeine musikalische Zeitung gave Dirzka Early Life and Family an excellent review, writing: "His extraordinarily sonorous, Ignaz Karl Dirzka was born in Konigsbrunn am Wagram, powerful bass voice and the ease with which he executed the Lower Austria, in 1779, the son of Joseph Dirzka, a local rather difficult singing part of Osmin, as well as his agile act schoolteacher.3 A clue to his mother's identity rests in Vienna's ing-somewhat overdone in this role, however-earned him the Schottenkirche, where Ignaz's older brother, Johann Paul, mar approbation that every good mtist may certainly expect here." 16 ried his second wife, Maria Anna Fridelika Weidelt, in October In June, he appem'ed as Cola in Ferdinando Paer's Camilla, 1807.4 The marriage register gives Johann Paul's mother as Eva, eliciting a mixed review: "Herr Dirzka's powerful, sonorous a likely candidate for Ignaz's birth mother.5 However, given bass voice showed itself in a very favorable light," wrote the eighteenth-century mortality rates and the fact that Johann Paul reviewer for the Allgemeine musikalische Zeitung. "One finds was born eight years earlier, in 1771, it is quite conceivable that fault with his acting, however, in that he likes to exaggerate a he and Ignaz were not born of the same marriage. At any rate, little; especially,. however, in his jokes he wants to imitate the Ignaz also had no fewer than three sisters, all of whom were Austrian dialect-which, as a foreigner, naturally does not suit younger and still living in or near Vienna at the time of his him at all and only shocks the native speakers."17 death in January 1827: Katherina, the wife of Joseph Winkler, By 1811, Dirzka was living in the Inner City, House No. a local tailor; Anna Rech, a "housecook's widow;" and Antonio 1093 on the Seilergasse, in proximity to both the Graben Zens, simply listed in Ignaz's estate record as "housewife." His and St. Stephen's Cathedral. 18 Vm'ious court directories and theater almanacs place Dirzka in Vienna continuously from May 1808 to 1814. However, beginning in 1815 his name Grant William Cook III is associate professor of choral disappears from the theater rosters and does not smface again music and music history at Heidelberg College, Tiffin, until 1818;19 Dirzka's whereabouts and activities during this Ohio, where he conducts the Concert Choir and three-year period are currently unknown. After rejoining the Chamber Singers.
I \ October 2005 0 CHORAL JOURNAL 37 \ \ Kyrie from the Missa solemnis. tress,3 pillows, 1 quilted blanket, 1 sheet, 1 polished walnut wardrobe, 1 violin, 1 viola and an unspecified amount of Final Years printed music. His assets, probably un During the final years of his life, derestimated to avoid excessive taxation, Dirzka lived in the Windmtihl suburb, totaled 80 gulden, 6 kreuzer, which, in the House No. 14, just several doors east end, was not even enough to cover the of St. Joseph's Church, where he was debt of 100 gulden that he owed to Joseph serving as choral director (Illustration Eibeck, the local spirits dealer!43 2).37 Today, St. Joseph's Church, a re construction of the original, is located on Windmtihlgasse in Vienna's Mariahilf Acknowledgments District; Dirzka's Windmtihl residence This article was supported in part if it were still standing today - would be by an Aigler Faculty Research Grant located approximately at the intersection (Heidelberg College). I am grateful for of Windmtihlgasse, Theobaldgasse and the committee's continuing assistance Mariahilfer StraBe. In addition to serving and encouragement. I would also like as choral director at St. Joseph's, Dirzka, Illustration 2. St. Joseph's Church, 1825. to express my gratitude to Theodore it seems, was also the proprietor of a local Source: Historiches Museum der Stadt Albrecht (Kent State University), Robert Wien. music school. 38 Berg (Heidelberg College), Rita Steblin Ignaz Karl Dirzka died on Friday, (Vienna), Michael Lorenz (Internation January 5, 1827, at the age of 48. 39 The included 2 cloth dress coats, 1 cloth cape, ales Franz Schubert Institute, Vienna), cause of death, according to the obitu 1 cloth overcoat, 5 sundry waistcoats, 5 Othmar Barnert (Theater-Sarnrrllung, ary published in the Wiener Zeitung on sundry pairs of trousers, 1 hat, 4 pairs Osterreische Nationalbibliothek), Maria Wednesday,January 10, was Verhartung of boots, 11 shirts, 11 neckerchiefs and Doberer (Pfarre St. Josef ob der Laimgr der Unterleibseingeweide, a hardening of pocket handkerchiefs, 14 pairs of stock ube, Vienna) as well as the staff of the the lower abdominal organs.40 According ings and socks, 2 nightcaps, 2 nightshirts, Stadt- und Landesarchiv (Vienna) for to his last will and testament, written on and 3 pairs of underpants. In addition, their assistance and encouragement. October 3, 1826 (Illustration 3), Dirzka he owned 1 hardwood bed, 1 straw mat- This article is dedicated to my men requested that his body "be blessed and tor, Theodore Albrecht, and to Carol conveyed to the cemetery- in private and PadghamAlbrecht (University ofIdaho) that three Masses be said in three differ for so kindly introducing me to the vast ent churches."41 The death register at St. riches of Vienna's archives and concert Joseph's confirms that he was buried on halls and for their continuing inspira Saturday, January 6 in the Hundsthurmer tion. Friedhof-the same cemetery where Jo seph Haydn was interred following his Illustration 3. Ignaz Dirzka's signature, NOTES 42 death on May 31, 1809. The official October 3, 1826. Vienna, Stadt- und inventory of Dirzka's estate, witnessed by Landesarchiv, Testament (Ignaz Dirzka), 1 Thayer's Life oj Beethoven, rev. and ed. Elliot Maria von EndrOdy and Karolina Beinitz, 12/1827. Forbes (Princeton, New Jersey: Princeton University Press, 1967),907. 2 Nicholas Cook, Beethoven: Symphony No.9 (Cambridge: Cambridge University Press, 1993),120. 3 Vienna, Stadt- und Landesarchiv, Verlassenschafts-Abhandlungen(Ignaz Dirzka), Fasz. 2: 2626/1827. 4 Johann Paul's first wife, Anna (born Zenker), died of Brllstwassersllcht (chronic fluid in the lungs) on June 10, 1806, at the age of 35 (Vienna, Magistrat, Totenbeschauprotokoll, 1808, D/T, June, fo1. 35r. Also,Vienna, Stadt- und Landesarchiv, Verlassenschafts Abhandlungen (Anna Dirzka), Fasz. 2: 4432/1806). I am grateful to Dr. Michael Lorenz for bringing these documents to my attention.
38 CHORAL JOURNAL • October 2005 5 Vienna, Schottenkirche, Trauunungs-Register, 39v). 1807, fo1. 210v. 27 Ibid., 102 (Heft 64, Bl. 10v). 28 . 6 Verlassenschafts-Abhandlungen (Ignaz Ibid., 119 (Heft 64, Bl. 28r). Dirzka), Fasz. 2: 262611827. 29 Ibid., 120 (Heft 64, Bl. 29v) 7 Ibid. 30 Ibid., 124 (Heft 65, Bl. 1r). 8 Vienna, Sta:clt- und Landesarchiv, 31 Ibid., 138 (Heft 65,Bl. 24r). Conscriptionsbogen, 1810, Stadt, 32 Ibid., 141 (Heft 65, Bl. 28r). House No. 1l00, Apartment 125. Also, 33 The Theater's chorus members (17 women Conscriptions bogen, Windmiihle, House and 26 men) are listed in Ziegler, No. 14, Apartment 3. Addressen-Buch von Tonkiinstlem, 75-78. 9 Vienna, Stadt- und Landesarchiv, Testament The Gesellschaft's chorus members (Ignaz Dirzka), 12/1827. (55 women and 112 men, from which 10 Verlassenschafts-Abhandlungen (Ignaz members would have been selected for a Dirzka), Fasz. 2: 2626/1827. balanced ensemble) are listed in Ziegler, 11 Vienna, St. Josef ob der Laimgrube, 121-l32. For a comprehensive discussion Trauungs-Register, 1832, fo1. l31r. of the performing forces see Shin 12 Zeitung jiir die elegm;te Welt 54 (April 4, Augustinus Kojima, "Die Urauffiihrung 1808): col. 431. der Neunten Sinfonie Beethovens-einige 13 St. Josef ob der Laimgrube, Trauungs neue Tatsachen," in Bericht iiber den Register, 1832, fo1. l31 v. Intemationalen Musikwissenschaflichen 14 Wiener HoJ-Theater Taschenbuch au! das Kongress Bayreuth 1981 (Kassel: Jahr 1809 (Vienna: J. B. Wallishausser), Biirenreiter, 1984), 390-398. 46. 34 Wiener Allgemeine Theater-Zeitung 5~ (May 15 Adolf Bauerle, Almanachfiil' Theatel; Musik 13, 1824): 230-231; quoted in Levy, und Poesie au! das Jahr 1811 (Vienna: 133. Leopold Grund), 20. Also, Ze/tung fiir 35 Wiener Allgemeine musikalische Zeitung 30 Theatel; Musik und Poesie 47 (April-June (May 12, 1824): 120; quoted in Levy, 1808): 374. l34. 16 Allgemeine musikalische Zeitung 10 (June 36 Ludwig van Beethovens Konversationshefte, 1808): cols. 622-623. 206 (Heft 68, Bl. 9r). 17 Ibid., cols. 699-700. 37 Conscriptionsbogen, 1805, Windmiihle 18 Hoj- und Staats-Schematismus des 14. It is interesting to note that Joseph osterreichischen Kaiserthums, 1811 Seipelt (1787-1847), who sang the bass (Vienna), 106. solos for the premiere of Beethoven's 19 Ibid., 1818: l35. Ninth Symphony, succeeded Dirzka as 20 Vienna, Haus-, Hof- und Staatsarchiv, choral director at St. Joseph's church Pachtakten Barbaja, Protocoll (November (Allgemeine musikalische Zeitung 29 16, 1821). [May 1827]: cols. 369-370). 21 Allgemeine musikalische Zeitung 28 38 Katalog del' Portrait-Sammlung del' k. u. k. (November 1826): cols. 736-737. General-Intendanz del' k. k. Hoftheatel: 22 Conscriptionsbogen, 1810, Stadt 1100. Also, Zugleich ein biographisches Hilfsbuch Franz Heinrich Bockh, Merkwiirdigkeiten au! dem Gebiet von Theater und Musik del' Haupt- und Residenz-Stadt Wi en (Vienna: Adolph W. Kiinast, 1892),351. (Vienna: B. Ph. Bauer, 1823),366. 39 Vienna; Magistrat, Totenbeschauprotokoll 23 Anton Ziegler, Addressen-Buch von (Ignaz Dirzka), 18:27, D/T, January, fo1. Tonkiinstlern, Dilettanten, Hoj-, Kammel; 1r; Verlassenschafts-Abhandlungen (Ignaz . Theater- und Kirchenmltsiken ... in Wien Dirzka), Fasz. 2: 2626/1827. 50% tuition waivers are available (Vienna: Anton StrauB, 1823),75. 40 Wiener-Zeitung (January 10, 1827): 35, col. for accomplished singers who 24 Allgemeine musikalische Zeitung 25 1. desire to major in one of 40 (November 1823): cols. 764-765. 41 Vienna, Stadt- und Landesarchiv; Testa~ent undergraduate or 11 graduate 25 Wiener Theatei'-Zeitung 53 (May 1, 1824): (Ignaz Dirzka), 12/1827. degrees at HPU. 212; quoted in David Benjamin Levy, 42 Vienna, St. Josef ob der Laimgrube, Sterbe Beethoven: TJ1e Ninth Symphony (New Register, 1827, fo1. 98v. Haydn's remains York: Schirmer Books, 1995), 130. are now interred in the Bergkirche in Call (808) 544-1127 '26 Karl-Heinz Kohler and Grita Herre, Eisendtadt. or email: [email protected] eds., Ludwig van Beethovens 43 Verlassenschafts-Abhandlungen (Ignaz for more information. Konversationshejte, vol. 6 (Leipzig: Dirzka), Fasz. 2: 2626/1827. VEB Deutscher Verlag fiir Musik, 1974), www.hpu.edu/ensemble 72 (Heft 63, Bl. 8r) and 93 (Heft 63, Bl.
October 2005 • CHORAL JOURNAL 39 Audition Guidelines for Performance at National Conventions
The criteria for recommending a choir's acceptance to appear at an ACDA national convention will be the quality of musical performance as demonstrated on tape/CD.
Preparation of Tapes and CDs Only tapes/CDs prepared in compliance with speCifications listed on the application form and accompanied by requested program information will be considered. The tape/CD should contain only complete pieces. If a longer work is excerpted, several minutes should be devoted to it on the tape/CD, and the repertoire should be essentially the same kind as that proposed for the convention performances.
Audition Procedures All tapes/CDs to be considered for performance at the national convention should be submitted to the ACDA national office in Oklahoma City, Oklahoma, and postmarked no later than April 30th of the year preceding the national convention.
After all, the tapes/CDs have been received at the national office, they will be· placed in categories corre sponding to the areas of Repertoire & Standards committees.
The national office will apportion the tapes/CDs to preliminary audition committees on the basis of the number of tapes/CDs received iri each category. There is no quota of tapes/CDs to be selected; the selec tions should represent the finest entries in each R&S area. Tapes/CDs will be organized into the following five groups for review: College & University and Two-Year College Choirs High School Choirs Community, Women, and Male Choirs Children, Boychoir, and Jr. High/Middle Choirs Vocal Jazz, Show, Multicultural, and Church Choirs I . Audition committees, chosen by the convention chair for the preliminary auditions, will review the audition tapes/CDs at the national office. Tapes/CDs will be organized and presented by a person outside the com mittee making it a "blind" audition process. Audition committees that review more than one R&S area will be made up of a representative from each R&S area being auditioned. Audition committees will be selected from the following: a. Division presidents b. National chair(s) of the R&S area being auditioned c. Division chairs of the R&S area being auditioned d. Outstanding choral directors in the R&S area being auditioned e. Choral directors of groups who performed at the previous national convention in the R&S area being auditioned
The National R&S Chair and Convention Program Chair will be members of the National Audition Committees.
No person submitting a tape or CD for the forthcoming c.onvention may serve on . the National Audition Committees.
All tapes/CDs auditioned will be rated on a 1-10 scale, with ten being the highest rating; It is recommended that all tapes/CDs with an average. rating of eight or higher be submitted to the Convention Chair with choirs recommended for performance in rank order. The ACDA National Convention Chair and Program Chair will make the final decisions on performing groups after carefully considering the most effective program that can be created from the choices presented. The ACDA National Convention Chair will notify all choirs of their audition results no later than Jun~ 30th. Application for Choral Performance ACDA National Convention Miami, Florida March 7-10, 2007
I. General information Name of ensemble------Number of singers ____ Voicing: SSA(A) __ TTB(B) __ SATB __ Other ___
Choir R&S Classification Age Level _____ (Boychoir: treble choirs; Boychoir: SATB voicing; Children/s: Elementary school through sixth grade; Children's: Community choirs elementary through age eighteen; Coliege/UniversitYI Community, Ethnic/Multicultural, Jazz/Showchoir; Junior High/Middle Level, High School, Male Choir, Music in Worship, Tw.o-Year College; Women/s Choir)
Name of institution Institution telephone ( __
Institution address ______
City ______--,- ____ State____ _ Zip Code _____--'-_
Name of director ______
Director1s home address ______-..,-- ______
City ______State___ _ Zip Code ______
Director1s home phone ~ ___J __--'- ______Summer telephone ( __) ____
Director1s cell phone ( ____) ______E-mail address ______
ACDA Member # ____ Expiration date ~ ~ __
Would you be willing to perform at an interest session if asked? Yes No
Would you be willing to perform for the Student Conducting Competition if asked? Yes No
Church Choirs ONLY: Would you be willing to perform for the Music & Worship event if asked?· Yes No
Eligibility: Conductors must be current members of ACDA and must have been employed in the same position since fall of 2003. No choral ensemble or conductor may appear on successive national conventions. It is un derstood that ACDA will not assume financial responsibility for travel, food, or lodging for performance groups .. This application implies that the above-mentioned group is prepared to travel and perform at the convention, if accepted. .
Sig natu re of director __-,-- ______'--- ______
I \ Signature of administrator ______(principal l department chair, minister, etc.) II. Proposed Program for Performance
The total program time may not exceed 25 minutes. The use of photocopies or duplicated music at ACDA conventions is prohibited. Accompaniment tapes/CDs may not be used on the audition tapes/ CDs or on ACDA convention programs. Only one manuscript (unpublished) piece may be included. ACDA encourages conductors to program from a variety of style periods unless proposing a concert by a single composer or genre.
Title Composer Performance Time (in minutes and seconds)
III. Auditioned Tape and CD Specifications
A. Each of the three recorded selections for this performance application should be prepared on superior quality stereo cassette tape or CD. No accompaniment tapes or accompaniment COs· may be used.
B. The total length of the audition tape or CD should be 10 to 15 minutes and should include three selections (all by the ensemble listed on the application), one each from 2005-2006, 2004-2005, 2003-2004.
C. Show Choir performance applications should include both an audio cassette or CD and a videotape (1/2" VHS).
D. Selections recorded on the audition tape or CD:
Composer ______Selection #1 Title -----c------(from '05-'06) Recorded at: Concert site Recording studio _____ Rehearsal site ___ The recording's sound reproduction is: edited ___ unedited ____
Selection #2 Title ______Composer ______(from '04-'05) Recorded at: Concert site Recording studio ____ Rehearsal·site ___ The recording's sound reproduction is: edited ___ unedited ----,. __
Selection #3 Title ______,-- __- Composer ______(from '03-'04) Recorded at: Concert site Recording studio ____ Rehearsal site ___ The recording's sound reproduction is: edited ____ unedited ____ IV. Programs
Applicants must submit one program (or photocopy) for each of the years represented on the tape/CD.
V. Non-Refundable Application Fee
In addition to the required tape/CD and programs, applicants must submit a non-refundable application fee of $25, by check or money order made payable to ACDA.
Mail this completed form with audition tape/CD, programs, and $25 application fee to
ACDA National Office P.O. Box 2720 Oklahoma City, Oklahoma 73101
The package must postmarked no later than April 30, 2006. Materials will not be returned.
Schedule of Dates
April 30, 2006 Audition tapes/CDs, application forms, and programs mailed to ACDA. Postmarks after April 30 are ineligible.
June 10, 2006 National auditions completed.
June 24, 2006 Applicants notified of audition results by convention chair.
final Recommendation by National Audition Committee for 2007 Convention
Invite? Yes __ No' ---
Hold for waiting list ______
Type of Session: Concert Performance: Interest Session: Conducting Competition: __
Signed ______Date ___-'/ ___ .....J/ __ (Signature of National Audition Committee Chair)
\ \, ACDA 2007 Notional Convention March 7-10, 2007
Call for Proposals for Interest Sessions ACDA National Convention Miami, Florida March 7-10, 2007
Name ______--'- ______Address ______
Work phone .(--)------Home phone ( ____) ______
E-Mail address ______-'- ____ ACDA Membership # ___.,--_
Check Subject Area:
__ boychoir children's 'choir ___ jr. high/middle school choir high school choir women's choir male choir ethnic and multicultural music and worship technology perspectives music education vocal pedagogy ___ two-year college choir college/univ.. choir composition community choirs __ jazz choir composer (please specify) performance practice rehearsal technfque conducting technique conductor preparation show choir other (specify)
Session Title: ------..,-~------__c_----- Typ.e of session: ___ clinic panel __ clinic with demonstration group* __ other (specify) ______
Session description : ______
With the exception of one regular microphone, all AV equipment is the responsibility of the presenter. List any other needs i.e. piano, risers,
Please include a brief biographical paragraph (not vita). Applications without this will not be considered.
*If you are requesting to use a specific demonstration choir, that group must submit a performance aUdition tape to the National Office for cQnsideration.
Send application to: Dr. Galen Darrough, Dir. of Choral Activities, Univ. of Northern Colorado, PVA/Music, Greeley, CO 80638
Deadline for application is February 2, 2006 October 2005 • CHORAL JOURNAL 45 ra "fre'cfors AssoCI' .James Mulholland ChnralMusic fellowship Congratulations to Julie Yu University of North Texas
Recipient of the 2005 lames Mulholland Choral Music Fellowship
The James Mulholland Choral Music Fellowship is a $5,000 grant to fund doctoral studies in choral music. This grant is made possible by a generous gift from Robert and Donna Watkins of Lee's Summit, Missouri.
Julie u.i a doctoral student in graduate student in cooducting at Choral 0 ducting at the Univer the University of North Texas. She sity of o. h Texas, where she is has a B.M.E. from the University of studyin wi h Jerry McCoy. Yu is the Central Oklahoma and an M.M. from recipieno a teaching fellowship, Oklahoma State University. Yu's . Clffl·<;L/:l-er/esponsibilities include previous experiences have included d~~the University Women's serving on the facultyofthe Univer Choir and teaching Fundamen sity of Central Oklahoma, Oklahoma tals of Conducting. In 2004, she Christian University,. and Norman was selected as the outstanding North High School (Norman, OK). FIELD STUDIES INTERNATIONAL CONTACT US NOW fOR YOUR International Educational Travel Programs fRIEE 2{106 PROGRAM GUIDIE
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NOTE: MANY OTHER DATES ARE ALSO AVAILABLE. YOUR CHOIR MAY JOIN YOUR OWN OR ANOTHER STATE FOR PERFORMANCES. PLEASE CALL FOR MORE INFORMATION AND ADDITIONAL DATES. PRICES FOR SOME PROGRAMS MAY DIFFER DUE TO PROGRAM CONTENT.
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$825 per person* • Commemorative plaque for your school 0 Orientation session upon arrival FIELD STUDIES INTERNATIONAL • Certificate of achievement for each student • Three nights hotel accommodations in quad 481 Eighth Avenue Suite 750/B3 rooms • Rehearsal CD for each performer • All hotel taxes, both city and state • Group photo New York, NY 10001 , tor each participant • Hotel baggage handling upon arrival and departure (one bag per person) I· Rehearsal hall expenses and rental • Carnegie Hall rental and promotional fees • Attend a Toll Free I 8004457074 !Broadway show • Accompanist fee • Transportation to and from Carnegie Hall performance • NYC I 2125641343 I! Field Studies escorts to accompany group on one day of sightseeing activities • Admission to the FAX I 2125641497 , / statue, of Liberty / Ellis Island National Parks • Audio tape of your performance (one tape per \ school)· Commemorative T-shirt • One chaperone free for each 20 paying participants • www,fs For more information, log on to: ' www.aC.daonnne.org/2006COnV\ ~ c. __._____ .______\ ~ Research & Poster Session Abstracts Editor's Note:. The following are amination, several primary sources were analysis of the Second Liturgy is present abstracts of papers presented at the discovered, translated, and analyzed. in the context of later pre-revolutionru·y national ACDA convention Research An ruticle submitted by Gretchaninoff works. The study culminates with prac Poster Session in Los Angeles, 2005. to the Moskovskie Vedomosti (Moscow tical suggestions for pelformance of the This session was sponsored by the Daily Newspaper) in 1900 generated Second Liturgy. national Research and Publications responses from his opponents in the form Committee. Several_ of the papers of a published debate that included two Philip Camp is the director of choral ac will be published in their entirety in subsequent ruticles by the composer de tivities for Lubbock Christian University , forthcoming issues. fending and clru·ifying his position. The in Lubbock, Texas. ruticles are presented in their entirety, , along with an essay handwritten by the Philip Camp composer in 1932, "Brief Review of the Development of Orthodox Church Sing David Friddle "A Historical and Contextual ing." These and other translated primru}' "Franz Liszt's Oratorio Christus: Examination of Alexandre Gret sources provide details relating to petfor Following the Paper Trail." chaninoff's Second Liturgy of St. mance practice, the developm~nt of the John Chrysostom," Opus 29." Russian choral style, and Gretchaninoff's Franz Lisztlabored intermittently on status as a composer and spokesman for his' "Musical last will and testament," Several crucial events in late nine the new Russian choral school. Finally, Christus, for nearly twenty years.' J. teenth-century Russia led to the de a thorough review and representational Schuberth & Co. published Christus in velopment of a rich choral style that continued until the 1917 Bolshevik Revolution. Among many composers who contributed sacred choral works dur- , ing this time, Alexandre Gretchaninoff (1864-1956) emerged as both a leading composer and spokesman for the new school. His Second Liturgy of St. John Chrysostom, Opus 29 (1902), presented a more stylistically unified liturgy than ever before with individual mQvements that were developed into unprecedented formal schemes. A close examination of the work, particularly focusing on issues of pelfOl;mance practice relating To receive an invitation, and for more information: to its historical and contextual status, , www.music-contact.com reveals greater aesthetic merit than has Music Contact International 1-800-624-0166 been recognized. For the contextual ex- October 2005 • CHORAL JOURNAL 51 1872, Kahnt in 1873. Liszt supervised himself produced a published score that music paper, in his cell at the monastery of the publication and checked the score is an incomplete representation of his Madonna del Rosario outside Rome. Pri plates. One might therefore surmise that masterpiece; indeed, the mistakes were mary sources included a digitized version the final version would be free from er so numerous that Liszt even prepared of the manuscript, the 1872/4 Schuberth ror, and would contain each and every an errata sheet in 1886. Liszt knew that edition - which contains the abridgments musical expression, performance indica Schuberth did not always maintain the authorized by Liszt for the 1873 Weimar tion, dynamic marking, and articulation highest level of quality control. Conse premier performance-both from the that Liszt set down in the manuscript. quently, the Christus that now exists in British Library, reproductions of the fair Unfortunately, careless copyists, inept published, and thus in recorded form is . copy from the Goethe-Schiller Archiv, editors and hasty proofing by Liszt not the Christus that Liszt set down on and pages from the score of Christus that Liszt gave to Hans Richter after the 1873 Jubilee performance in Budapest from the Hungarian National Library in Budapest. The new edition is a good faith. attempt to restore the several layers of ex pression that were inadvertently peeled SMOKY MOUNTAIN away from Liszt's initial outpouring as MUSIC FESTIVAL 2006 documented in his autograph manuscript. 2 or 3 nights in David Friddle is a doctural fellow at the University of Miami, FIona. Barenreiter GATLINBURG, TENNESSEE will publish the score of Christus this fall April 21-22 April 28-29 May 5-6 May 12-13 and a corresponding article by Friddle Competition in: will appear in the November 2005 Re Concert Choir' Chamber Choir' Men and Women's Chorus search Reports column. Madrigal Choir • Jazz Choir' Show Choir Festival Director: Dr. W J Julian Director ofBands Emeritus, University of Tennessee, Knoxville Toll-free: (800) 553-1032 (865) 947-1853 David B. Gardner Fax: (865)-938-4081 (865) 693-5470 E-mail: [email protected] "Herbert Howells' Requiem: - Fax, phone or e-mail festival office for detailed information book - A Guide to Preparation Contact us online at www.SMMFestival.com . and Performance." TOTAL COST: $138 per person (quad occupancy, 2 nights' package) $163 per person (quad occupancy, 3 nights' package) Although composed in the 1930s, One complimentary package for director. Additional packages available. Herbert Howells' Requiem for unac companied voices was not performed In our 24th year, the experienced, permanent staff insures a smooth-running or published until the early 1980s. The weekend in the heart ofthe beautifid Smoley Mountains. The festival includes long period between its composition and either a two or three-night package with accommodations in a first class Gatlinburg motel (all with pools); adjudication by nationally known judges; publication has left many questions about trophies to winning groups; and plaques to all participating groups. . its origins unanswered. The document at tempts to clarify the confusing genesis of Howells'Requiem, and suggests that the Adjudicators for the 2005 Smoley Mountain Music Festival will include: motivation behind its composition may . Dr. Charles Ball (University of Tennessee @Knoxville) Dr. Angela Batey (University of Tennessee @Knoxville) have been the commemoration of those George Bitzas (University of Tennessee @ Knoxville) who died in World War I, and not, as has Dr. Duncan Couch (Stetson University) been previously supposed, the death of Dr. Eph Ehly (University of Missouri @ Kansas City) Dr. Kenneth Fulton (Louisiana State University) Dr. David Greenlee (Eastern Kentucky University) Dr. Craig Jessop (Mormon Tabernacle Choir) Dr. Weston Noble (Luther College) Dr. Michael Schwartzkopf (Indiana University) Gladde Music Publications ~i - The Chol'lll Music of Bradley Nelson - !\\! Dr. Kirby Shaw (Southern Oregon University) Dr. Eric Thorson (Carson-Newman College) * Walt Whitman * "Have We Not Stood Here Like Trees in the Ground Long Enough?" Festival Mailing Address: 601 Westborough Rd., Knoxville. TN 37909 www.GladdeMusic.comlhavewenotstoodhere.htm 52 CHORAL JOURNAL • October 2005 Howells' son Michael.in 1935. Duane R. Karna techniques in selected choral composition The development of Howells' own of Arnold Bax. compositional style is traced through "Selected Choral Works of musical influences, and the difficult cir Arnold Sax (1883-1953 ):" Duane R. Kama is director of choral cumstances of Howells' formative years. activities at the University of Nevada, Three stylistic influences are discussed: . Many instrumental and choral works Reno. the generation of English composers im- of Arnold Bax have been neglect mediately preceding Howells, the legacy ed in performance repertoire, but left by English composers of the sixteenth since the composer's centenary in century, and the English countryside and 1983, many more of his compositions Brian Lanier and the tunes of its people. ,have been performed, published, and Cecily Lanier. The final portion of· the paper deals recorded. Bax's most famous choral "A Survey of Training with the Requiem in detail, providing work, Mater Ora Filium, has remained in and Perceptions Regarding conductors with textual and musical the standard choral repertoire; however, Right-handed and Left-handed analyses and with suggestions for score numerous other works are worthy of Musical Conductors." preparation, rehearsal techniques, and investigation and peliormance. Though performance logistics. primarily noted for his chamber works, The purpose of this study was to de tone poems, and seven symphonies, termine the perceptions of professional Arnold Bax made a significant contribu David B. Gardner is director of choral educators, conductors, and peliormers tion to. British choral music of the early activities at Southwestern College in on the handedness of musical conduc twentieth century. The purpose of this Winfield, KS. tors and conducting pedagogy. The study is to explore the life of this British 'study group consisted of 191 online composer, and investigate stylistic ele survey respondents in the fields of vo- ments, harmonic language, and structural A New Resource for Teaching Vocal Technique Evoking Sound: The Choral Warm-Up • James Jordan Method, Procedures, Planning, and Core Vocal Exercises .The book is a comprehensive guide to teaching vocal technique through designing an efficient choral warm-up that gives the choir "tools" to sing and hear better, including 24 warm-up exercises that tackle a range of common problems Topics Include: • Alignment (using Alexander Body Mapping principles) • Crescendo/decrescendo Inhalation Martellato Exhalation • Staccato • Support • Teaching procedures for diction • Resonance • General diction guidelines • Vowel colors • Teaching and reinforcing rhythm and consistent tempo • Leaps Strategies for teaching intonation • Range extension • And much more! G-6397 Hardcover (352 pages with CD, 8 112" x 11" format) ...... $39.95 G-6397 A Accompanist Book with CD for all 24 warm-up exercises ...... 24.95 G-6397CD Recording of accompaniments ...... 10.00 G-6397 The Choral Warm-Up Teaching Cards ...... In Preparation GIA Publications, Inc. 1.800.GIA.1358. . www.glamU5IC.com October 2005 • CHORAL JOURNAL 53 cal and instrumental music. Data were and to determine how these techniques derstanding regarding this repertoire will collected in an online survey format are employed to unify movements within ensure that the conductor experiences and the causal-comparative research the masses and unify each mass as an more in-depth and informed analysis, method was applied. The analysis of entire process. While it is impossible more efficient listening experiences, and the survey results. includes a descriptive to survey the entire output of Josquin's ultimately, stronger and more effective analysis of central tendencies, counts, masses in the scope of this article, unify performances. proportions and dispersion. The current ing elements employed within the three policy of teaching musical conducting compositional periods of his musical Jason Paulk is director of choral activi with right-handed dominance is the output will be highlighted through the ties at Eastern New Mexico University traditional method for students, teacher, analysis of a representative mass from in Portales. and professional, though the results each period: Early -- L' ami Baudichon; of this survey indicate that there may Middle -- MissaLa, Sol, Fa, Re, Mi; and not be as wide a discrepancy between Late -- Missa Pange Lingua. A second Anthony Reeves the training and acceptance of a left ary purpose of the research is the general handed conductor as previously thought. relay of analytical process with regards "Ornamentation and French to Renaissance choral music. Which spe Baroque Choral Music." Brian Lanier is director of choral activi cific functions of a composition should ties at Northwest Missouri State Univer be analyzed will be detailed through the A wealth of choral literature from the sity and Cecily Lanier is choral director analysis of three specific masses with French Baroque era is largely overlooked at Maryville High School in Maryville, musical examples provided for represen by today's conductors when making Missouri. tative compositional techniques. repertoire decisions. Conductors often It is my wish that this survey of Jos readily acknowledge the music's beauty quin's unifying compositional techniques and musical worth but admit to concerns and analysis of three representative about the difficulty and time involved in Jason Paulk masses will illuminate the performance preparing this music with their choirs; the possibilities of this vast body of choral issue of teaching the appropriate agre "Unifying Elements in the repertoire. In addition ralso hope to make ments, or ornaments, is one of the most Masses of Josquin Oesprez." . the process of analyzing Renaissance mu frequently voiced apprehensions. This sic more palatable and less intimidating paper presents and lists basic information The primary purpose of the present by relaying some formal compositional about· the ornaments and their symbols, research is to purvey the unifying ele processes that are representative in choral . possible realizations association with ments in the masses of J osquin Despriz, music of this era. A greater depth of un- the text, and rhythmic treatment. It dis cusses and illustrates the most common ornaments found in choral music of the era, and offers guidelines for teaching singers to perform them with accuracy DIRECTOR OF MUSIC MINISTRIES and confidence. Second Presbyterian Church 3701 Old Brownsboro Road, Louisville, KY 40207 Anthony Reeves is director of choral www.2ndpreslou.org studies at the University of North Dakota. Second Presbyterian Church of Louisville, Kentucky, a The article on which this abstract is based congregation of 1350 members, seeks a full-time Director of Music will appear in the Research Column of the ,."..;,:_Ministries who will provide vision, leadership for and December issue of the Choral Journal. coordination of a comprehensive, faith-based, music ministry for the church. Keyboard proficiency is required. Ability as an organist, while a plus, is not a pre-requisite for consideration. The ideal candidate for this position will be a classically trained music professional and an enthusiastic and effective leader with a desire to expand the church's music ministries at all age levels. He or she will be expected to nurture a love of and an appreciation for sacred music among the entire congregation as well as working with the church staff and volunteers. Salary is compeHtive. A complete job description is available on request. Send resume and·letters of recommendation by January 10,2006 to: Attn: Clarice McCarthy, Music Director Search Committee 3701 Old Brownsboro Road, Louisville, KY 40207 e-Irlail: [email protected] Performance recordings and/or videotapes of conducting ability may be requested following review of documents submitted. Second Presbyterian Church is an equal opportunity employer. 54 CHORAL JOURNAL· October 2005 Celebpaling- 25 Yeap~ 0/ Sepvice to the --4lnepican Chapa! Corrununify/ 1980 - 2005 i The TENTH Annual Our NEWEST addition ... IINTERNATIONAL CHILDREN'S CHOIR FESTIVAL c3IN(jsation: a festival for high school choirs@ A festival designed to appeal to both IHENRY LEeK and DAVID FLOOD high school choral directors and their students! ! ' Canterbury London " DAVID FLOOD and COLIN DURRANT July 25 -31, 2006 Germany Luxembourg France June 21 - 27, 2006 iCome "help us celebrate the 10th Anniversary of the finest children's i choir Festival! Live in the shadDw of majestic Canterbury Cathedral where CDncerts in Trier, Germany at the Roman Basilica and in Paris at Eglise de la i chDral music began in 597 A.D.! The Festival Choir Concerts, Services and : Madeleine (where Saint-Saens and Faure played). Rehearsals in LuxembDurg at a !Workshops are in Canterbury Cathedral and the Final Festival Choir Concert . great hDtel (twD pDDls) near the Grengewald NatiDnal FDrest Meet IDcal students and 1is at W~stminster Central Hall,with orchestra. Individual choir concerts in the .other festival choirs at a mixer. Choirs may auditiDn tD perfDrm individually on the festival CDncerts. Rnal, days are in Paris, where grDups can chDDse between interesting 1.~~n,,~~~~.~.~~:~~~~~I,~~:_~~~I'~.cathedral, S,t. Paul's Covent Garden, etc. tDurs, such as Parisian Fashion HDuses Dr PhantDm .of the Opera/Paris Sewers! Th€fNinth Annual Tours, tours and more tours! BRITISH AMERICAN CHURCH MUSIC FESTIVAL Independent tours are what we do most! EPH EHLY • MICHAEL HARRIS • PHIUP MOORE Let us turn your dreams of touring into Edinburgh York London reality. As musicians first, we know June 8 - 14, 2006 . " what a choir needs on tour and which An opportunity for church choirs of all sizes and denominations. The Festival . venues will be the best for your group. Choir Concerts take place at Britain's most histDric IDcations of the Faith - St. Giles Cathedral, Edinburgh; York Minster Cathedral, and Westminster Central ,Hall with orchestra.Dr. Eph Ehly, Professor Emeritus at the University All tours are custom-designed to your of Missouri-KC, and Michael Harris, the Master of the Music at st. Giles, will specific needs and requests. lend their formidable talents to make this an unforgetableexperience. Custom No cookie-cutters involved! itineraries can include extensions to explore your denominational heritage! ." ., ~ British European Specialty Tours, Ltd. Phone: 800-835-0402 P. O. Box 78193, Indianapolis, IN 46278 Fax: 317-873-9733 www.BESTConcertTours.com [email protected] Caree runouts, and other campus events. tion is available upon request. Further Westminster Bachelor degree required. Degree information about this position can be Choir College in music or arts preferred. At least found in the display ad on page 54 .. Rider University three years experience in arts, mu seeks performance sic productions, or related activities . necessary. Must be highly organized management positions and have the ability to multitask. More Pastoral Assistant for information on these positions can Music and Liturgy Westminster Choir College seeks found .on page 32. Position Open applicants for two positions in its performance management depart A full-time. position is available in ment. The D.irector of performance Director of Music Ministries Anacortes, Washington, for a pastoral (position #477001) management assistant for music and liturgy. The will create, coordinate, and supervise Needed person must be a skilled singer and deVelopment and implementation of choral conductor with a broad knowl master event calendar, scheduling, Second Presbyterian Church. of edge of sacred music from Gregorian and performance management. Will Louisville, Kentucky, a congregation chant to Renaissance polyphony to implement policy related to facility ac of 1350 members, seeks a full-time the best work of the twentieth century cess and its use, as well as oversee Director of Music Ministries, who will and beyond. Duties include hiring, di and create related budgets. Minimum provide vision, leadership for and co recting and arranging music for small of bachelor's degree with emphasis on ordination of a comprehensive, faith instrumental ensembles, since brass arts management or business man based music ministry for the church. and string quartets are often used to agement required. Three to five years Keyboard proficiency is required. enhance special liturgies. Other du experience managing an arts-related Ability as an organist, while a plus, is ties include recruiting, training and business necessary, preferably in mu not a pre-requisite for consideration. scheduling Altar Servers, Lectors, sic. Experience with budget manage The ideal candidate for this position and Eucharistic Ministers. Finally, . ment and knowledge of concert/event should be a classically trained music the position will assist with some of productions strongly preferred. professional and an enthusiastic and fice work and therefore the candidate effective leader with a desire to ex must possess a reasonable amount The production coordinator (po pand the church's music ministries at of computer literacy and administra sition # 477010) will be responsible all age levels. The candidate will be tive skills. For contact informati6n, for production aspects of ensembles, expected to nurture a love of and an turn to their display ad on page 16. opera, music, theater, and concerts, appreciation for sacred music among and stage management with ushers, the entire congregation. The candi ticket sales, and concerts. Will develop date must be able. to work with the procedures and time lines for set church staff and volunteers. Salary is ups. Will manage logistics for tours, competitive. A complete job descrip- 56 CHORAL JOURNAL • October 2005 s born in Elmira" NY, in Creator Magazine. His church music is per B.Mus and an M.Mus formed frequently across the United States. nce from Bob Jones Dan's concert music includes choral, instru lie, Sc. He is cur- mental, orchestral, and wind band music. His D.M.A. in composition choral works have recently earned awards Kansas, with plans to from ASCAP, the Vanguard Premieres Choral teach theory and com Composition Contest, and the University of compositional mentors Kansas Choral Society Composition Contest. ed Joan Pinkston, Dwight Gus Most recently, Dan's choral setting of "The tafson, James Barnes, and Alice Parker. King Of Love My Shepherd Is" (Beckenhorst Dan has published church (Tlusic with eight Press, 2004) won first prize from the John different publishers, including Beckenhorst Ness Beck Foundation Awards, given an Press, Hal Leonard, and Lorenz. His sacred nually to the most outstanding published choral works have received multiple Editor's sacred choral anthem. Dan won the Brock Choice deSignations from Pepper MuSic, fa Memorial Contest with his composition vorable review in the Choral Journal, and Selah. Creator Top 20 and Honored 10 awards from October 2005 • CHORAL JOURNAL 57 . ~--rH- Cfassic Concerts International / - We invite you to celebrate choral Cel music throughout the world in 20061 Stand and sing under the direction of Unforgettable performances await in destina renowned musicians: Internationally known tions around the globe. Conductor, Dr. Will Kesling, acclaimed by the A few featured venues are: Washington Post Our Nation's Capitol with the as, "purely National Philharmonic; the professional;" Vancouver Symphony Orchestra in Dr. Craig Vancouver, British Columbia which was Jessop, Musical recently honored as the "Best City in the Director of the Americas;" the "Old World City," world famous of Prague, Czech Republic with the Mormon Taber Czech Symphony Orchestra nacle Choir; featuring Handel's "Messiah;" Dr. Russell Rob Salt Lake City, inson of the Uni UT, home of the versity of Florida; world renowned Dr. Brian Trevor, Mormon former Director Tabernacle of the Calgary Choir, and Festival Chorus; Calgary, Alberta Dr. Paul Smith, clinician and frequent with players guest at the American Choral Directors from the Association conventions, and Dr. Z. Calgary Randall Stroope, one of America's most Philharmonic applauded composers today. Orchestra. Perform "A Feast of Carols" with the New England Philharmonic in the early winter setting of Boston, Massachusetts, or experience the magic of Walt Disney World, Orlando during our celebration honoring Wolfgang Amadeus Mozart and 250 years (888)©AN"-A"-A (226-8282) of genius. www.classicC0rlC8rtS.C0ITl "You Pray Double When You Sing:" Ceremonial Singing at the San Juan Pueblo by William J. Lavonis Editor's note: "You pray double (see bibliography), in addition to his Spaniards declared it the first capital of when you sing" was one of the first first-hand observations of ceremonial New Mexico in 1598, and like many statements Native singer Peter singing in the pueblo villages near pueblos it has managed to combine native Garcia of San Juan Pueblo made Santa Fe. traditions successfully with the Catholic/ when he was interviewed by Dr. Hispanic culture: June 24 is the village William Lavonis in September 2000. feast day honoring St. John (San Juan) Lavonis spent a year in Santa Fe, Peter Garcia and the Baptist. New Mexico, writing a book about San Juan Pueblo Native American singing. The present The Garcia Family of San Juan article summarizes Native voice an Juan Pueblo is located boasts generations of singers who have pedagogy and includes excerpts twenty-five miles northeast performed at colleges and museums from an interview with Peter Garcia, of Santa Fe, near Espanola throughout the United States and in 'and a listing of Western and Native on Highway 68, the road to Spain, including in the National Museum composers' choral works based on Taos. The largest Tewa speaking pueblo, of American History and the Smithson Native American melodies or poetry. it is known as Ohkay Owingeh, mean ian Festival of American Folklife. They Its purpose is to foster an appreciation ing "Village of the Strong People." The have been recorded by Music of the for Native American singing and songs, and to offer information about the pedagogy and performance practice of Native American vocal art. There are a large number of tribes and traditions in Native North America. Dr. Louis Ballard, a Quapaw Indian of Cherokee and French/Scottish ancestry, who is an internationally regarded composer, music educator, writer, and lecturer on Indian music FREE full-length recordings of the latest releases from and curriculum development, has Mark Foster Music and. other Shawnee Press Divisions written, "There is no one kind of Plus excerpts of the latest releases from Novello & Company • Chester Music Native American Indian music, but SERIOUS·.HOLIDAY.SACRED.·SPIRITUALS·· many kinds," music that represents FOLKSONGS'.CQLLEC'TIONS . "at least 200 tribes in continental America alone.',1 For this reason, For: Yotl1lg Singers- Collegiate Chorttses • CommU11ity Chontses Professional Chol'tlses • Men's and WOmm's ChonlSes Lavonis's study focuses on those native vocal practices that have been 800-962-8584 referred to by ethnomusicologists www.ShawneePress.com in previously published information October. 2005 • CHORAL JOURNAL 59 World, Smithsonian, and New World. call" to return to San Juan and rediscover Around 11 a.m., approximately 130 Records. Peter Garcia, known in Tewa his musical roots. dancers and eight male singers entered as Kwa-Phade or "Passing Rain," took At Peter's invitation, I attended the the plaza, led by six koshares [clowns] on his father's Tewa song legacy. Peter Tembishare or Harvest Dance at San Juan painted with grey and white stripes on was born into a family of twelve boys Pueblo on September 23, 2000. I learned their torsos, arms, and legs and concen in 1927 at San Juan. He served for four that the dance used to take place every tric circles on their faces. They wore years in the navy during World War IT's four years but now occurs annually, on a headdres~es of two limp horns decorated South Pacific Theater. While serving the weekend to accommodate those Natives with cornhusks, reminiscent of a jester's United States, he heeded "the Spirits' who have jobs off the reservation. hat. The women were dressed in black skirts, colorful shawls and white shin length moccasins. They wore flowers or feathers In their hair as did the men, who wore dark pants and colorful shirts. After circling the plaza once, the dancers, who had been carrying baskets, bags, and satchels, stopped moving an,d began pelting the eager spectators with gifts of produce, househpld items, toys, candy, and small pieces of jewelry. During the singing, the koshares called out in high voices with pointed, laughing-llke calls. The strong, forceful beat of Peter Garcia's drum led his singers through nearly one hour of constant singing. Garcia mesmer ized the observers with his strong, clear sound, infecting his singing prutners with his high standards of textual clarity and good vocal technique. They sang with darkened vowels in the baritone range, clearly using deep intercostal breathing, and exhibited loose jaws and relaxed faces with their heads and necks in per fect alignment. The male dancers joined in the singing while the women dancers and Native spectators mouthed the words, leaving no one pres~nt asa passive ob server. As the configuration of the danc ers changed and the circle moved, many dancers greeted friends and relatives as they passed by them. As Peter Garcia had said during one interview in 1992, "As long as they have their songs and dances, the San Juan people participate in an end lessly renewable dawn." 2 The following is an excerpt of an interview I had with Peter on September 18, 2000. Imagine a large, jovial man, given to bursts of laughter and infectious good humor. Lavonis: Can you tell me about the way that you use language? Garcia: Let me give you a little back ground. When I was growing up here, our language was nothing but Tewa. That was our main communication. I didn't learn 60 CHORAL JOURNAL • October 2005 any English until I attended elementary are related. In the Tewa area I learned that school when I was about seven years old. the North is blue, and then the West is Looking for adventure? I still speak fluent Tewa. My songs are yellow, then to the South is red, and to the related to what I was taught by the Elders East is white. Those songs have to have and I try to make them more [accessible] a melody where they'll fit in. You don't to people that· are nonspeakers. In my want togo way up and you don't want to American heart and in my mind, I think, what's the go way too low. After we compose the use-of composing songs if you can't make songs and we got it plain and sImple and Journey the nonspeakers understand? we feel comfortable, we come to the kivas [sacred ceremonial chamber] and there's Lavonis: When did you learn how to more participation. They learn from lis sing? tening and then they sing out, too. Garcia: I learned how to sing [when] we Lavonis: Do you ever sing real high? were taking part in the dances. You had to learn the songs, to do the sudden steps, Garcia: Sometimes I do, but I try not the sudden movements included with the to .... song. Those things stuck with me-the motions, the rhythm and everything. Lavonis: Because you really want the participation of everyone. Lavonis: When you compose your songs, do you write them down? Garcia: Right. Garcia: No. Lavonis: That's very much like some Lavonis: So it's strictly all in the mind? Christian churches that want the whole congregation to sing together rather than Garcia: All in the mind! And they have to just have one soloist singing. History - Love ~ ory come from the heart! I asked the Spirits to Praise - Brotherhood come help me an.d I think they do! When Garcia: Yeah, well, I sing in church. I be I came back from the service in '50, I long to a choir called Trilingual and they Mixed Chorus & Orchestra 35'. began to get into the middle of the head play the instruments - the accordion and Sacramento Sis Joe singers and from there on I climbed up. the guitar. I'm their main voice because I Black is the Colour Now, that's what I am-a head-singer; I can sing tenor-high. I can go up there and [try] to encourage, younger generatioris then I can come down to bass. Tenting Tonight mainly my sons, because most of the song Silent Tents singing is done by male voices. Lavonis: So you have a pretty big Amazing Grace range. Hold On! Lavonis: How many songs have you composed? Garcia: Uh, huh. And then my voice ,is so Choral score SDG 05-101 Conductor's score and parts loud and clear that they say, "You don't Rental or purchase Garcia: Oh, many, many songs. need a microphone." Some of them come to me like you and say, "We want to hear Lavonis: Hundreds, maybe? you because your voice is explicit:"-it The Music of explains. We watch your lips and those Jackson Berkey Garcia: Yeah. I wish I had written them words." Visit www.berkey.com down. Since about 1955, I had already for more information composed many onhe songs-the Buf Lavonis: Does everyone embrace Chris falo Dance song, the Eagle Dance song, tianity in the pueblo? the Butterfly Dance song. Some of those I have a group of my grandchildren per Garcia: [There is] pretty solid coopera form. I go to the schools and try to make tion and support for the churCh here in recordings and teach them the simple the pueblo, [but] lately a few of them are ones. I base my songs on the events of the shying away. They probably don't go, Distributed exclusively by whole year. You know, we have farming, because I think they are depending more the crops that we raised, the corn, the on the Indian ways and Indian style. I go Masters Music a division of Edwin F. Kalmus (561) 241·6169 wheat, directions. I finally found out as I for that, too. PO Box 810157 Boca Raton, FL 33481 went on that the directions and the colors October 2005 • CHORAL JOURNAL 61 Lavonis: How do you explain the voca la!, IEil, lEil, lEil, IEi/." That's the for Garcia: Yeah. I think that's what helps bles [wordless sounds] that occur? I know mula - the beginning - but in the middle me not to lose my voice. that in classical music there are times, section you have wording and then you say, in opera where you will be singing say "la!, Iwil, laja!" and that doesn't mean Lavonis: Just like exercise. on one long vowel-for example, lal, Iii, anything - it's just a resting point for you or lui - in the middle of a song. so you feel comfortable. Garcia: Yeah. Exercising my vocal cords and everything else (I do a lot of beating Garcia: I know what you mean. [Vo Lavonis: Do you do anything special to ofthe drums). \ cables] are included in some of the songs keep yourself healthy vocally? like [in] the beginnings. Let me give you Garcia: I sing out! I sing everyday! Lavonis: How do you describe the dif an example of the Turtle Dance [inton ference between the singing style of the ing in strict rhythm]: there's "la!, la!, la!, Lavonis: Do you ever lose your voice? San Juan Singers, and that of other Native singers? . Garcia: No, I haven't, surprisingly. Garcia: Just like (not to be critical) but Lavonis: Do you feel tired after singing the Native American singers of the Plains an entire dance? Indian in your area-they sing out like they're gonna bust their vocal cords Garcia: Oh yeah! I'm just a human be [demonstrates in a high, belting falsetto]. ing. I get tired. The practices have a lot I don't feel comfortable. I think you're to do-- tiring yourself. Lavonis: With building up your stam Lavonis: Your approach is a little more ina? mellow. Emory University in Atlanta Master of Music in Choral Conducting Master of Sacred Music in Choral Conducting •. I:ulitl1iti~hJ:e~~~i()Il:pliI~ii~,9Q9~t.ipencl .... J Audition dates: Monday, January 30, 2006 and Monday, February 27, 2006 Eric Nelson, Director of Choral Activities National and International Touring Opportunities For information contact EMORY Director of Graduate Studies Department of Music, Emory University Atlanta, Georgia 30322· 404.727.6445 http://www.emory.edu/MUSIC 62 CHORAL JOURNAL • October 2005 Garcia: Yes. opening the show, they allow the singers practicing, tomorrow you go out in the to do what they call "marking" - to sing open and you're gonna sing out, so let's Lavonis: Do you have any special rem softly so that they save their energy for get used to it." There is no way of trying edy if you have a sore throat or sickness? the performance the next day. Is there to save your voices for the final perfor Is there anything that you've heard that anything like that in your rehearsals? mance. I feel more comfortable when Native singers do? I sing out loud. That way I'm sure I'm Garcia: No. It's just full out all the time. gonna do the same thing out there. Garcia: Well, they have some herbs. I tell them, "You sing out. You're inside They call it in Tewa "Osa'puh." It's a SOli of like bitter root that they chew and they swallow some of the juice from that. Lavonis: Is it something that grows around here? Garcia: Well, I don't lmow. I think it's something that grows in the mountains. In Spanish they call it Osha. So far, thank God-thank the Spirits-I'm there to sing out. Sure, if I sing one whole day, maybe the following day I wouldn't sing as well as I sang yesterday, but I can still sing out. Lavonis: What is your concept of how you breathe when you sing? In voice teaching, we talk about expanding your ribs and breathing deep down into your , abdomen. Do you have a sensation that you do that or is it subconscious? Garcia: Well, [it comes] automatic now. It was hard in the past when I was younger and I think that has to do with [the fact that] you are afraid to sing out. I feel comfortable with every song that I sing. Lavonis: Where do you feel your voice vibrate in yourbody? Garcia: I think it's corning from the mquth and lips and here and here [point ing to his chest]. MUSIC AT AUGUSTANA Lavonis: So you are like a total vibrating \ body in a way. A distinguished history of vocaL and choraL music in the liberaL arts tradition Garcia: Yeah, I think so. SchoLarships for taLented musicians of any major Lavonis: Do you ever have to sing New Music Education SchoLarship Program softly? Director of Chora~ Activities Jon Hurty ChoraL FacuLty Drew Collins, Sonya Hurty Garcia: Yeah, sometimes I do. Department of Music' Augustana CoLLege • Rock IsLand, .ILlinois 61201-2296 Lavonis: In the opera world when they're I. 800. 798. 8100, ext. 7;233 • www.augustana.edu practicing. the final rehearsals before October 2005 • CHORAL JOURNAL 63 Lavonis: Have you ever been moved to Garcia: I don't know whether it shows objection to that? It's strictly for. .. tears while you're singing or to laugh or it even appears to anybody that I'm in ter? fear. Just to myself. Garcia: For what you learned. Garcia: No, I don't think so--:to laughter Lavonis: Do you feel that you get short Lavonis: Exactly. probably, because maybe somebody that of breath, if you're fearful? you know is out there in the audience and Garcia: No, there's no objection, because you 'feel happy that he'$ there. Garcia: Yeah, right., I think a lot of these people want to find out what I do. It's a learning thing for Lavonis: Never crying? Lavonis: What do you like about your people who want to advance more. The own voice? learners can find write-ups in the library, Garcia: No, never crying. [Conversely but unless you speak to a knowledgeable the melodies of the love songs of the Garcia: I think that my voice has a lot of person like... ' Flathead Indians ,are filled with glissandi, strength. I know from the heart that what which stem from the intensity of the emo.., I am singing is pronounced right, clear, so Lavonls: Like you! tion-laden texts that cause the performer that other people can understand it. I feel to weep while singing.3 ] great about singing. , Garcia: Yeah, really! [T]here's not much cooperation. If an experienced person is Lavonis: Have you experienced nerves Lavonis: How would you teach a young asked about his knowledge, I think it's and fear? one to sing? right that hy should give permission and let somebody else study. That's the way I Garcia: Yeah, fear. Garcia: I would teach him to listen care feel. I'm not taking these things with me. fuliy first before. In the Tewa world the If I go, they go with me. If it's passed on Lavonis: And what does that do to your songs that are sung are put into motion to somebody, I will feel comfortable that voice? and they need to learn the songs and feel I have left something on this earth for comfortable so they cando the certain somebody. The Creator said share your steps from the drumbeat. I tell them, knowledge with others. "You listen clearly, that's where your listening skills come in. The steps will Imagine a World of Children Singing come later." Postscript In early June, 2001, I spoke with Peter The 7'h Golden Gate Lavonis: IfI were to write an article for on the telephone. He was worried. He International Children's Choral Festival a singing magazine, would you have any agonized over who would continue his June 26 throughJuly I, 2006 Competitions, concerts, and social activities throughout San Francisco Bay Area. • Participants rehearse, perform, and compete in historical, folk, and/or contemporary categories. • The Festival is sponsored by the Piedmont Choirs, under the direction of Robert Geary. Application deadline - Nov. I, 2005 Acceptance sent to choirs - Dec. IO, 2005 40x-A Highland Avenue, Piedmont, California 946n USA Tel: (Sxo) 547-444x FAX: (Sxo) 547-7449 E-Mail: rhilpert®piedmontchoirs.org Website: piedmontchoirs.org www.piedmonlchoirs.orglfesliuaUasso 64 CHORAL JOURNAL • October 2005 legacy after he was gone, as he was one Dynamic level: ers have the ability to create a powerful of the last experienced singers at San Juan to trail the voice-yaiyowaza resonance, using open vowel sounds for Pueblo. On June 7, 2001, at the Pojoaque to sing out-hotun projection, while women tend to make a Pueblo gift shop, I purchased Peter Gar loud voiced-hotanka sound that, although thinner, also is ca cia's latest CD, Songs of My People and Special techniques: pable of projed ion (witness the ululations learned from the cashier that Peter had to make the voicerattle-yahla or wordless high cries· of the Cheyenne . passed away that morning from compli to sing slowly, drawl-yazilya tribe). This loud dynamic is important for cations of liver cancer, nine months after to hum - yahmun . projection in an outdoor setting. Further-· our long conversation at his home. Vocal Health: more, some tribes believe loud singing is to become hoarse from singing- necessary to malce contact with distant yhogita . spirits.6 The average vocal compass of Native Voice Pedagogy and to tire the voice from singing Native singers is greater than that of Singing Styles hoiyohpeya4 average non-natives because of the vast That there exists a pedagogy of Native amount of singing they do in their lives. American singing is evident in a study by In Native American culture, sing The men, who are mainly baritones and William K. Powers, titled "Ogalala Song ing is taught through a trial .and error basses, have ranges of up to two octaves Terminology." Powers assembled the fol method based mainly on imitation. Sing and can sing up to C above middle C lowing list of Ogalala terms describing ing does not "come from the mouth but without.resorting .to falsetto'? In addi vocal qualities. Ya refers to the mouth and from somewhere in the singer's body,"S tion, Natives tend to possess marvelous ho means "voice" in the language of this a statement with which many Western pitch memory and can consistently begin Teton Dalcota tribe. voice pedagogues would agree, even a song in the same key. Describing tone: though they might characterize Native Native American song texts are iliter to growl as one sings-yabLi vocal production as "hypelfunctional," woven with non-word syllables lmown to whine-hokapsanpsan "tense," "down in .the throat," and "sob as vocables, the origins of which will be bing" in quality. Nonetheless, male sing- discussed later. The order of frequency ,. Gq. 'lim \.m_~~I_II.ltI. Immll ,'.' ",' i \" ,f, t '"' ANNUAL AND ONE-TIME COPYRIGHT PERMISSIONS WITH THE CLICK OF A MOUSE OneLicense.net • EASY-online permission and reporting • ECONOMICAL-based on average weel October 2005 • CHORAL JOURNAL 65 in the use of the vocablelvowel sounds is Plains tribes, which many non-natives with rare use of falsetto. The throat is Ia! -1, le/E/-2, 101 -3, Ii! -4, lui -rare stereotypically associate with "Indian" open, and heavy accents are employed, ly,8 displaying the Native's preference for singing. The Pueblo musical language but the overall effect is relaxed; When I open sounds. Just as a classically trained is an amalgamation of three distinct interviewed San Juan Native singer Peter singer gravitates to certain phonemes on traditions: Native American, Hispanic, Garcia, I noted that he breathed through which to vocalize, a Native singer may and Western European. Pueblo spoken his nose and mouth and that his tongue choose the vowel that feels best in his languages contain the five pure Italian position was forward as in the Italian voice. The use ofthe initial Ih/ in many vowel sounds and a variety of harsh or operatic school. Other observations from vocables is a way to begin the air stream soft nasal sounds, which vary among video recordings at the Museum of New and directly setthe vocal folds vibrating. the eight tribes of the eight Pueblos of Mexico show Pueblo Natives singing Further, the frequent use of the glides Ijl Northern New Mexico: Taos, Picuris, with imperceptible breathing, a relaxed and Iwl, and the liquid 11/, along with the San Juan, San lldelfonso, Santa Clara, jaw, and a small mouth opening with predominance of open vowel soundS and Pojoaque, Nambe, and Tesuque. There little lip motion. This technique results a natural avoidance of the closed vow are also frequent glottal stops between in the Bel Canto "sing-as-you-speak" els, promotes freedom in the tongue and double vowel sounds and before initial style that employs little neck tension and throat, encouraging unhampered air flow ones, usually indicated by an apostrophe, prizes a legato line, despite what might and allowing for maximum resonance. It as in the words K' on Ts' aahing Shadei be a rhythmically energetic song. There would seem that many tried and tested (Buffalo Dance). was some nasality present in the voice, pedagogical devices used in Western There are singing families in the in one unusuai case, much neck and la teaching methods developed indepen Pueblos that pass on traditions from ryngeal movement coupled with shallow dently in Native American pedagogy. one generation to the next, but singing breathing. is not closed to others wishing to learn. Pueblo. In New Mexican Pueblo cul Each village has a distinct style ranging Zuni. In a very interesting physiological ture, the singing style is mellower and from solemn and restrained to lively and observation of the Zuni tribe in Arizona generally employs a lower range than showy. 9 Tones range from full-throated, and New Mexico in 1913, composer the vibrant, exciting style of the Great soaring sounds to low, growl-like tones and· pioneering, Native song collector 66 CHORAL JOURNAL • October 2005 Carlos Troyer states that "[I]ndians in men; however, there are some women of thanksgiving for receiving a horse, the general possess large lungs and are deep who take on the responsibilities and so singer will cause his voice to pulsate as and slow breathers ... " due in part to the cial status of men and engage in musical if he were singing while riding. In love high altitude. He further describes "a behavior more like that of men - the so songs, pulsations are made by bringing curious physiological .condition prevails called "manly-healied women." Black the hand to and from the mouth while among these cliff-dwellers, which is not foot singers never play to the audience singing. 16 There aloe times when Omaha known to exist with other tribes, in that or to one another, but look down dUling Natives sing and cry simultaneously, such the structure of the hyoid bones of the a ceremony. as ina young man's vision quest song that tongue are found to extend in an outward occurs while he wanders in the woods for and posterior position, whereby the vocal Omaha. The ability to project is the days without food in order to prepal'e him ligaments are enlarged and widened fully most prized quality in a voice among the for success in life. a third of an inch. Owing to this peculiar Omaha tribe (Nebraska). Baritones and ity men and women can equally affect mezzo~sopranos al'e the most common Yurok. Weeping and singing go hand a high tone of voiCe like that ofa high voice types. All sustained tones require in hand among the singers of the Yurok soprano, or go to the other extreme of the use of vibrato (or tremolo), and vi tribe in Northwestern California as well. a basso profundo."l0 While fascinating, brato is also used as an expressive device Here vocal and 'facial tension, slurring, given the time period in which these ob in text painting. For example, in a song glottal attacks, nasality, glissando, and servations were made, this last statement obviously requires more current scientific research; Navajo. Although they are from the same ,culture area and share many vocal traits with their' Pueblo brothers, the Navajo Indians sing vigorously with a piercing "Specializing in Performance and Educational Tours to Paradise" high tone and with frequent breaks into ,. falsetto'. 11 Even further afield are the 'Hopi (Northern Arizona) and Papago ../ Hawaii Choral Festival (Southern Arizona) tribes. The Papago ../ Clinics. & Exchange Concerts medicine men are known for their breathy ../ Year-Round Performances croaking and coarse humming, 12 while in ../ Hawaii based, local contacts the Hopi culture, cooing and hooting in the imitation of owls is heard in lullaby Website: www.hawaiimusicfestivals.com songs.13 . E-mail: [email protected] Phone: 1-800-366-7486 Blackfoot. The Blackfoot tribe of Mon tana believes singing to be um-elated to speaking. It is the singing sound that is all important: a: high tessitura, nasality" The Musical S,6urce falsetto starts, and' a pulsing vibrato on , ',",; " . '.: long tones - all at a high level of intensity to accommodate singing out of doors and Your Premier Print MUSic Dealer the fact that in Blackfoot pedagogy, high pitches indicate strength and low pitches weakness. The intensity of this tribe's ACDAMembers singing has increased over the years, "Receive Up To becoming higher and louder, which Nett! suggests may be the result of the need to 20°/0 Off exaggerate their Indian identity as an an tidote to the invasion of white culture.14 In contrast, Arthur Nevin describes the tones of the chants of their sweat-lodge songs (indoor singing) as low, "being uttered through the nostrils and mostly Call Us Toll-Free a{1-800~2S0URCE (l-8oo-i76-872J) ,. monotones.'>15 Blackfoot women are known to use a great deal of ornamenta Em~i1 :fi:qdit@musicalsoufce;COlTI 140~ 15th Street my tion, and much less vocal tension than the Fax: 202:-387-7415' Washington, DC2000$ 1IIIIIIII'- October 2005 • CHORAL JOURNAL 67 tremolo characterize the technique. Sing to have a smooth, free vocal aesthetic in averages at least two octaves in full voice, ers allow the tone to be affected by the contrast to the men whose singing tends using the falsetto only for war cries.20 In emotional content of a song, rather than to be strident. Though Cheyenne women my observation of Ojibway pow wows, striving for absolute precision in pitch or do not play the drum in ceremonies, the many male singers were seen to hold rhythm. This style is especially evident men depend on them as backup singers their larynx, pressing slightly on high in their Love Medicine songsP There and also benefit by their role as "prompt pitches as a tension relieving device, in are marked differences between the vocal ers" to help them remember the songs. addition to much ear cupping to help approaches of males and females, with Their high pitched laments or howls with ensemble. "The tone quality of [the] women producing a more lyrical sound (ululations) add an element of energy and women is nasal in the extreme (formerly and men delivering a tense, glottal tone excitement to a performance.18 - they even pinched their nose [when they probably having its origins in the Il).anner sang]) .... "21 the men used their voices to lure and trap Teton Sioux. Like the Cheyenne, the wild animals in northern hunting culture. Teton Sioux (Dakotas) alter their tone However, in the Flower Dance songs quality according to what is being sung: The Making of- Native Songs (which celebrate a young girl's entrance nasality for love songs, wailing sounds Unlike Western Art songs with their into puberty), men sing at a soft dynamic for songs of death, a crooning quality for links to established literature and poetry, level, utilizing a lighter registration. lullabies, and a reverent, natural tone with traditional Native American songs are not little nasality for Ghost Dance songs. 19 considered works of art but are simply Cheyenne; Cheyenne singers in South part of daily life. Mainly a form of prayer, Dakota and Northern Nebraska are Ojibway. The voices of the Northern indigenous song was also an early means noted for a long breath line and the use Wisconsin and Minnesota Ojibway sing of recording Native history through an of vowel migration for the sake of ease ers are likened to the flute. Nasality exists aural/oral tradition, which relied on a in singing, usually from closed to open -only in the upper register and the tone highly developed capacity for memory on vowels. They sing with or without vibrato becomes harsh only when projection over the part of the musicians.22 In the sacred depending on the sentiment of what is distance is required; in a closed space the territory of Native American singing, a being sung. The women in this tribe tend tone remains mellow. An Ojibway male fine line exists between prayerfulness Don't Forget... ... ADVERTISING AND EXHIBIT ORDERS FOR THE 2006ACDA DIVlSION CONVENTIONS ARE DUE SOON 68 CHORAL JOURNAL • October 2005 Do Yellow West Sun, bear, Bluebird (songs of praise and joy) . Re Green Tree Mi Blue North (South in some regions) Sky,water, mountain lion, oriole, female Fa Red South Fire, life, wildcat, parrot, badger .Sol Brown La Orange Sunset Ti Purple (songs of death, requests, contrition) N/A Black North (in some regions) Male N/A White East Wolf, magpie N/A N/A Zenith Eagle N/A N/A Nadir Shrew 23 and sheer enjoyment, because singing is from simple units of speech that are wide ranging, encompassing the entire a much-loved activity. If you are a singer, elaborated and repeated, but done so experience of Native American life, you have achieved a certain status. You without losing their simplicity in order death and traditions. Songs are made up are a servant of the community and highly that the entire community of singers, of words that comprise a single thought regarded. . dancers, and spectators may participate. and scant imagery like Japanese Haiku. 24 Once a ceremonial song has been Despite'the existence of quarter tones and In this way, they resemble many Western . completed, it generally does not change. frequent accidentals throughout many operatic arias that use few words but con Such songs usually have 4-8 melodic Native songs, there tends to be an innate tain much-implied subtext and emotion phrases of irregular meters and last 15- sense of ordered melodic harmony that through textual repetition. Rhymes occur 20 minutes, the length governed by a revolves around a tonic key. Chippewa rarely, if at all. choreography that is repeated in the four and Sioux melodies favor the minor third, In addition to simple poetry, Native cardinal directions. Such repetitiveness imparting a mournful quality that many songs contain non-word syllables known imparts a similar trance~ like quality to traditionally associate with Native music. as vocables. Musicologists have yet to Native music like that seen in Western Theodore Baker further suggests that concur on the reasons for and origins of minimalist compositions. Accompani sad songs are in minor modes and joy these sounds, therefore the explanations 23 ment is usually a drum or other percus ful ones in major. Historical evidence are numerous. In her research on Navajo sion instruments. indicates that missionaries taught singing songs, Charlotte Frisbie suggests that Before a ceremony in the Tewa and musicianship to the Natives, which vocables derive from archaic or forgot Pueblo tribes, the village composers are undoubtedly helped foster hybrid musical ten words of old songs. These may be requested to prepare the songs, some old styles, such as the use of the leading tone used as melody "filler" or as a .means and some newly created. The singers and and melisma. of lengthening a vowel within a word.25 dancers will meet with the composers In some southwestern tribes, each note They can be stylized exclamations, imi in the lava (the sacred ritual chamber), of the major scale is associated with a tations of animal cries, or other sounds. where the traditional dance steps are color, which in turn denotes a direction They sometimes foreshadow the vowel of recreated during several lengthy evenings or other symbols. The melody of a song the next word in a phrase, accommodate of rehearsal. is shaped according to this system. Table breaths in long phrases, or as Peter Garcia To the Native American, a song's llists the solfege syllables of the Western suggested, are used simply as a resting melodic line is far more important than major scale and their corresponding color place to gather one's thoughts and recu the few words that malce up its text. The and Native symbology. perate vocally. Vocables may also signify tunes (usually monophonic) are derived The subjects of Native song texts are a land of Spirit language, originating in October 2005 • CHORAL JOURNAL 69 stream-of-consciousness improvisations as one study suggests, each possesses a . James Fenimore Cooper and Henry or in dreams. Because of their universal different emotional value,27 serving as a Wadsworth Longfellow, who turned ity, vocables enable singers from differ vehicle for vocal expression as in the end their attention to Amerindian subjects.' ent tribes and languages to sing together less scales of Rossini or the ornamental Another contributing factor to the move in a nod to solidarity. One may draw a effects of the stile rappresentativo of the ment was the founding of the American number of comparisons between vocables Florentine Camerata. A Native singer's Folklore Society whose mission was to and Western literary or musical devices. use of a sustained vocable where tremolo collect and preserve Negro and Indian Observe the opening or closing phrases of or vibrato is present is remarkably similar melodies. Antonin Dvorak used Native many fairy tales: "Once upon a time," or to the gruppo or battuta di gola of the derived material in a number of works "they lived happily ever after," or simi early Baroque. after his stay in Spillville, Iowa. Table larly the "fa la la" and "hey nonny nonny" 2 is a list of early composers and their in Elizabethan verse.26 One can also find vocal and choral works that contain or similarities between the Native's use of Early Western Composers have been influenced by the music of the vocables and jazz scat singing: often, and Native Song Native American Indian (vocal works singers in both of these traditions will From the 1880s to about 1925, the are listed first, followed irnrriediately by use their voices to imitate instruments "Indianist" movement played a role in choral works.) (in the Native's case, percussion or flute). the development of American art song. Vocables are full of sonic meaning and, The seeds were planted by the authors Letters to the ditor (Continued from page 5) ity to meet the needs of the people has that are of possible artistic value and yet the uninitiated, not to interpret. VatIcan . been reclaimed by our popular, secular, incomprehensible to the majority." One pronouncements or seek arguments with . society?" "Disposed of' is an inaccurate . could read this directive as· expressive . choral scholars.' Mr. Noble cites chapter formulation, and I regret that the phrase o(the attitude many in the church have and verse in admonishing me for my ig-' has given at least one reader an impression long held regarding chant. .In my experi-' noranceand presumption. I assure him; I did not intend. It is abundantly clear that ence, .since. the late 1960s, most Roman , and our readers as well, that I am both the. Catholic Church has, in letter and in Catholic parishes not associated with a aware of the official church policies on .. spirit, placed chant' in a' place of honor. college or cathedral have excluded chant the music under consideration, and fully My point, aslexplain in the body of the from their liturgies; this rejection could conversant with the texts he generously article, was that the letter and spirit of the well result from an erroneousapplica- offers to provide. My goal has always · law are quite often far removed from the .tion of the corrective principle expressed . been to serve the, diverse cOmmunity of · actual practices in American churches. A in Pope John Paul. II's statemen,t. Any ACDA members,and I will continue.with. '" quick look at the music performed dur~ attempt to support this observation with my best efforts to discuss matters of inter ing liturgies around the nation these days documentation drawn from the Sacro est with the broadest possible segment bf would show that chant is rarely heard dur- sanr;tul12 Concilium, Musicatn Sacram, that membership. . · ing Masses in Ordinary time, much less and other do<,::u.ments from the American in protestant worship or sacred concerts. Bishops or the Vatican; would be beyond While it is true that GIA, Oregon Catholic the scope of my article, and certainly that . Scott Dean Press, and other publishers do include of this letter. National R & S Chair for Music in Worship . chant selections in their pew editions, .in . Today's manifest resurgence of inter pelformance chant is far outweighed by est in chant' was the inspiratlon for the contemporary styles of liturgical music.' .article I wrote. My purpose in this article The Chirograph of the Supreme Pontiff' was to encourage the church musician not JohnPaulIIfortheCentenmyoftheMotu already farmliar withit to "[V]iewthe Proprio Tra Le Sollecitudini' on Sacred 'Chant' phe~omenon as an opportunity Music (2003) specifically admonishes to reclaim the roots of Chri~tian music against" ... 'elitist inculturation' -the and incorporate it in the contemporary introduction into liturgies of composi- worship and choral repertbire."The point tions, either ancient or contemporary, was to provide basic information for 70 CHORAL JOURNAL • October 2005 Louis Wayne Ballard, b.1B31 Cantata: The God will hear (1966) Paul Bliss, 1872-1933 The Mound-Builders (Cantata for Chorus and SAB soloists; Publisher: Willis.) John Lewis Browne, 1864-1933 An Indian Dance (two-part chorus) Frederick Russell Burton, Hiawatha's Death Song (after an Ojibway melody; also. for SATB and piano) 1861-1909 The Lake Sheen (after an Ojibway melody; also for SATB quartet) My Bark Canoe (also for unaccompanied SATB quartet) A Song of Absence and Longing (also for unaccompanied SATB quartet) Carl Busch, 1862-1943 The Four Winds (Cantata) Charles Wakefield Cadman, Four American Indian Songs (song cycle; also for men's or women's voices) 1881-1946 "From the Land of the Sky-Blue Water" (Omaha melody) "The White Dawn is Stealing" (Iroquois Melody) "Far Off I Hear a Lover's Flute" (Omaha Melody) "The Moon Drops Low" (Omaha Melody) Cantatas: By the Skeena River (for unison chorus; Publisher: Eberhart) Call of the River (SATB) Desert Quest The Far Horizon (Roos) The Father of Waters Indian Love Charm Samuel Coleridge-Taylor, Hiawatha (Cantata) 1875.,..1912 Natalie Curtis, 1875-1921 Victory Song (for chorus and mixed voices based on Pawnee Melody) Arthur Farwell, 1872-1952 The Old Man's Love Song (also for mixed chorus) John Comfort Fillmore, 1843-98 Se'a'wan'a, (The Cherry Maid; Indian Lyric Drama for women's voices Op. 73) William Lester, 1889-1956 Thurlow Lieurance, 1880-1963 Aooah--Love Song from the Red Willow Pueblos (also mixed voices or four-part women's) By the Waters of Minnetonka (J.M. Cavanass, translation and adaptation of native language; violin and flute ad lib; also for mixed voices) Indian Spring Song (for three-part women's voices) Lullaby (also for mixed voices) My Lark, My Love (also for mixed voices) My Silver-throated Fawn-Sioux Love Song (Karl Jones, translation and adaptation of native language; also two-part women's chorus) Pakoble-The Rose (Karl Jones, translation and adaptation of native language; also three-part women's chorus) October 2005·. CHORAL JOURNAL 71 Modern Composers and or Keyword or Genre or Form or Coun Music Council 14 (1962): 30-35. Native Song try," type "Native American." You can 14 Bruno Nettl, Blackfoot Musical Thought. Dr. Louis Ballard writes that Native also try specific tribes or the generic word (Kent: Kent State University Press, music "is American music, though it "Indian," but those searches were less 1989) 15 Arthur Nevin, "Of the Chants of the Sweat has not yet enjoyed the renown it should ~han fruitful. 72 CHORAL JOURNAL • October 2005 ····Voicing/lnstrumentation' American Indian Song Suite Jeanne Singer Unknown SATB; tenor, mezzo soloists, piano; based on Traditional Indian texts and songs Ameiican Indian Songs (7) Kenneth Jennings Walton SATB; Chippewa, Teton Sioux, Northern Ute, Yaqui, Papago, Seminole Ancient Mother Bart Bradfield Moon of Hope Black Elk's Prayer Harry Stone Belwin Cedar House Songs Gregory Youtz In print; not published SSM; narrator, piano, flute, two commercially percussionists (including native instruments) Chief Seattle's Psalm Daniel Moe Carl Fischer Chippewa Dream Songs (1) Henry A. Alviani Alliance AP-1205 SSATB Chippewa Dream Songs (2) Henry A. Alviani Alliance AP-1206 SSATB Crying for a Dream Rene Clausen Mark Foster Music Choir, two pianos, rain stick, ocean drum, other percussion, narrators; Native American texts Desert Voices Steven Sametz Alliance Eagle Poem David Brunner Boosey & Hawkes SAB Earth is our Mother Dave Brubeck Warner Brothers Text by Chief Seattle Earth, Sky, Spirit Alice Parker E.C. Schirmer (rental) Children's choir, orchestra; Native American texts From the Great Plains Bernard van Beurden Huismuziek SAB div (advanced collegiate or professional SAB); 2 treble record- ers and 1 tenor recorder (or 2 fl and ob, or fl, ob and cI), 2 violins, 2 cel- los; 9 movements; Native texts. Grandfather, Great Spirit David Brunner Boosey & Hawkes SSA; alto flute, wind chimes, piano, hand drum, suspended cymbal, rattles; Sioux prayer Ha/iwa-Saponi Canoe Song arr. Bryan Burt World Music Press Unison; perc, Native flute, dancers Heartbeat Song Brent Michael Davids Michael Brent S+S Publications, Inc. Heleluyan arr. Jerry Ulrich Abingdon Press SATB; Muskogee melody October 2005 • CHORAL JOURNAL 73 ' Publisher Voicing/Instrumentation Hosanna Rene Clausen Mark Foster Music Host.honji Song Lee Kesselman Boosey & Hawkes In the Beauty Way David Brunner Boosey & Hawkes children's voices, adult chorus (uni son women/ unison men), piano; English w/chanted Navajo text Innoria arr. Donald Patriquin earth songs I See the Universe David Brunner Boosey & Hawkes SATB; piano; High Eagle, Osage/Cherokee Tribes, Indian Singing Ron Jeffers earthsongs Lullaby arr. James Mobberley Roger Dean SATB div.; Tsimshian Tribe Mohican Friends Brent Michael Davids Michael Brent SA; 6 instrumental parts Publications, Inc. Mohican Soup Brent Michael Davids Michael Brent SSAATTBB; soprano,alto, tenor Publications, Inc. soloists; 2 instrumental parts) Mother Earth, Father Sky Tom Benjamin Yelton Rhodes Music SATB My Heart Soars David Brunner Boosey & Hawkes 2-part treble voices; piano, flute; Chief Dan George Native American Ambiences ,Jackson Berkey SDG Press SSAATTBB; soprano, tenor solo ists Native American Spring Songs Nancy Grundahl Mark Foster Music SSAA Native American Suite Brent Michael Davids earthsongs SATB; crystal soprano flute (orches tral flute substitute), shakers, bird roars, powwow 'drum (orchestra tom substitute); Lenape song (Dela ware), Apache song ("49" s'ong), and Zuni Sunrise song (Pueblo); Native Circles James McCray unknown Native American poetry; large drum, flute, oboe, soloists Navaho night chant ' Gisela de Villiers Gisela de Villiers Unison Edition Night Chant Brent Michael Davids rental from composer SSAATTBB; bass soloist, 2 nose fl; Mohican and Native vocables http://www. brentmichaeldavids. com Now I Walk in Beauty Gregg Smith G. Schirmer/ SATB Hal Leonard 74 CHORAL JOURNAL • October 2005 .Arranger/ · Title Composer . .. Publisher Voicing/Instrumentation Of This Turtle Isle Brent Michael Davids & MS from composer SSAATTBB; narr, 3 insts http://www. Lakota George Este brentmichaeldavids.com Red Cloud's Prayer Wallace DePue unknown SATB; recorder or flute, large drum, rattles She Is One Of Us Brent Michael Davids Michael Brent SSAATTB; 2 instrumental parts Publications, Inc. Shoshone Love Song Emerson Hal Leonard TBB Song'ofthe Earth Spirit David Brunner Boosey & Hawkes SATB; piano Songs From the Paiute Halsey Stevens Mark Foster Music SATB Songs of the Salish Chief Peter Bjerring Jaymar Spirit Eternal Carl Strommen Carl Fischer The Sacred Hoop Tom Benjamin Yelton Rhodes Music SATB The Story of Crow Brent Michael Davids Michael Brent SSA; soprano (3), alto (1) soloists; Publications, Inc. narrator; 3 instrumental parts The Un-Covered Wagon Brent Michael Davids Michael Brent SSAATTBB; soprano, alto, tenor, Publications, Inc. bass (2) soloists; 2 instrumental parts The Willows By the Waterside Kreutz Shawnee This We Know David Brunner Boosey & Hawkes SATB; text by Chief Seattle This We Know Ron Jeffers earthsongs SATB; text by Chief Seattle This We Know Joan Szymko Santa Barbara SSAA; oboe or flute, cello; text by Music Press Chief Seattle Two Native American Songs Barbara Sletto Plymouth Wantane (Iroquois Sound- arr. Mark Sirett Boosey & Hawkes SSAA; rainstick, chimes, shaker scape) and frame drum Wakantanka Taku Nitawa Joseph Renville New Century Hymnal SATB; Dakota Sioux #9 Winter Solstice Moon Long, David F . Barton Rhodes Press TTBB Within Seasons Bengf Lundin Gehrmans SSATBB; set of four pieces; text by Peter Blue Cloud' :*Onthe Voice Editor Sharon Hansen compiled this list, using the resources of Choralist and Musica~ referring to Dr. Mariori Dolan's Web site, performing exhaustive individual web searches, and working with information graciously provided by .' Dr, Karle Erickson. October 2005 • CHORAL JOURNAL 75 Atlas, Allan W. "Belasco and Puccini: 'Old Dog Tray' and the Zuni Indians," Musical Quarterly; 75, no. 3 (1991): 362- 398. Bahti, Tom. Southwestern Indian Ceremonials. Las Vegas: K.C. Publications, 1970/1982. Baker, Theodore. On the Music of the North American Indians. Trans. by Ann Buckley. The Netherlands: Fritz Knuf, 1976. . Ballard, Louis W. The American Indian Sings. Santa Fe: New Southwest Music Publications, 1976. Bierhorst, John. A Cry from the Earth, Music of the North American Indians. Washington: Folkways/Smithsonian CD F-37777 , 1979. . Braine, Susan. Drumbeat, Heartbeat, A Celebration of the Powwow. Minneapolis: Lerner Publications, 1995. Burton, Frederick R. American Primitive Music. Port Washington, NY: Kennikat Press, 1909. Chase, Gilbert. "The Indianist Movement in American Music." New York: New World Records LP NW 2.13,1977, Creation's Journey. Native American Music. Washington, D.C.: Smithsonian/Folkways Recordings. CD SF 40410, 1994. Curtis, Natalie. The Indians' Book. New York: Harper and Brothers, 1907. ______The Poetry of Indian Songs. Albuquerque: University of New Mexico Press, 1939. ______Music of the Maidu Indians of California. Los Angeles: The Southwest Museum, 1958. ______Teton Sioux Music and Culture. Lincoln: University of Nebraska Press, 1918/1992. The Etude. "Music of the American Indian." (October 1920). Farwell, Arthur. American Indian Melodies. Newton Center, MA: Wa-Wan Press, 1901. Fletcher, Alice C. A Study of Omaha Indian Music. Lincoln: University of Nebraska Press, 1994/1893. Frisbie, Charlotee "Vocables in Navajo Ceremonial Music." Enthnomusicology; 24, no. 3 (1980): 347-392. Garcia, Peter. Interview by the author. San Juan Pueblo, NM: Tape recording, September 18, 2000. _____ "Perspectives of a Contemporary Tewa Composer" in Musical Repercussions of 1492 (1992) 93-96. Giglio, Virginia. Southern Cheyenne Women's Songs. Norman: University of Oklahoma Press, 1994. Goodman, Linda J. "The Form and Function of the Basket Dance of San Juan Pueblo." Unpublished masters thesis, Wesleyan University, 1968. ___---- "Native American Performance Series: Pueblo and Navajo Music." Program notes, 1988. 76 CHORAL JOURNAL • October 2005 Heidsiek, Ralph. Music of the Luiseno Indians of Southern California. Los Angeles: University of California, 1966. Heth, Charlotte. Native American Dances: Ceremonies and Social Traditions. Washington DC: National Museum of the American Indian, Smithsonian Institution, with Fulcrum Publishing, 1993. ______"The Traditional Music of North American Indians." $elected Reports in Ethnomusicology, 3, no. 2 (1980). Hinton, Leanne. "Vocables in Havasupai Song" in Southwf?stern Indian Ritual Drama. Prospect Heights: Waveland Press, 1989. Isaacs, Tony. "A Brief Introduction to Plains Indian Singing." Taos: Indian House, 1990. Keeling, Richard. Cry for Luck, Sacred Song and Speech among the Yurok, Hupa, and Karok Indians of Northwestern California. Los Angeles: University of California Press, 1992, . Kimball, Carol. Song, A Guide to Style and Literature. Seattle: PST. .. , Inc., 1996. Kurath, Gertrude. Music and Dance of the Tewa Pueblos. Santa Fe: Museum of New Mexico Press, 1970. La Vigna, Maria. "Okushare, Music for a Winter Ceremony: the Turtle Dance Songs of San Juan Pueblo." Selected Reports in Ethnomusicology: 3, no. 2 (1980): 77-99. Lassiter, Luke E. The Power of Kiowa Song. Tucson: University of Arizona Press, 1998. Lichtenfeld, Danny. "Music of San Juan Pueblo." Unpublished masters thesis, New England ConserVatory of Music, 1994. Lieurance, Thurlow. "The Musical Soul of the American Indian." The Etude, (October 1920): 655. List, George. "Song in Hopi Culture, Past and Present." Journal of International Folk Music Council; 14 (1962): 30- 35. _____ "Hopi Kachina Dance Songs." Ethnomusicology; 41, no. 3 (1997): 413-432 Meriam, Alan P. Ethnomusicology of the Flathead Indians. New York: Wenner-Gren Foundation for Anthropological Research, 1967. Native American Traditions. CD SF 40408, Washington D.C.: Smithsonian! Folkways Recordings, 1992. Native Roots and Rhythms Sixth Annual Native American Performing Arts Festival Program. Santa Fe: Aug 19, 2000. . Nettl, Bruno. Blackfoot Musical Thought. Kent: Kent State University Press, 1989. Nevin, Arthur. "Of the Chants of the Sweat Lodge Songs of the Black Feet Indians in Montana." The Etude (October 1920). Ortiz, Alfonso. The Tewa World: Space, Time, Being and Becoming a Pueblo Society. Chicago: University of Chicago Press, 1969. October 2005 • CHORAL JOURNAL 77 Portnoff, Mischa. The American Indian in Song. New York: Edwin H. Morris, 1968. Powers, William K. "Ogalala Song Terminology." Selected Reports in Ethnomusicology 3, no. 2 (1977): 23-41. Rexroth, Kenneth. "On American Indian Songs." Perspectives USA: 16 (1956): 197-201 . . Rhodes, Willard. "North American Indian Music: a bibliographic survey of anthropological theory." Music Library Association Notes: 10 (1952): 33-45. Ross, Danita "Musical Mission: Taos studio keeps tribal songs on the record." New Mexico Magazine; 70, no. 8 (1992): 39-44. Spinden, Herbert Joseph. Songs of the Tewa. Santa Fe: Sunstone Press, 1993. Sweet, Jill. Dances of the Tewa Pueblo Indians. Santa Fe: School of American Research Press, 1985. Tawa, Nicholas. Liner Notes. An Old Song Resung. CD 80463-2 New York: New World Records, 1977/1995. Tedlock, Barbara. "Songs of the Zuni Kachina Society." Southwestern Indian Ritual Drama Albuquerque: University of New Mexico Press, 1980. Troyer, Carlos. "The Zuni Indians and their Music." Philadelphia: Theodore Presser, 1913. Turner, Geoffrey. Indiansof North America. New York: Sterling Publishing Co., Inc., 1992. Underhill, Ruth Murray. Singing for Power, The Song Magic of the Papago Indians of Southern Arizona. Los Angeles: University of California Press, 1968. Vander, Judith. Shoshone Ghost Dance Religion. Chicago: University of Illinois Press, 1997. Vennum, Thomas. "The Changing Role of Women in Ojibway Music History," in Women in North American Indian Music: Six Essays. Richard Keeling,· ed. Bloomington: The Society for Ethnomusicology, 1989. Villamil, Victoria. A Singer's Guide to the American Art Song 1870-1980. Metuchen: Scarecrow, 1993. Waldman, Carl. Atlas of the North American Indian. New York: Facts on File; Inc., 1985. Weinman, Janice. 'The Influence of Pueblo Worldview on the Construction of its Vocal Music." Ethnomusicology, 14, no. 2 (1970): 313.:..315. Wisconsin PowowlNaamikaaged: Dancer for the People. Video recording, SF 48004. Washington DC: Smithsonian Institution, 1996. Yeh, Nora, "The Pogonshare Ceremony of the Tewa, San Juan, NM." Selected Reports in Ethnomusicology; 3, no. 2 (1980) 101-145: 121. 78 CHORAL JOURNAL • October 2005 Inspired Performance Tours Others promise custom-created performance tours. Encore delivers. liThe concerts just kept getting better as we went along. Our last performance was in Busseto, the birthplace of composer Giuseppe Verdi. It was a real treat for the kids to get to play his music, in his town, in a theater that was built for him while he was still alive. Encore did a great job publicizing our concerts so we always played to packed houses. II - Keith Rector, Encore Tours Group Leader, Central Kentucky Youth Orchestra, Kentucky liThe venues challenged students to rise to a level beyond their expectations. For our final concert we were on a bill with the Edinburgh Philharmonic - truly a 'wow' experience!" - Marge Campbell, Encore Tours Group Leader, Director, Chester County Voices Abroad, Pennsylvania Call us today at 1-877-460-3801, or visit us at www.encoretours.com. encore A OlVIS1QNOF ACIS' to urS'M October 2005 • CHORAL JOURNAL 79 Recommended Sacred Choral Repertoire from Canadian Composers by Patrici.a Abbott ...... ho doesn't need new mixed voices. Unison ...... repertoire ideas? As this To make these suggestions even more Daley, Eleanor ?f!!J•.. .. column's editor, Tim accessible to its members and beyond, The Birds ...... Sharp, pointed out in a ACCC decided to launch a new series of Recommended by JameS Hawn previous "Hallelujah!" .column ("Desert pUblications in 2002. The first volume of (Saskatchewan) Island Anthems," Vo. 45, Issue 9), choral Recommended Canadian Choral Reper Publisher: Gordon V. Thompson musicians working in a religious setting toire appeared in 2002, and included all VG 10 11 (Warner/Chappell) have a "never-ending appetite and need the recommendations published thus far English text by Hillaire Belloc, suitable for choral literature." Published by the in Anacrusis. The format, which gives de for Christmas Association of Canadian Choral Conduc tails on the selection plus comments from Piano accompaniment· tors (ACCC), Recommended Canadian the conductor who made the recommen Level of difficulty: 2 Choral Repertoire, Volume 2 :Sacred may dation, was greeted with so much enthu- ' Duration: 2:00 give you some new ideas. . siasm that Volume 2: Sacred Repertoire As part of its mandate to promote was published in 2004. A third volume on Comments: Although written for the Canadian choral music and to help its Canadian folk music is planned for 2006. Toronto Children's Chorus, this piece is members find and program quality Ca Each volume also contains some notes on also appropriate for adult female voices. nadian choral literature, ACCC started the composers and arrangers, and contact Excellent text beautifully and sbnply set publishing a regular column in Anacru information for the publishers. to music. Has the feel of a lullaby. sis (its journal for members) called the Volume 2: Sacred Repertoire contains. "Canadian Choral Repertoire Infobank," 50 recommended titles. (Volume 1 con through which choral conductors from tains 48 sacred titles and 52 secular titles) SSA across the country were invited to share and is a testament to the vibrancy and Bevan, Allan repertoire suggestions and comments health of Canadian composition in recent Ave Maria concerning Canadian compositions. They decades. The workof such fine compos Recommended by were especially encouraged to include ers as Eleanor Daley, Srul Irving Glick, Heather Bedford-Clooney (Alberta) selections that had worked well for both Rupert Lang, Imant Raminsh, Nancy Publisher: Cypress Choral Music their choirs and their audiences. From Telfer, and Ruth Watson-Henderson in CP1049 1997 to 2001, more than 100 titles were cludes many outstanding sacred music Latin text submitted, including works for equal and selections. To give you an example of the Piano accompaniment format, here are five of the recommenda Level of difficulty: 3-4 tions published in Volume 2: Duration: 3:00 Patricia Abbott is the Executive Director of the Association of Note: Level of difficulty ranges from 1 Comments: This piece was the winner Canadian Choral Conductors. and (easy) to 5 (difficult) of the ACCC Composition Competi a member of the Choral Journal tion (equal voice category) in 2000. It editorial board. is suitable for a good children's chorus October 2005 • CHORAL JOURNAL 81 or women's chorus. Requires an accom SA SATB plished pianist and two good soprano Rarninsh, Imant Bancroft, Hugh soloists. Fine harmonic writing. Psalm 23 Mass of St. Thomas Recommended by Barbara Clark Recommended by Brigid Coult (Ontario) (British Columbia) " SATB Publisher: Gordon V. Thompson Publisher: Waterloo Publishers Somers, Harry (Warner/Chappell) Traditional Latin text Gloria English text Organ accompaniment Recommended by James Hawn (SK) . Piano accompaniment Level of difficulty: 2 Publisher: Oxford University Press Level of difficulty: 3 Duration: 10:00 Text from the Latin Mass Duration: 3:30 Organ accompaniment and two B-fiat Comments: A good, simple choral Eu trump,ets Comments: This is a most sensitive charist setting for a competent church Level of difficulty: 4 and moving setting of this beloved text. choir. Duration: 4:00 Every time I have the privilege to work on this piece with a choir, I find more Comments: This is a great concert meaning and beauty to the harmonies and Willan, Healey opener-very much in the style of a fan the texture of the work. The piano part is How They So Softly Rest (SSAATTBB) fare. You need two very good trumpeters stunning and most complementary to the Recommended by JamesHawn (SK) and and a capable organist. This piece is very message; the moods established are those Brigid Coult (BC) declamatory and jubilant. It also needs a of confidence in the Lord and assurance Publisher: H.W. Gray Publishers tenor soloist. There are changing meters that there rests our strength. The last page English text, poem by Longfellow but with a little effort, this is a very re ("And I will dwell in the house of the Unaccompanied warding piece. Suitable for Christmas or Lord forever") is just that: a statement of Level of difficulty: 4 Easter services. faith musically set to end all doubt. Duration: 3:55 Alaskan Choral Cruise for Children's Choirs and Adult Singers or Choirs Prices starting at $1,579* plus tax. with Duain Wolfe Book now, as space is limited! and Sir David Willcocks Open to all choirs and individuals with a desire to improve their musical abilities. Spend a week attending choral workshops Parents of children's choir participants are conducted by Duain Wolfe and Sir David most welcome to join the cruise. Willcocks. This unique event will offer separate workshops held for children's choirs and for adult Cruise departs Vancouver, Canada on singers (or choirs) on parallel tracks. Each July 15, 2006 and returns July 22,2006 with Vancouver sightseeing, farewell combined group will prepare for a final dinner and concert on July 22. performance in Vancouver, Canada. Enjoy your cruise on Holland America as we explore Alaska's For more information: Inside Passage and Glacier Bay National Park. www.acfea.com/cruise06 For further information please contact ACFEA Tour Consultants 123 2nd Ave South, Suite 105, Edmonds WA 98020 TEL (425) 776-3273 or (800) 627-2141 FAX (425) 672-8187 . EMAIL [email protected] * Prices in US dollars. Airfare not included but available. always World Class Photos provided by Holland America CST 2063085-40 I WST 601 273 533 82 CHORAL JOURNAL • October 2005 Comments: Suitable for Memorial Services, All Saints Day, Remembrance Day. This is an early Willan motet written before he was a St. Mary Magdalene's. Although the poem is non-liturgical, it could certainly be sung in a church setting. The rich chords suggest music of the Russian Orthodox Church. This work also features divisi male and fe mrn~~l?L0@~ro male sections. Excellent word painting throughout. Wonderful sonorous writ Children's Music Festival ing from early in Willan's career; needs 29~JulY' good sustained singing. Wide vocal and June 10'2006 dynarrric range. . Guest Conductor JOlin Gregoryk . Performances in PragUe, Vienna and Salzburg Both volumes of Recommended Ca "I have worked with many l1lusic hrnrel specialists, but Classical nadian Choral Repertoire are available Movements, Inc. stands above the rest-their £p(perienced and from the office of the Association of J010wledgeable staff understand the specialized needs of perfo1711ing t . Canadian Choral Conductors (ACCC) at groups. Through their inte17lationalnetwork of staff, they j71"Olride the " a cost of $10 each (postage and handling most memorable concerts in the most prestigious venues. EvelY included). Contact: ACCC, 2550 Baldwin element of the travel £p(perience could be considered a work of art St., Montreal, QC Canada H1L 5B2 or and Classical Movements, Inc. is well prepared to make certain thilt <:[email protected]>. their tours provide the finest r;xjJerience at an f;,xh·aordinaJY value. I readily endorse them." DORJiEN RAo i~~TIdi~@illL~~Y South Amel."ica Choral Studies Children's Music Festival July 12-24 2006 Elena Sharkova, Distinguished Guest Conductor Dr. Doreen Rao. Director of Composer/Clinician: Dr; Oscar Escalada:Latin American choral music Choral Activities ·Performances.·inBelo Horizonte,Ouro Preto,Rio deJaneir6 and Buenos A~res. Choral and Vocal . Featuri1Jg: Scholarships Available • 'rheworld-premier of a new children's can lata commissioned Contact Scott Pierson: by Classical Movements and composed by leacling Latin (408) 924-4643 American composer Oscar Escalada • A selection to celebrate the 250th anniversary of.Mozadis birth NeetaHelms W~ 3 i9Cameron' street ... '" , . "." Alexandria, VA22314 . '. .' ~ 'Tel: 1-800-882::0025 ·X. .Customized .concert and to.ur arrangements for America's finest choirs October 2005 • CHORAL JOURNAL 83 Editor, Nallcy Cox Ethnic & There are a number of importanters will often find themselves instructing musical and extra-musical benefits of students and colleagues about how to lis Multicultural a multicultural education. Cettainly ten to music of non-Western cultures, ex Perspectives students will acquire greater musical plaining that it only "sounds weird" when flexibility as they are exposed to a wider . listening with Western expectations." He variety of music~l styles, concepts, and goes on to outline these recommendations Interdisciplinary Approaches performance techniques. A multicultural for successful outcomes: to Learning and Performing approach draws greater student attention Multicultural Choral Music to the nature of music. In some important • Aural learning and teaching by rote ways-such as reliance on printed nota will often be more prominent in multi he interdisciplinary approach tion - the Western approach to music cultural activities, and rightfully so. Most to teaching and learning, have learning is unlike much of the remaining non-Western musical cultures do music become widely used in recent world. Extra-musical benefits include this way. years. Without regard to the increasing students' racial and cultural • In order to be more culturally au age group or type of choir a conductor sensitivity, and their generallmowledge thentic, avoid using Western musical works with, interdisciplinary approaches of the world around them. '1-" terrriinology, especially music notation to learning and performing multicultural In most cases, teaching from a mul terms. choral music should be considered the ticultural perspective requires minimal • Organize thematic study units around most effective means of providing desir extra effort. Assistance for music educa specific cultures and music, that is timely, able experiences and achieving successful tors can be gained. through collaboration due to current world events. end results for choristers and audiences. with other subject area specialists, such • Give special attention to assist stu Robert H. Woody in his Web publica as social studies teachers. Once they have dents in making connections between a tion on multicultural music education 1 adapted a multicultural approach, teach- culture's music and other social, historic, writes: A multicultural music education is beneficial to all students, regardless of where they live and the amount of ethnic diversity there. Technological advances are making the world 'smaller,' making it even more critical for students to be able to interact with people who are different from them. The idea of a blended single culture (the so called 'melting pot') is no longer desired; instead, society seeks the unique contributions of differe,nt To receive an invitation, and for more information: ethnic groups. www.music-contact.com Music Contact International 1-800-624-0166 October 2005 • CHORAL JOURNAL 85 and religious aspects. Lawrence Burnett, Women's Choirs • Stress authenticity in multicultural National R&S Chair on musical peliormances. Sing with accurate Ethnic & Multicultural Perspectives language pronunciation, choose musi Ethnic and Multicultural Music cal instruments that are at least similar for Women's Choirs to those of the culture, and incorporate NOTES dance movements that are culturally authentic. / New this year from Clarion Records: • Available for the FIRST TIME ON CD, the legendary Roger Wagner recording of Respighi's "Laud to the Nativity" (sung in English) - featuring Marilyn Home! • Discover a great American composer on "Eternity Shut in a Span"- Emmy-nominated compos!!r J.A.C. Redford's program of melodic compositions are destined to become seasonal favorites. • Join Philip Brunelle and VocalEssence(or one of this year's most exciting. Clarion Records® new holiday discs-"Welcome Christmas," featuring the world premiere Distributed by CollegiumUSA.com i'ecording of Conrad Susa's beloved Carols & Lullabies. P.O. Box 31366, Omaha, NE 68131 www.clarionrecords.com 86 CHORAL JOURNAL • October 2005 in a particular culture. The other side of has a good recording of the piece avail story of an aged bachelor's failed attempt the argumentis that using a western tone able as well. to find a mate at the town dance. It is in color does not honor the original intent of 7/8 time. The Bulgarian pronunciation is the music. The aesthetic is not authentic Tjak! not given in the score, but listening to the unless the original timbre is used. It is Stephen Hatfield Bulgarian Women's Choir sing it on their suggested here, that conductors attempt to Boosey and Hawkes CD Voix mysteres bulgares will give the develop the original timbre of the piece, SSM conductor an authentic pronunciation and all the while knowing that is impossible to an accurate vocal timbre model. be truly authentic. (One might argue this The Balinese Monkey Chant is only now point in performing nearly all musics.) beginning 'to be known widely among With the wide availability of information, musicians of the west. This piece is an Mudanzas gaining samples of a variety of choral impression of the event in Bali, which Oscar Escalada timbres is relatively simple. The work is a group recounting of the story of a Kjos 6243 of Mary Goetze at Indiana University is princess abducted by the Monkey King. SSM particularly helpful in this pursuit. The tribe mounts a great war to retum the In fact~ as singers try on new singing princess to her home. The polyrhythms This work is a composed piece repre techniques, a new sense of aesthetics 0( are intense, and sound much more diffi senting the Argentine dance form. The ten arises. Performers start to realize that cult than they are to perform. The Hatfield competition is often between 2 men who . there are many forms of musical beauty version stays true to the rhythmic char draw figures with their steps, ever more in the world. This newly found respect for acter, elements of melody, and form. A complicated. The dancers must copy eac];l differently beautiful music can have far singer is chosen as the caller, and directs other's moves exactly in order to continue reaching effects for everyone involved. the piece vocally, as would be done in the the game, much lilee the basketball game Because singers are then malcing new original Monkey Chant. HORSE. This work by Escalada echoes sounds with their very own voices,they . that form by repeating ever Illore complex . adopt a different vocal identity for that musical figures before going on to the piece of music, vocally walking in the Ergen Deda next. The text serves mostly as a vehicle shoes of another. In the ideal, a wider arr. Peter Lyondev I for the music, rather than the inspiration sense of the. musically beautiful may Colla Voce for it. transfer to other aspects of human life 3-part Treble and culture, encouraging singers to seek Lisa Fredenburgh, beauty in the differences amongst us, This vibrantly rhythmic work is part of National R&S Chair on rather than allowing differences to remain the Bulgarian tradition. It recounts the Women's Choirs strange and unexplored. Recommendations: Dravidian Dithyramb Victor Paranjoti Earthsongs SSM This work is from India, and is sung on the syllable "na" rather than words, mak ing this piece a very accessible introduc tion to Indian music. Diu Diu Dang A arr. Chien Shan-Hwa earth songs SSM This Taiwanese mountain song is an onomatopoeic expression of a passenger . train going down the track and through tunnels in the mountains. The pronuncia tion guide is very good, and earthsongs October 2005 • CHORAL JOURNAL 87 deaf or just too breathy. Middle School For some, they were asked to stand in ARTS BUREAU Choirs the back row or consider another elec tive. For others, their silly, physical, irre CONTINENTS sponsible, adolescent behavior got them EXPERIENCE THE MUSIC Non-Auditioned Choirs in the dropped from choir. Middle School These students may decide from that PERFORMANCE TOURS moment on that they are not good enough. BANDS, CHOIRS, ORCHESTRAS his article is a follow-up to the They become the people in church who Pelformonces a/'/'onged. Experienced tOllr mallagers. Anywhere in Junior High/Middle School just hold the hymnal, but don't sing. the world. Sightseeillg alia filii. Inclllde any mmic festival. e.g.: . Roundtable that was presented They become the adults who stand for the l% have heell asked to make specialmTm'gemetlts fOI' Cho;,'s, Ballds m,d Orchestras to the at the ACDA National Con national anthem, but don't sing it. They b,terllatiollal Yomh alld Music Festival ill Vielllla vention in Los Angeles. Marie Palmer, become the parents of children who may July 18-11, 2006, July '07 presenter, teaches at Zionsville Middle never sing because mom and dad don't. • Festival 500, St. Johns, Newfoundland, July '07 • ShrewsbUiY Infl Music Festival, June '06 &'07 School in Zionsville, Indiana They decide that singing is only for the • Bavaria Int'l Youth Music Festival, July ~06 &'07 Middle school choir directors have truly gifted and talented. What a shame! TORONTO INTERNATIONAL CHORAL FESTIVAL an important role in the development of It is much easier for a director to skim ApIi121-23, 2006 'ApIiI1l-15, 2007 young people's perception of singing. It off the most talented singers and work 2006 COlldllctOr: Nick Page is in the middle school years that many with them. Eliminate the students who OTTAWA INTERNATIONAL MUSIC FESTIVAL students decide they are not singers and are discipline problems and those who are . (Intemotionol Choirs & Orchestras) never sing in public again. Perhaps they having trouble matching pitches; choose May 21;24, 2006' May 2007 tried out for the auditioned choir and the ones who can sight-read and have MARCHING BANDS IN OTTAWA did not make it. Maybe they had trouble "good ears"; put the rest of the students May 21-24, 2006' june 28}1t0/ 2, 2006 May, 2007' JUlie 28-j1t0/ 2, 2007 with.their voice change and their teacher in the "B" choir and hope that they don't misunderstood, thinking they were tone get too discouraged. UNISONG • Ottawa· Canadian Choirs }tllle 28}uo/ 2, 2006 ' jtme 28}1t0/ 2, 2007 2006 COllductor: Stephe1l NIAGARA INTERNATIONAL MUSIC FESTIVAL ({or choil!, bmuls & orchestras) jtt0/5-9, 2006' jtto/ 4-8, 2007 2006 COlldllctor: Francisco N1IItez NEW TREBLE MUSIC 2007 Condllctor: DI: Z. Rmtdall Stroope YOUTH ORCHESTRA FESTIVAL· Ottawa AU BORD DE L'EAU Faure/orr. Alan Raines Canadian May 5-9, '06' May200B SSA with piano 2006 COlldllctor: Marco Pm'isotto GIFT OF LOVE Robert A. Horris . CANTERBURY (UK) INTERNATIONAL SA with oboe and piano CHORAL FESTIVAL jltly 19-23,2006' }tto/ 18-22, 2007 LIFE HAS LOVELINESS TO SELL Robert A. Harris 2006 COlldltctor: jonathml WiUcocks SSAA with piano MOZART WORLD CHORUS ROMANCE Debussy/orr. Alan Raines Oct 13-15, 2006 SSA with piano (choirs & individual singers) THE ROSE AND THE GARDENER Eleanor Daley Salzburg MOZARTISSIMO SSA with piano }tllle 21-jtto/ 2, 2006, 250 years ofMozart NEW CANTUS in the (bttematiOltal Choirs.6o Orchestras) REBECCA ROTTSOLK CHORAL SERIES }ttly 13-17, 2006 TCHING-TCHINGA-RY AH David Maddux SSAA with piano YISM'CHU HASHAMAYIM arr. Valerie Shields Contact: Lois Harper, BA, M.Ed,ARCT Unison/Two-part treble with optional descant Arts Bureau for the Continents 350 Sparks Street - Suite 207 NEW in the Ottawa, Ontario, Canada, Kl R7S8 SAN FRANCISCO GIRLS CHORUS CHORAL SERIES Phone: 613-234-3360 1800-267-8526 Fax: 613-236-2636 DUO SERAPHIM CLAMABANT E-mail: [email protected] Victoria/ed. Susan McMane www.abc.ca SSAA a cappella 88 CHORAL JOURNAL • October 2005 The very nature of auditioned choirs at It is possible to achieve a very high national anthem and everyone will sing the middle level is troubling. What about level of musicality and still include all in church! all the students who showed an interest students. It takes a skilled, patient teacher in singing, but were rejected by the "A" who has done homework on the changing Sandi Gesler, choir? Will they continue singing? Will voice and classroom and rehearsal man National R&S Chair on they want to work hard? Do they believe agement. It takes someone with vision Junior High/Middle School Choirs in their abilities? and knows how to orchestrate opportu It is time to take inventory of the goals nities for success within the classroom, and objectives of middle school directors. community, and stage. Once the bar is Teachers find a way to help every student set equally high for all students, then learn. They create a part for the young man perhaps there is room to offer additional who can only sing four low notes. They enrichment opportunities for the most prograrn challenging and exciting music, accelerated singers. choosing repertoire carefully to accommo A healthy middle school choral expe date the voices in the choir that semester. rience is a springboard toward positive MALEKMUSIC They set the bar high for all students and high school, coiIege, and ,adult singing. all choirs. They go to workshops or take If the goal is to create lifelong learners SEVEN LAST WOR.DS classes to learn more. They play exarnples or life-long singers, then we cannot af SATB of outstanding adolescent choirs for stu-· ford to exclude students at the middle dents to model. They listen carefully school level. The students we teach grow and celebrate even the tiniest improve up to be the principals, superintendents,. CLOR.IA by Vivaldi ments and successes. They never ask a school board members, and taxpayers of SSA student to stand in the back and mouth the the future. Make sure their experience words and they do not exclude any student is positive, challenging; and rewarding. preview' scores at who wishes to learn to sing. Maybe one day, everyone will sing the www~l1Ialek1ll11sic.ol'g October 2005 • CHORAL JOURNAL 89 WASHINGTON, DC Superior Festival March 31-April 1 April 21-22 NEW YORK CITY March 24-25 March 31-April1 April 7-8 April 21-22 April 28-29 MYRTLE BEACH April 7-8 April 21-22 April 28-29 TORONTO April 28-29 May 5-6 May 12-13 May 19-20 VIRGINIA BEACH MegaFest March 24-25 March 31-April 1 April 7-8 April 21-22 April ~8-29 Superior performallt;e venues May 5-6 May 12-13 . for choruses...... May19-20 Concert Choirs HERSHEYPARK May 5-6 Warren s Choirs May 12-13 May 19-20 I\II:n s Choirs Madrigal/Chamber Choirs· New for 2006! . Show Choirs CEDAR POINT/ CLEVELAND Jazz Choirs May 12-13 May 19-20 , For information . and an application form call . 1-800-533":6263 E-mail [email protected] orvisit www.greatfestivals.com N RTH AMERICA . SIC· FESTIVALS· OUR T WEN T Y 2006 S ·E·C·O N DYE A R ! 90 CHORAL JOURNAL • October 2005 Dictionary of Music Education: from biographies of important educators phone numbers, and Web site addresses. A handbook of terminology and psychologists such as John Dewey Although there is some redundancy with MarkC. Ely and Amy E. Rashkin to definitions of statistical terms such as the section on Web sites, the information Chicago, IL: analysis of vat·iance. The definitions are is quite useful. Ely and Rashkin have GIA Publications, Inc., 2005. concise but complete. produced a work that will prove to be 536pp, $44.00. The entries at'e listed alphabetically in . a valuable addition tothe library of any ISBN: 1-57999-466-0 (hardcover). large, bold prillt. The font size and line music professional. [GIA Publications, Inc.; 7404 S. spacing of the entries have been selected Mason Avenue; Chicago, IL 60638; to promote easy reading. Words appeat· Ernest Woodruff containing over 2,000 entries ranging sociations even provides addresses, B____ A Division of EXTREMELY LTD. October 2005 • CHORAL JOURNAL 91 Februmy2 aItDisney Perform for thousands under the direction of JOHN JACOBSON, at Cinderella Castle in the Magic Kingdom® Park. Give your students the gift of positive musical energy. KEYNOTE ARTS ASSOC][}\ TES 800-522-2213 I [email protected] Behold a Virgin Bearing Him maintain a flowing line. ublished for the first time in Ronan McDonagh A clearly notated rehearsal reduction 1919 but probably composed SATB makes it easy for an accompanist to sup in 1912, this double-choir an GIA Publications, Inc. port the choir during the learning phase. them represents a gem of the G-6029 Though simple in nature, this anthem Anglican cathedral repertoire. A promi $1.20 allows for great artistry from the musi nent choral musician and professor of October 2005 • CHORAL JOURNAL 93 evening lights (stars)· and emiches the stronger support from the organ, Charles ied while in Japan. These strong musical textural diversity of the work. The wide Wood's Hail, gladdening Light is also influences can initially make the piece 'dynamic spectrum is artistically used to accessible for smaller, more mature col seem daunting, but the excellent edition emphasize key ideas or words; all three lege choirs. helps to make this piece much more main sections of the piece produce a approachable. Text and translation are dynamic arch-shaped structure with loud Bogdan Minut included along with detailed performance peaks in the middle and softer endings. Muncie, Indiana notes. It would have been helpful had the An unexpected but effective harmonic publisher provided a pronunciation guide shift occurs in the middle section on the for the text. word "Father." The recapitulation begins Voices of Autumn This piece contains difficulties, but similarly to the opening ofthe piece, but Jackson Hill once the singers are able to grasp its after a few phrases, motivated by textual SATB, a cappella musical style and language, it is fairly expansion, Wood preferred more gran Hinshaw Music easy to learn the notes and rhythms. The deur through higher vocal lines, generous HMC2005 harmonic language is simple, diatonic, dynamics, homophonic writing for eight $1.50 and quite static. Very limited ranges in voices, and a delayed final cadence due Val V. Galaktionov, "God, 0 Zion." For Brett Scott SATB/Organ. JPMC-1510 $3.95 Rochester, New York Val V. Galaktionov, "God 0, Zion." For SA/Organ. JPMC-.1509 $3.45 Canon Brian Rodford, "A Responsorial Setting of the Mass" for lead voice and SATB, JPMC-1512 $3.45 Canon Brian Rodford, "0 Guide Us Holy Spirit" and "0 Word of God." JPMC-1513 $2.95 Presenting the new CD on the Pro Organo label featuring music Special introductory 15'10 dis of Paulus, Ferl ENSEMBLE WorshipManager™ 94 CHORAL JOURNAL • October 2005 Thou Art the Way The Water Is Wide and effectively creates a river's undulat- . Robert Edward Smith English folk song ing motion. SATB organ Clifton J. Noble, Jr.(arr.) (Program note: An excellent comple Paraclete Press SSAA Chorus, SA solos mentary choral work with a similar water PPM00506 Treble Clef Music Press motive is Some of These Days, arr. Rar $1.60 TC-21,8 din, SSA, unaccompanied, Santa Barbara Angela L. Batey Knoxville, Tennessee 'From the resident (Continued. from page 3) "getting to know you" process, there are some wonderful oppOliunities 2006 Convention' for music making along with friendship 'sharing.. Choral singing is the perfect stimulus. Although all these great activities ar~ happening, t~ere advertising and are other good opportunities for mentoring young colleagues and maybe 'even ideveloping young, fresh leaders in our field. If you are interested. exhibiting order in adopting a choir," I suggest you e-mail Judy Bowers to find out more forms about this project idea. . Meantime, till we meet again, think about ways you can be a force in are available at preserving our ACDA legacy through helping to develop new leaders in our organization. The next few years will be critical if we m:e to maintain the high level of activities and rysearch that we have ,enjoyed through www.acdaonline.org/sales ACDA. Don't wait to make this a New Year's resolution. Startthinldrig , ' about it today! Mkhete Hoit . October 2005 • CHORAL JOURNAL 95 Advertisers Index ACDA AD.VOCAC"Y' RESOL.."I"UION 2nd Presbyterian Church 54 ACFEA Tour Consultants 28, 82 WHEREAS, the human spirit is elevated ·to a broader understanding ACIS Performance Tours 79 of itself through study and performance in the aesthetic areas, and Alliance Music Publications 88 Ambassador Tours 38 WHEREAS, serious cutbacks in fudning and support have steadily Arts Bureau for the Continents 88 Augustana College 63 eroded state institutions and their programs throughout our country, . British-European Specialty Tours 55 Capital University 87 BE IT RESOLVED that all citizens of the United States actively Carnegie Hall 22 voice their affirmative and collective support for necessary ;funding at CDs for Singers 32 the locru, state, and national levels of education and government, to Choirfest 64 ensure the survival ofarts programs for this and future generations. Clarion Records 86 Classical Concerts International 58 Classical Movements 83 Collegiate Apparel 16 BOOK and MUSIC PUBLISHERS and Columbus State. University 45 Concept Tours 63 COMPACT DISC DISTRIBUTORS Disney Honors IBC Send books, octavos, and discs for review to: Emory University 62 Choral Journal Field StiJdies International 47 P.O. Box 2720 GIA Publications, Inc. 53 Oklahoma City, Oklahoma 73101 Gladde Music Publications 52. Telephone: 405/232-8161 Going Beyond Words 27 Hawaii Music Festivals 67 Hawaii Pacific University 39 CHORAL REVIEWERS Heritage Festivals 50 ACDA members wishing to review choral music should contact:. Interculture Association IFC Lyn Schenbeck JMPC Books 94 Director of Career Development, LaGrange College Keynote Arts Associates 80, 92 Artistic Coordinator, Friendship Ambassadors Foundation Knight-Schtick Press 91 Lyric Choir Gowns 13 BOOK REVIEWERS Malek Music 89 Music Contact Intern'l 17,51,85 ACDA members wishing to review books about choral music should con Music Maestro, Please . 84 . tact: Music Manager Software 94 Stephen Town Musica Mundi Concert Tours 13 Northwest Missouri State University New England Conservatory 12 Department of Music North American Music Festivals 90 Maryville, Missouri 64468 OneLicence.net ·65 Telephone: 816/562-1795 Pacific Rim Music Resources 62 Piedmont Choirs 64 Praise Hymn Fashions 26 COMPACT DISC REVIEWERS Regency Cap & Gown Company 28 ACDA members wishing to review compact discs should contact: Rider University . .32 David Castleberry Saint Mary's Church 16 Marshall University San Jose State University 83 Department of Music Shawnee Press, Inc. 59 Huntington, West Virginia 25755 Smoky Mountain Music Festival 52 Southern Methodist University' 37 wTelephone: 304/696-3127 Superscope Technologies, Inc. 36 Suzuki Corporation 33 The Musical Source 67 CHORAL JOURNAL Thomas Creative Apparel, Inc. 93 SUBMISSION INfORMATION University of Michigan 60 Articles submitted for publication in the Choral Journal should meet established University of Missouri-KC . 89 . specifications. Although the length of articles varies considerably, submissions University of Nebraska-Lincoln 15 Vocal Arts Ensemble of Cincinnati 94 generally consist of ten to twenty typed, double-spaced pages. Referenced mate Witte Travel & Tours 27 rial should be indicated by superscript and end notes. Any artwork and a one- to World Projects 66 two-sentence professional identification of the author should also be included. For complete writer's guidelines write to: Managing Editor; Choral Journal; P.O. Box 2720; OKC, OK 73101. Articles submitted via e-mail attachment should be sent to The CJ)isney CJionors is an "invitation only," Disney-produced event, established to showcase, educate and celebrate the nation's foremost high school choral ensembles. This magical festival at the Walt Disney WorltfiD Resort includes Master classes, special Disney seminars and performances before a distinguished panel of nationally recognized evaluators. EVENT DATES ARE: National Choral Invitational APRIL 5 - 8, 2006 CALL 877-865-1984 FOR NOMINATION AND INVITATION INFORMATION. olil£i]jg!N]©5: m z z WWW.THEDISNEYHONORS.COM w 0 :i ON3W The only national invitational music festival endorsed by MENC: The National Association for Music Education. ©Disney American Choral Directors Association 1II111111111111111RUTO*1II3-DIGIT 352 P.O. Box 2720 39152 AC~A 1 0112007 S132A Oklahoma City, Oklahoma 73101-2720 NICHOLAUS .BCUMMlHS \.11 I I II \ 111111 1\" 1111 \ I \ II I ,I 1.11111.1111 hlllll\ 111111111 11.1 II