The Eclectic Style ofJohn Gardner

by RobertJones

John Gardner

Over the course ofhis five decades in music, John Gardner 1946. He even appeared onstage in a production of Berg's has proven to be a versatile composer, conductor, teacher, and WOzzeck, stealing the scene as a drunken pianist. His association pianist. He has written more than one hundred choral compo­ with opera continued throughout his career, including the com­ sitions using sacred and secular texts and ranging from small­ position ofsix operatic works. The most well-known ofthese was scale, unaccompanied settings to multimovement works using The Moon andSixpence, based on a novel by Somerset Maugham. piano, organ, and orchestral accompaniments. In 1952, Gardner joined the staff at as a tutor, later serving as Director ofMusic from 1965 to 1969. In Early Years 1956 he assumed the post of Professor ofHarmony and Com­ Gardner was born to musical parents in Manchester, En­ position at the in London. He also gland, on March 2, 1917, and began composing at the age of was appointed Director of Music at St. Paul's Girls' School in seven. Both his mother, a graduate of the Royal College of London, following such distinguished composers in this post as Music, and his father, a doctor, composed music. , Ralph Vaughan Williams, and . He retired from teaching at the Royal Academy in the spring of My father was actually a good composer, [with an] exquisite 1986. Gardner has accrued several honors in his career: the Bax sense ofharmony, "lightish stuff," very easy on the ear, very Society Gold Medal (1958), the Order of the Honorary Royal polished. I suppose the reason I started composing early was Academy of Music (1959), the Collard Fellowship from the because my mother used to play my father's compositions. Worshipful Company of Musicians (1962-64), and Com­

Perhaps I wished to emulate him by doing the same thing. I mander of the British Empire (1976). With an (l'uvre approaching 250 works, Gardner's prolific Other composers also had a direct influence on Gardner's early compositional output is remarkable considering his thirty-year musical development, particularly Grieg, Tchaikovsky, and En­ commitment to full-time teaching between 1956 and 1986. Due glish composer Cyril Scott.2 In 1935, Gardner received an organ to his busy schedule, his habit was to rise at 4:45 A.M. when scholarship to Exeter College, Oxford, where he studied with composing a work. He regarded the composing process this way: several influential teachers, including Ernest Walker, Sydney Watson, Thomas Armstrong, Sir Hugh Allen, and R. O. Morris. Pure pain, really, and then it gets rather nice when one's making full score, because it just becomes craftsmanship and World War II draftsmanship. Writing for instruments is quite different Following a stint in the Royal Air Force during World War II, from writing for voices in that the words, to an extent, dictate Gardner joined the Covent Garden Opera staff as a repetiteur in the progress of vocal music and give you the ideas for it. Though many of my compositions are choral, I've never Robert Jones is Assistant Professor ofMusic at the University of studied voice personally, but I suppose I've done a lot of Dayton, Dayton, Ohio. work with choirs and perhaps have learned a bit from that. I suppose I have some gift for composing vocal music. 3

MAY 1994 PAGE 19 Currently residing in the London sub­ in D, for chorus, contralto, alto sax, and Stylistic Traits urb ofEpsom with his wife, Jane, Gardner orchestra, was premiered in December Gardner's style combines a diatonic remains an active composer and is enjoy­ 1992 by the Camerata Singers of Spring lyricism, framed in a variety of formal ing more frequent British performances Lake, Michigan. His Exsuftate Deo, a structures, with a rhythmic vitality marked ofhis compositions. motet for choir and wind band, commis­ by keen awareness of poetic meter. Al­ Performances of his choral works in sioned by the University of Dayton Cho­ though the majority of his choral works the United States are more frequent as rale and Wind Ensemble, was premiered are for mixed voices, he has composed well. His latest sacred composition, Mass in Dayton, Ohio, in March 1994. four works for male voices and seven for female voices. In each of these genres, Gardner incorporates old and new musi­ Allegro vivo (in one) f cal elements. Sop. During his tenure at Exeter, he wrote more than eighty pieces, nearly all of 0 be joy ful in the Lord,_ all----- which were withdrawn from publication by the composer. Some ofthese were remi­ Alia niscent of the style of William Walton, I 0 be joy ful in the Lord. all------whom he admired. 5 On looking back, what I liked about Walton's music was that it wasn't modern. I have a great dislike for l~~~,,----,~~Y~ei~_~~~I~an~d~s:~sc~>r~ve~th~e~~L~o~rd~~~W~ilh~~g~la~d~~~n~e~ss~~~~an~d~~~ modern music. It's growing greater as I get older. And Walton, who [

ye __ lands: serve the Lord with glad ness think has a similar dislike, managed to find ways ofwriting music where Figure 1. Jubilare Deo, op. 37ii, © 1957, Anglo-American Press. the old signs and values were still Reprinted by permission of the publisher. there, but, at the same time, he didn't sound like the old music.4

Much of Gardner's writing is influ­ enced by his admiration for Renaissance las~ vocal style. His motet Jubilate Deo, op. At quality choir robes schools can afford... 37ii, for example, utilizes many composi­ tional techniques found in works of the V~ue fifteenth and sixteenth centuries. Its har­ Shenandoah's NEW Line monies result from the overlapping ofme­ lodic lines, produced by a tightly imitative priced from $41 ! style (Figure 1). Hugo Cole, writing in The New Grove Dictionary ofMusic and • Quick, reliable delivery Musicians, states that Gardner makes use of contrapuntal devices so skillfully that • Convenient sizing (small, medium, large) the listener is often unaware that canonic • Free monogramming wj quantity orders or imitative devices of considerable com­ plexity are at work. 'i • Machine-washable, soil-release fabric Gardner is an ardent admirer of the Renaissance master Josquin des Prez. • Many popular color choices Throughout his Jubilate, one can observe a rhythmic vitality, pairing of voices, FREE CATALOG awareness oftextual accentuation, balanc­ wjfabric samples ing ofvocal textures and tone colors, and expressiveness in a modal style reminis­ 1-800-488-2370, ext 994 cent ofJosquin.6 Ionian, phrygian, lydian, and their re­ SHENANDOAH ROBE COMPANY lated hypomodes are juxtaposed through­ P.O. Box 6039 • Roanoke, VA 24017 out Jubilate. Alternation of trochaic and Int()rmation on our complete line of choral robes also available. iambic rhythmic modes of the Ars Antiqua generate an active rhythmic

I'AGE20 CHORAL JOURNAL Audition Manager® Schedule, score, and rank your All-State or Regional Auditions with our computer interplay among the voices, and Landini works in the same category are Cantiones software. Fast, automatic entry of data cadences ending with open fifths, unisons, Sacrae, op. 12, Seven Songs for Chorus and assures accurate and instant results. or octaves contribute to the medieval fla­ Orchestra, op. 36, Nine Poems from the Call Barken, Inc. ™ at 1-800-266-0580. vor ofthe work. While the predominantly Notebook (J 793) of , op. diatonic vocal lines are mostly syllabic, an 138, and Five Partsongs to Poems of Wallace CONCORA occasional melismatic passage is inserted, Stevens, op. 142. These examples range Connecticut Choral Artists often for word-painting purposes. Simul­ from unaccompanied works to those re­ Richard Coffey. Artistic Director taneously, the tonal structure is obscured quiring large orchestral forces. announces the release of by numerous cross-relations. An appealing example of Gardner's "Made in U.S.A." An exciting moment in the work is multimovement works is A Shakespeare ::'~k:r iim~'@ ·fN_~IN achieved in a more contemporary man­ Sequence (I964), op. 66, for women's by I ..',MI ner on the text "and speak good of his voices, piano duet, and optional percus­ Bird, Gonte 'X~ Harris, lves ! I name." The chorus vascillates between sion (glockenspiel, xylophone, triangle, Macbride ., L~f.i~,~~§l,'W!\ , "'""lrj"".","",~ "_7i~. major-seventh chords a whole step apart, tambourine, sleigh bells, tabor, side drum, Schuman J, .if"'. I RE.Smith P? (".~"'" c:,~ followed by a sequential repetition of bass drum, cymbals, and gong). The Thompson Ir·" ':lIP .,J\~\ the passage a step lower. themes ofthe selected Shakespearean texts Walker g;~~~~Q~s~

range from the praise of women to cel­ "They are a first-class group whose talent, Larger Forms ebrating music as the inspiration of love, training, and musicianship shine forth in every note they sing. " John Ruller Gardner has written a number ofcan­ to the sorrow of unrequited love. The tatas and other multimovement works. formal schemes used in the movements $15 per compact disc $10 per cassette $2.00 postlhndlg $.50 each addU. item; Visa/Me orders Two of his popular mixed-voice cantatas include theme and variations, binary, stro­ accepted. Telephone (203) 224-7500 or write are Cantata for Christmas, op. 82, and phic, ternary, and through-composed de­ GONGORA, Box N 90 Main St., New Britain, GT 06051 Cantata for Easter, op. 105. Additional signs (Figure 2).

Tide Form/Keys Compositional Techniques

"It Was a Lover and His Lass" Strophic Pedal tones SSA, SSAA; 22 mm.; ameter, occasional ~ E-flat major Lowered seventh and raised fourth Tone clusters

"Who Is Silvia?" Theme and variation Piano obbligato SSAA; 109 mm,; ~ meter, occasional a B-flat major Melodic inversion

"0 Mistress Mine" Binary Syncopation Unison, SSA, and solo; 38 mm.; ~ meter D (tonal center) Chromaticism

"IfMusic Be the Food ofLove" Ternary Diatonic canon SA; 52 mm.; 1meter C major, G minor, F-sharp minor

"Take, 0 Take Those Lips Away" Ternary Sequence S$A; 32 mm.; ! meter A-flat major Chromaticism

"Full Fathom Five" Through-composed Tone clusters Unison-SSSAA; 43 mm.; g,~, and ~ meters F minor Angular melody Five-part canon

"Orpheus with His Lute" Through-composed Mixed modality Unison; 70 mm.; ~ meter D major, B minor Guitarlike accompaniment

"Under the Greenwood Tree" Theme and variation ~ meter divides into Unison; 68 mm.; ~ meter G major, G minor 3+3+2 eighth-note groupings Lowered seventh and raised fourth Two-pan Canon

Figure 2. A Shakespeare Sequence, formal design

MAY 1994 PAGE 21 Perhaps the most intriguing aspect of Rhythmic devices commonly found in Geoffrey Bush referred to as "his unaf­ A Shakespeare Sequence is its harmonic contemporary music and dance also ap­ fected lyricism."7 In A Shakespeare Se­ language, which juxtaposes popular and pear in this work, including frequent use quence, one can see the range ofGardner's contemporary elements in contrast to the of syncopation and hemiola. Moreover, melodic writing: the soaring melodies of more modal Jubilate. Although Gardner individual movements often include "Orpheus with His Lute" (Figure 4), the uses traditional techniques, such as mixed numerous meter changes. The final move­ lilting melodies of "Who Is Silvia" (Fig­ modalities, cross-relations, pedal tones, ment, "Under the Greenwood Tree," is ure 5), and the angular, almost percussive and chromaticism, he also employs con­ possibly the most demanding to perform, melodies of"It Was a Lover and His Lass" temporary devices, such as tone clusters featuring 3+3+2 groupings of eighths in (Figure 6) and "Full Fathom Five." and jazz-influenced harmonies (specifi­ the accompaniment under a two-part vo­ One of the composer's favorite works cally, quartallquintal structures and verti­ cal canon marked allegro (Figure 3). is his Herrick Cantata (1960), a ten-move­ cal use of minor seconds, lowered Perhaps one of Gardner's most over­ ment composition for double chorus, sevenths, and raised fourths). looked qualities is what English composer tenor soloist, and large orchestra, based on epigrams of the sixteenth-century En­ glish poet Robert Herrick. These epigrams [fJ include eight love lyrics and paeans to " .. CHOIR I t IJ J SFff7t t I music from Hesperides, a complete collec­ oJ r r tion of the poet's works. Un der the green-wood tree __ Who A .. CHOIR 2 Much of the orchestral writing in the - E2 t Hpj J Herrick Cantata is in a post-Romantic r S style. Gardner's choice ofsolo instruments "... Who doth am - hi lion ~ adds to the variety of textures and tonal "'" .. : colors. The violin and oboe reflect the oJ pastoral nature of movement 1, "Music: if A Song," and movement 3, "A Dialogue 1~ 1 1 ~ 1 1~ 1 1 : Betwixt Himself and Mistress Eliza " ~. ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ Wheeler, under the Name of Amarillis." Movement 5, "Love: What It Is," features Figure 3. A Shakespeare Sequence, "Under the Greenwood Tree," © 1964, the trumpet prominently as a fifth-voice . Reprinted by permission of the publisher. in a climactic stretto passage. In this same movement, the jazz-influenced writing of the celeste accompanying a semichorus in parallel ninth chords is a vivid example of 7 SA Unis. or Mezzo-Soprano Solo ".... c,.e~c text painting (Figure 7). Voices Four movements feature a tenor solo­ ... . I. Or pheus with his lute made (feeS,---_ lAnd the moun - tam ist. Two of these, movements 6 and 9, demonstrate the composer's flair for dra­ A matic recitative. On the other hand, move­ ment 7, "Corinna's Going a-Maying," pairs ... -~V -'- Pno.2 the tenor with the French horn in a dia­ : logue that shifts cleverly between a rollick­ ing romp and a pensive reflection on love ,,~ ~~ and the brevity oflife. Often, for purposes of text painting or div = special effects, Gardner composes an evoca­ A II tive vocal line or accompanimental pat­ ... r .------i ---~ tern. Movement 2 ("Godly Girzie") from wps thai forge Bow ___ them - selves __ Four Wanton Ballads, op. 81, is based on a A ===== Robert Burns poem. Here, the composer separately assigns female and male voices a ... tj*-.../ '!t:: p drone, bagpipelike, accompaniment un­ . I der the soprano solo. "The Sandgate Girl's : Lamentation," from the same work, por­ ~ .. ~ - ====-. ~------trays a young girl musing about what her life would be like ifshe had married a man with a vocation other than that of her Figure 4. A Shakespeare Sequence, "Orpheus with His Lute," © 1964, mate. When she considers life with a sailor, Oxford University Press. Reprinted by permission of the publisher.

PAGE 22 CHORAL JOURNAL IJ "''' PIegato -=:::: ;> Sop.! 0; I Gardner humorously inserts swinging Who is Syl vi-a? What is she? That all our swains com - mend her? rhythms alternating between duple and P /egalo ===-- -=:::: ;> triple groupings colored by jazz-influenced Sop.2 " harmonies (Figure 8). 0; Gardner confesses his works include a Who is Syl vi-a? What is she? That all our '\wains com - mend her? P legalo ;> few compositions and arrangements " ===-- -=:::: which employ lighter elements and tunes Alto ,0; ?J .... ?J -il...... 4 ... '" • . which are "easier on the ear." Who is Sy! vi-a? What is she? That all our swains com - mend her'! ,, , ~ ~ ~ ~ As far as composing in a more popu­ : lar vein, yes, I have a great nostalgia, " "" "" a gteat longing to be loved, you know. Pno.2 ... and perhaps I'm disappointed 1 : that [my music] isn't loved more. :it ~ ~ ~ ~ :;t ~ ~ ~ But you know if one tries to be popular, one, I rhink, will do it badly. Figure 5. A Shakespeare Sequence, "Who Is Silvia?," © 1964, Oxford University Press. The truly popular composers-Paul Reprinted by permission of the publisher. McCartney or, shall we say, the ._-_ .... _--- Gershwins-they were naturally popular. I don't rhink I am." Musical Eclecticism Gardner's style combines old and new When birds do sing. hey. ding a ding, ding musical elements into a personal composi­ tionallanguage. Although some observers may not find the depth of expression the same as that felt in Benjamin Britten's work, an attractive, positive, human, often hu­ morous quality pervades much ofGardner's music. His works are well-structured and U I~if~q~~~~tA economical rather than long-winded; no­ tably absent are large choral forms such as ~ ~f~;§w~ee~t ~]o~v ~-~er~s f:~v~e ~:~e .;::,:, ""'"'" '"' "m,,, "'''"''' Spring. oratorios and requiems. His output varies I ~~!"i~qS: widely in difficulty for performers but ?!fli r t tt t tpnTl rarely fails to engage an audience. birds do sing, hey. ding a ding, ding, Sweet lov - ers love the Spring. The composer speaks aptly concerning Figure 6. A Shakespeare Sequence, "It Was a Lover and His Lass," © 1964, his philosophy of music. In reference to Oxford University Press. Reprinted by permission of the publisher. his Herrick Cantata and to music in gen­ eral, Gardner provides these comments:

In composing Herrick Cantata, I have been motivated by no grand structural purpose beyond my wish to give performers and listeners a variety (and unity) ofmood and key. The poems I have chosen are all in Hesperides, which was published under the poet's supervision in 1648. I Am Jesus' UttJe Lamb Several of my choices are old war­ Rene Clausen • SA, kybd. 2 fits • VS 301 horses (e.g., Cherry Ripe, Corinna, Laud and Praise to Highest Heav'n Anthea). One or two of them, if set J.S. Bach/Cora Scholz. SA, kybd • VS 300 before, have certainly never reached Lord, Usten to Your Children my ears in musical guise. At least one K. Medema/J. Schrader/C. Scholz. SSA, kybd • VS 500 (To Music, to Becalm His Fever) exists Song for World Peace in a little-known bur consummate M. Haugen/Nancy Grundahl • SSA, kybd • VS 501 setting, that ofDavid Oppenheimer, For more information and ordering: Mark Foster Music Company and I was vety aware of the risk I 1J' (800)359-1386, Fax (217) 398-2791 • P,O. Box 4012, Champaign, IL 61824-4012

MAY 1994 PAGE 23 was taking in trying to emulate his Geoffrey Bush, "Composer's Anthology," H Gardner questionnaire. achievement. I was, however, unable Journal ofthe British Institute ofRecorded 9 Gardner, "Composer's Anchology," 802. to resist my intense desire to include Sound40 (October 1970): 690. -CJ- this poem in the cantata, for its depiction of music as healer, pain­ killer, and soporific, as heaven-sent refreshment, is one that lies near to my own view ofart." p OiSlinfo

NOTES I John Gardner, taped answers to author's p questionnaire, March 12, 1990. Soprano 2 John Gardner, "Composer's Anthology," Love is 'y fUp; and who - e'er we see :o;ick and slir - charg'd Journal ofthe British Institute ofRecorded Sound44 (October 1971): 798-99. Alto 3 Gardner questionnaire. Love is sy rup; and who - e'er we see sur - charg'd 1 Ibid. p , Hugo Cole, "Gardner, John Linton" in New Tenor Grove Dictionary ofMusic and Musicians, Love IS 'y rup; and who - e'er we sec sick and sur - charg'd (1980). p (, The composer's knowledge of counterpoint Bass k 1-):0 J.~ j j ~I J is demonstrared in two of his articles: "A J J Love is sy fUp; and who - e'er we see sick and sur - charg'd Russian ConrraplmUsr," Compo,t'r 17 (October 1965): 6--7, and 'The Slopes of Parnassus," Figure 7. Herrick Cantata, "Love: What It Is," © 1960, Galaxy Music. Composer21 (Aurumn 1966): 11-12. Reprinted by permission of the publisher.

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['AGE 24 CHORAL JOURNAL PERFORMANCE TOURS Presents for Summer of1995 Published Choral Works ofJohn Gardner 51 Cultural Contact 'ITirougft. Musu The composer has provided the following complete listing of his published Three Spires Children's compositions up to 1994. Chorus Festival Jean Ashworth Bartle, Conductor Out ofprint * Copenhagen, Denmark AA Anglo-American BH Boosey & Hawkes • Cha Chappell Nottingham Chamber Con Constable Festival CUP Cambridge University Press Weston Noble, Conductor Gal Galaxy Nottingham, England Hin Hinshaw JE Junior Education • Lor Lorenz KindaKanal Nov Novello Choral Festival OUP Oxford University Press Ronald Staheli, Conductor SB Stainer and Bell Linkoping, Sweden Voicin Date Publisher • Wells Oratorio Experience Phillis and Corydon SSA, piano 1946 aUI" England The Baffled Knight SSA or TTB, piano 1946 aUI" Requiem Mass - Mozart (j) Sing unto My Roundekty SSAATTBB 1950 oup* The Argument ofHis Book Massed voices, piano 1950 aUI" Gloria - Poulenc Cantiones Sacrae SATB, S solo 1951-52 oUP* Requiem - Faure o Cktp Your Hands SATB, organ 1954 aUI" Requiem - Durufle Haif the Day that Sees His Rise SATB, organ 1954 aUI" Christopher Adey, Conductor Spring, the Sweet Spring SATB 1956 BH SlIVen Songs fOr Choms SATB 1956 OUP • and Orchestra Scandinavian Choral Jubilate Deo SATB 1957 AA The Balktd of the White Horse SATB, Bar. solo, orch.1958-59 SB Festival Tour 49 Herric'k Cantata SATB, T solo., orch. 1960 Gal Norway Welcome Yule 50 Equal voices 1961 Con Sweden 51 A Latter Day Athenian Speaks SSAATTBB 1961 aUI" Five Hymm in Popuktr Style SATB, orch. 1962 oUP Finland Whel1 ChriJt Was Born of Equal voices 1962 Nov Dr. Byron McGilvray, Conductor Mary Free First NoweLl SATB, organ 1962 Nov • 46 SSATTB 1963 OUP Choral Tour Opportunities Two Tunes jOr Unaccompanied SATB 1963 OUP Hong Kong / China Voices Baltic Choral Arts Tour 58i Angels from the Realms Equal voices 1963 aUI" International Festivals 58ii The Hotlyand the Ivy SATB, organ 1963 OUP (some subsidized) The Noble Heart SATB, Sand 1963-64 OUP Bar. soli, orch. European and Scandinavian We Have a Strong City SATB, organ 1964 AA Custom Tours

no 01'. We Wish You a Merry SATB, piano 1964 Nov Christmas • 63 I WiLl Lift Up Mine Eyes SSA 1964 AA For information contact: 64 Danny Equal voices 1964 OUP 66 A Sha.kespeare Sequence SSA, piano, perc. 1964 OUP 00 67 The Shout SATB 1964 OUP 1:8 .11 68 Cantor popuktris flods SATB 1964 aUI" 70 Mass in C SATB 1965 aUI" PERFORMANCE TOURS 71 Fear No More the Heat sATB 1965 Nov* P.O. Box 26045 • Fresno, CA 93729 o'theSun 800488-6795 • 209 449-9451 continued

MAY 1994 PAGE 25 Opus Title Voicing Date Publisher

72i Versicles and Responses SATB 1965 Nov* 72ii Magnificat SATB 1965 our* 72iii Nunc Dirnittis SATB 1965 our* 74 Our Captain Calls AllHands SATB, piano 1965 our 75i Good King Wenceslas SATB, organ 1965 our* 75ii Tomorrow Shall Be My SATB, piano, perc. 1965 our Powerful and moving music for your choral Dancing Day program Call 1612) 482-0472 for more K . Information or afree catalog. ~ 76i Robin Adair Equal voices 1965 our 76ii Ver the Spring Equal voices 1965 our I Bealltiflll Star PllbliIiJil1,q, Inc. 81 Four Wanton Ballads SATB 1966 our 82 Cantata jOr Christmas SATB,orch. 1966 our 84 The End Is the Beginning SATB 1967 AA 17th Annual Conference 104 Three Amorous Airs SSA, piano 1971 our 105 Cantata jOr Easter SATB, organ 1970 our of 109 Four Carols SATB, perc., organ 1970 our 115 Solstice Carol Equal voices 1972 Cha 119 A SongjOr St. Cecilia's Day SATB, organ 1973 our CHORUS AMERICA 120 Bel and the Dragon Children's opera 1973 our 125 Five Philanders SATB 1975 our 130 The Gypsy Davey SATB 1975 our NIEW "'U[21\ I:IIT 133 Four Rounds to Shakespeare Equal voices 1976 our 135 Ca'the Yowes SATB 1976 our JIUN~ 1 !!!! 4. 1')')4- 141 Sunny Bank Carol SATB 1977 our Ttil: ~tiI:I:!ATf)!IlW !IlWI:W ~f)1:!1\ 142 Five Partsongs to Poerns SATB 1977 our 145 Two Seasonal Songs SATB, brass, 1978 our tif)TI:L A!IlW() Tf)Wl:I:!~ organ, perc. 146 Lone Dog Unison children's 1978 hosted by: JE voices, piano Ascension Music Chorus & Orchestra 147 Six American Hymns in Free Style SATB, piano 1978 Hin Musica Sacra 149 o Little Town ofBethlehem SATB, piano 1980 Hin Gregg Smith Singers 152 Room in the Inn SATB, four 1981 our instrurnents This extraordinary event 154 Mass in D SATB, contralto, 1983 our alto sax, orch. will feature THREE 160 Praise Him SATB, piano 1983 Lor scheduling tracks for: 178 Everybody Sing SATB 1991 Hin 213 A Burns Sequence SATB,orch. 1994 our . CONDUCTORS and SINGERS . BOARD and STAFF MEMBERS • FUNDAMENTALS of CHORUS MANAGEMENT Whitworth College presents PLUS concerts by the exceptional Summer Choral Festival hosting choruses featuring Internationally renowned composer, arranger and conductor ALICf PARKER attendees have said: July 31-Aug. 3, 1994 "I've attended man)' conferencesfor otller organizatiom amifOlllld tile Features include singing in a workshop choir conducted by materialsfor tilis cOllferem:e tile best Parker, daily class lessons, and close individual attention to your organized ofany I've seen. " needs as a choral musician. Dr. Randi Von E.llefson, director of choral activities at Whitworth College, will also teach during for complete schedule and registration the festival. Write, call or FAX for a detailed brochure. materials, contact Alice Parker CHORUS AMERICA 2111 Sansom St. Philadelphia, PA 19103 Undergraduate and graduate credit available. (215) 563-2430 Dr. Randi Von Ellefson, Whitworth College, Spokane WA 99251-1701 fax (215) 563-2431 Telephone (509) 466-3780 FAX (509) 466-3773

I'AGE26 CHORAL JOURNAL