CONTINENTALCONTINENTAL HARMONYHARMONY AA MUSICALMUSICAL CELEBRATIONCELEBRATION OFOF THETHE MILLENNIUMMILLENNIUM H.G.H.G. YOUNG YOUNG IIIIII
n small towns and big cities across the tunebooks of colorful American composer America,I people celebrated the millennium William Billings, the musical voice of the Ameri- in a vibrant way by commissioning new can Revolution.1 works of music. Continental Harmony: A Continental Harmony sounded the millen- Musical Celebration of the Millennium, a joint nium through a landmark music festival as the project of the American Composers Forum newly created works were heard across the and National Endowment for the Arts, was United States. Bill Ivey, then chairman of the an historic initiative that linked communities, National Endowment for the Arts stated that, one from each state, with composers to “Continental Harmony will unite communities create new music that refl ected our nation’s of every description in the common goals of history, culture, and hopes for the future. creating and performing new music tailored Continental Harmony, the fi rst nationwide to their needs, encouraging an air of festivity and largest new music commissioning project appropriate to the dawning of the new millen- in American history, was named for one of nium.”2 Continental Harmony was recognized as an offi cial White House Millennium Council H.G. Young III, PhD, Professor of Music, West Virginia partner and an archive was created at the University at Parkersburg, was project director and Library of Congress.3 National project direc- conductor for West Virginia’s two Continental Harmony projects.
Continental Harmony poster designed by Gary Kelley of Cedar Falls, Iowa.
motto of the White House Millennium Council ects, including fi ve in the bay area of California. ‘Honor the Past, Imagine the Future’ beautifully Projects refl ected the diversity of Ameri- expresses the spirit and goals of Continental can life and culture. Brent Michael Davids, Harmony.”4 an enrolled member of the Mohican nation, The Minnesota-based American Composers created a work for Native American and Forum, with a mission of “linking communities European fl utes and percussion that incorpo- with composers and performers, encourag- rated the Ram Dance of the Havasupai, the ing the making, playing, and enjoyment of native inhabitants and spiritual guardians of music,”5 selected fi fty projects, one from each the canyon, which premiered on the south state, from the 175 applications submitted by rim at the Grand Canyon Music Festival.7 A communities across America. For these fi fty projects, the Forum received 850 applica- tions from 350 composers. Each community reviewed composer applications and selected the composer best suited for their own indi- vidual project. The National Endowment for the Arts6 provided $2.4 million and the Forum secured additional funds for eight more proj-
CHORAL JOURNAL Volume 54 Number 4 23 CONTINENTAL HARMONY: A MUSICAL
spirited musical portrait of the St. Louis blues guitarist, and chamber orchestra have when the river fl oods and when it Cardinals baseball team with homage in Traces of Mississippi, a work that is drought.”14 to Scott Joplin, Bushy Wushy Rag, was united the racially and economically di- In Scottsville, Kentucky, the Allen composed by Phillip Bimstein for the vided Madison County.10 In Sacramento, County Arts Council selected Depp Equinox Chamber Players with taped California, the Camellia Symphony was Britt, a successful Nashville-based singer sounds from the ballpark.8 In Oakland, joined by traditional Chinese instru- in the Cumberland Boys Quartet and California, Sonos Handbells, San Jose ments, (the dizi, erhu, and zheng), for composer of Christian music, to com- Taiko, and Pusaka Sunda, a Javanese New York composer Han Yong’s Pictures pose a piece of Southern gospel music gamelan ensemble, joined forces for of Years: Nianhua, based upon the twelve for his hometown’s celebration using The Navigator Tree, created by computer signs of the Chinese zodiac celebrating the American shape-note tradition. scientist, artist, and musician Jaron Lanier, the music, traditions, and culture brought Tabernacle Trilogy’s three songs, “The who coined the term virtual reality.9 In to California by Chinese workers who Song of the Redeemed,” “We’re Singing New Haven, Connecticut, Neely Bruce built the transcontinental railroad. In Heaven’s Song,” and “Heaven’s Jubilee,” assembled Convergence: Some Parades Culver City, California, Thomas Oboe premiered on July 4, 2000, at an old for Charlie’s Dad for choirs, bands, en- Lee composed Portraits of Jazz for the wooden tabernacle in Scottsville where sembles, organs, and carillon, all collid- American Jazz Philharmonic and Henry camp meetings, revivals, and shape-note ing on the village green as part of the Mancini Institute. Music for singers and singing conventions had been held since International Festival of Arts and Ideas. fi ddlers was celebrated in Farmington, 1897.15 New York City composer Eve Beglarian Maine, by San Francisco composer The smallest community selected used multimedia and new technologies Alexis Alrich.11 In Miami, Florida, Migrants for a Continental Harmony grant was for The Continuous Life, a futuristic work Journal by Lukas Ligeti, son of Hungarian tiny Cotton, Minnesota, population 300, for Houston’s OrchestraX and Diverse composer György Ligeti, captured the sliced in half by a four-lane highway. The Works art space. sounds of the backstreets of the Carib- project’s theme was, “Life here in the Pittsburgh-based composer Anne bean cultures of Cuba, Haiti, Puerto forest and what we like about it—past, LeBaron combined the Tougaloo Col- Rico, and Trinidad, combining them with present, and future.” Duluth- based lege Choir, local poets, rap musicians, a computer generated sounds to make composer Tyler Kaiser wrote Cotton music for an immigrant city.12 Cantata, described by one local citizen Of the fi fty-eight Continental Har- as a “classical hoedown,” to honor the mony compositions, more than half town, nature, and the millennium.16 The included choral singing.13 The fi rst to project touched almost everyone in the premiere on February 27, 2000, in community in some way. A community Grand Forks, North Dakota, was Steve choir was joined by the students from Heitzeg’s What the River Says, a piece the K-12 Cotton School, its band and that deals with the devastation from chorus, and home-made instruments, fl oods along the Red River from Manito- (kalimbas, wood and clay rattles, ocari- ba to Minnesota. In the three-movement nas, and drums) created by the elemen- work for choir, piano, and percussion tary children using materials found in the (including stones and driftwood gath- surrounding forest.17 ered by the composer from the banks Missoula, Montana's triennial Inter- of the Red River). Heitzeg, known for national Choral Festival was the site for his compositions that celebrate the the premiere of Walt Whitman’s Dream natural world and address social and by William McGlaughlin, the popular ecological issues, noted, “I’m trying to host of the PBS program St. Paul Sunday. respectfully write about the value of The composition for chorus, including water and rivers in our lives, and at the children and orchestra, was performed same time, write a piece that honors as the festival’s fi nale by 700 singers, the human communities that live with including the visiting choirs from Austria, rivers and that complex dialogue we Botswana, China, Cuba, Denmark, and
24 CHORAL JOURNAL Volume 54 Number 4 CELEBRATION OF THE MILLENNIUM
Spain.18 children’s choir representing our hope ecumenical prayers: a fearful and The words of Walt Whitman also for the future. His composition, The agitated outburst from Jeremiah provided the structure for Parkersburg Unknown Region: A Journey of Faith, ad- which(sic) ends with the positive belief that God will protect; a native West Virginia’s Continental Harmony dresses a more universal theme. Coe American hymn refl ecting faith in project. Tennessee composer Kenton refl ects: the natural elements; a quiet Gospel Coe, who studied with Paul Hindemith hymn showing faith in a personal at Yale and Nadia Boulanger in France, What I have tried to do is to follow God; and children expressing the was asked to refl ect on faith in a com- musically the sometimes tortuous most complete and innocent trust position for three choirs: a choir of high journey from this world to the next that salvation will come at the time 19 school and college students representing proposed by Whitman’s poem that of God’s choosing. represents for me an evocation the voice of the present, an ecumenical of the ultimate reason for faith. choir from the area’s churches repre- Other multi- movement choral Whitman’s rocky path is interrupted compositions depicting the spirit of senting the wisdom of the ages, and a by four refl ections in the form of America’s heartland include: I Am St.
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CHORAL JOURNAL Volume 54 Number 4 25 CONTINENTAL HARMONY: A MUSICAL
Joseph, for St. Joseph, Missouri, by Jo- many people. Continental Harmony excerpts from Chief Seattle’s oft- seph Bisharat of Los Angeles, California; is about rebuilding and rediscovering repeated speech of 1854, creating Heartland for David City, Nebraska, by that sense of place. I think that is another counterpoint in this work, Deborah Fischer Teason of Hamden, a very valuable and precious thing representing in some way, a passage of two peoples.25 Connecticut;20 and Spiritscape for Sioux to be pursuing and building, as the media and the spread of mass Falls, South Dakota, by Albany, New York, culture take over. It’s really interesting An upstate New York project composer Bruce Roter. The fi nal pre- when a place’s unique history is brought together a composer, a best- miere, Jersey Polyphony by Puerto Rican rediscovered and people fi nd out selling author, some fi ne musicians, some composer Raymond Torres-Santos, took what’s unique about who they are great students and teachers, and the sis- and where they came from.24 place on March 11, 2001, in Newark, ter cities of Geneseo, New York, and Si- New Jersey, featuring the Newark Boys ena, Italy, to rethink Galileo’s Renaissance The success of Continental Har- Chorus and New Jersey Philharmonic concept that the arts and sciences are mony’s millennium celebration in 2000 Glee Club. both of vital interest and importance. led to additional funding from the In just over twelve months, fi fty-eight Composer Glenn McClure’s chance National Endowment for the Arts for new musical works, at least one in ev- discovery of Galileo’s Daughter, a book 21 a second round of projects celebrating ery state, had been performed. In his by science writer Dava Sobel that drew community through music over a fi ve book American Music in the Twentieth upon Galileo’s correspondence with year period beginning in 2002. Choral Century, Kyle Gann noted that during the one of his two daughters, became the music with historic and regional subjects fi nal decade of the century there were basis for both his Continental Harmony and strong community connections was more composers writing more types of composition and community-based common once again. music than at any other previous time project that included multi-disciplinary 22 For Portland, Oregon, Indiana com- in history. This diversity was certainly lessons for American and Italian school poser David Dzubay created Northwest evident in Continental Harmony’s mil- children. McClure’s The Starry Messenger Passages for the Portland State Univer- lennial celebration. uses madrigal singing and Renaissance sity Choir, narrator, and the chamber A one- hour documentary of Conti- instruments to celebrate scientist and ensemble fEARnoMUSIC, consisting of nental Harmony, written, directed, and musician Galileo. The international alli- piano, violin, viola, cello, and percussion. produced by Emmy Award-winning fi lm- ance resulted in performances in both The composer notes that: maker Ed Robbins, highlighted several of Geneseo and Siena.26 The Rochester- the projects and was broadcast on PBS based ensemble Madrigalia, who sang in September 2001.23 Robbins noted: Northwest Passages presents two compositions in parallel. One of the premiere, received the 2007 Alice these, a series of fi ve movements Parker/ASCAP Award for Adventurous I learned a tremendous amount for instruments and narrator, follows about the connections between Programming from Chorus America. the western course of the Lewis and music making and community The arts and sciences was also the Clark Expedition, beginning at the building…. Some of my favorite theme for Charleston, West Virginia’s, departure from Saint Louis in May moments were seeing discoveries project. The 2003 opening of the $120 1804 and ending with the arrival happening for other people and at the Pacifi c Ocean in November million Clay Center for the Arts and seeing people being surprised 1805. The narrator recites excerpts Sciences, a performance hall, art gal- by some interactions with the from the Corps of Discovery’s lery, black box theatre, planetarium, composer.… When you drive across journals, focusing on a few landmark and children’s science museum, was the country, on the surface, there events from the journey. In the 27 seems to be a great homogenization the project’s focus. The project theme score, these movements are called of America; there’s a McDonald’s, grew from the new center’s mission, “To ‘portages,’ as they serve to link from Hardee’s, and Texaco station inspire creativity, learning, and wonder one to the next of fi ve choral songs everywhere. But when you have through the experiences in the arts and comprising the other composition…. to go beneath the surface, as you The songs (for chorus)are settings sciences for all people of West Virginia.” have to do documenting these of Native American song texts, Paul Halley of Norfolk, Connecticut, projects, you discover that regional and present a counterpoint to the former music director and organist at differences and community- based narrative of the expedition. Alongside identity still exist and that sense of New York's Cathedral of St. John the the songs, the narrator recites place is incredibly important to so Divine and long-time member of the
26 CHORAL JOURNAL Volume 54 Number 4 CELEBRATION OF THE MILLENNIUM
Paul Winter Consort, was selected to ter of the work. “Discovery belongs to Encore projects. In the 1950s and 1960s, compose a piece for combined choirs those who are willing to be lost, and lost, the vibrant Rondo neighborhood of from Charleston, Parkersburg, Morgan- stumble on the footing of the foundation St. Paul, Minnesota, was an integrated town, and Lewisburg to emphasize the of the new.” It concludes, “the goal of but predominantly African-American center’s statewide mission. It was the the arts and sciences? To make us better business, religious, and education center center's planetarium that gave Halley dancers.”28 Halley played piano in the in the city’s urban core; a community the connecting point for his In Sideribus instrumental consort for the premiere, uprooted and displaced by the construc- Domi: At Home in the Stars. Halley noted then orchestrated his new work and tion of the I-94 freeway that replaced that both artists and scientists must have conducted it at the Tanglewood Music Rondo Avenue. Using oral histories courage to take risks, and never cease Center the following spring.. compiled in the book Voices of Rondo from exploration. He used an original Community remained a strong com- and interviews with former residents, poem by David Densmore as the cen- ponent of many Continental Harmony Stephen Newby of Everett, Washing-
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CHORAL JOURNAL Volume 54 Number 4 27 CONTINENTAL HARMONY: A MUSICAL
ton, composed Rondo Oratorio, a multi- of community through the music of Other Continental Harmony Encore movement work for chorus, instruments, living composers and includes all the projects that involve choral singing and and narrator, drawing from gospel, jazz, diversity of the area. His West Harlem orchestra include Adrienne Albert’s An classical, spiritual, and hip-hop traditions. Christ, written for the St. Mary’s Gospel Alaskan Symphony, describing the Kenai The themes of the oratorio: faith, hope, Choir, sets words of poor and homeless Peninsula near Homer, Alaska,34 and and love, express the vitality of a com- neighbors with those of neighbors who Peter Boyer’s Dreaming a World, with munity that has survived in spirit despite help others in the community.30 texts drawn from diverse American geographical dislocations.29 Commissioned by the Cohen Center poets for the Battle Creek (Michigan) In New York City’s West Harlem, for Holocaust Studies at Keen State Col- Symphony, community and children’s pianist and composer Ishmel Wallace, lege in New Hampshire for its twenty- choirs, and percussion.35 Continental a graduate of the Curtis Institute of fi fth anniversary, Kaddish, by Lawrence Harmony concluded its decade of new Music and student of Steven Stucky, and Siegel, uses the power of music to music creation in Ada, Oklahoma, in No- his sister Vita direct “What a Neighbor- teach about the Holocaust and increase vember 2009. Lowak Shoppala’ [Fire and hood!” a program that nurtures a sense awareness of genocides in the world Light] by Jerod Impichch_aachaaha’ Tate, a today. Named for a traditional Jewish multimedia theatrical work for orches- prayer for the dead recited as part of tra and children’s choir, was initiated by the mourning rituals at funerals and on the Chickasaw Nation to celebrate the the anniversary of the death of a loved opening of the new Chickasaw Cultural one, Siegel sets words taken directly Center in Sulphur, Oklahoma, and is from interviews with survivors of the based upon their original migration Request Your Holocaust. This powerful work is in three story.36 FREE parts. “The World Before” refl ects on life Over one hundred compositions, in central Europe before the Holocaust more than half of which include choral CHORAL and introduces some of the individual singing, were written as part of Con- RESOURCE survivors whose stories make up the tinental Harmony during the decade work. The “Holocaust” movement tells from 1999–2009.37 National project PACKET & some personal stories of the unimagina- director Patricia Shifferd affi rmed, “The RESOURCE CD! ble events that took place in the ghettos, arts are essential to community identity the trains, and the camps. The fi nal sec- and unity. Music—its creation and per- tion, “Tikkun Olam,” healing or repairing formance—is especially well suited to the world, begins with a spoken-word this task….Through music, communities improvisation whose text consists of recreate their histories in celebratory the names and barest details of the ways, often using texts that evoke the lives of some of those who perished, languages, landscapes, and cultural followed by a setting of the Mourners’ traditions of their citizens. Music can Kaddish, sung for these and all victims also evoke places and peoples far away, of genocide. The work concludes as the creating a vivid understanding of, and chorus affi rms the words “so here I am” empathy for the recurrent problems of to serve as an emblem of the resilience life experienced by our fellow humans and determination of those survivors to around the globe.”38 carry on their lives and, in some way, the Walt Whitman wrote, “I hear Ameri- All Things Musical lives of those who perished.31 Following ca singing, the varied carols I hear.”39 The The Nation’s #1 Music its 2008 debut in New Hampshire,32 varied carols of Continental Harmony Education Resource in Print, Digital & Online Kaddish was performed and recorded were sung proudly across our nation. by Minnesota’s VocalEssence,33 then The compositions resulting from the Toll Free 1-888-803-6287 [email protected] performed in a full symphonic version program are indeed varied and eclec- AllThingsMusical.com by the Houston Symphony and Chorus tic. They showcase America’s ethnic in 2010 and the Jerusalem Symphony diversity and they demonstrate music’s Orchestra in 2011. power to bring people and communities
28 CHORAL JOURNAL Volume 54 Number 4 CELEBRATION OF THE MILLENNIUM
together to heighten community aware- 10 Documentary of this project on Continental 24, no. 4, July/August 2000). ness. They refl ect America’s optimism, Harmony, produced and directed by Ed 21 PBS developed a Web site to profi le all of individualism, and sense of place, and Robbins, Twin Cities Public Television, the 58 millennial projects
CHORAL JOURNAL Volume 54 Number 4 29 CONTINENTAL HARMONY: A MUSICAL
34 Albert, Adrienne. “A Place Called Home: communities is found at the end of this William, and Patricia Shifferd. Measuring Continental Harmony in Alaska 2006– article. Change in Continental Harmony, 07, Sounding Board, vol. 34, no. 6, July/ 38 Shifferd, Patricia. “Continental Harmony: A Community Arts Network, June 2001. August 2007. Community-based Celebration of the Available for reading at:
CONTINENTAL HARMONY A Musical Celebration of the Millennium (2000) Encore: Celebrating Communities through Music (2002–2009)
The fi rst composition for each state listed below (plus the fi rst two for Minnesota, Missouri and Illinois, and fi rst six for Califor- nia) were written for Continental Harmony’s Millennium Celebration. All others were part of Continental Harmony Encore.
AALABAMALABAMA *Phoenix – Valley of the Sun, Sacramento – Pictures of Years: Nianhua, Gadsden – I Am Song, Philip Koplow Joseph Curiale (CA) Han Yong (New York, NY) (Covington, KY) San Francisco – Freedom Dreams,
Dothan – Wiregrass Symphony, Richard AARKANSASRKANSAS Jennifer Higdon (Philadelphia, PA) *Blytheville – Song for the Delta, Pearson Thomas (New York, NY) Steve Cooper (Rogers, AR) *Piedmont –The Oh of Moon and Piano, Mark Winges
AALASKALASKA (San Francisco, CA) Juneau – Glacier Blue, Evan Solot CCALIFORNIAALIFORNIA Long Beach and Mexico City, Mexico (Philadelphia, PA) Culver City – Symphony No. 3: Portraits in Jazz, Thomas Oboe – Dos Visiones/Two Visions, Ana *Homer – An Alaskan Symphony, Lee (Cambridge, MA) Lara (Mexico City, Mexico) and Adrienne Albert Robert Maggio (Lambertville, NJ) (Los Angeles, CA) Santa Cruz – Glossary: A Rhetorical Setting of Computer Terms, Bakersfi eld – Son, Hector Martinez Harry Brant (Santa Barbara, CA) Morales (MA) AARIZONARIZONA Grand Canyon – Guardians of the Oakland – The Navigator Tree, Modesto – Two American Portraits, Canyon, Brent Michael Davids Jaron Lanier (Sausalito, CA) Gabriela Lena Frank (Minneapolis, MN) (Berkeley, CA)
30 CHORAL JOURNAL Volume 54 Number 4 CELEBRATION OF THE MILLENNIUM
CCOLORADOOLORADO *Oak Park – A Symphony of Place, MMAINEAINE *Breckenridge – Nature’s Universal James Kimo Williams *Farmington – A Hill in the Country: Throne, David Heckendorn (Chicago, IL) Maine Suite, Alexis Alrich (Kew Gardens, NY) *Chicago – Underground Movements, (San Francisco, CA) *Denver – The Westside Oratorio, Evan Solot (Philadelphia, PA) *Bangor – Symphony No. 4: Daniel Valdez (Salinas, CA) The Penobscot River, IINDIANANDIANA Thomas Oboe Lee (Cambridge, MA) CCONNECTICUTONNECTICUT Carmel – Liberty for All, James Beckel *New Haven – Convergence: (Indianapolis, IN) Some Parades for Charlie’s Dad, Gary – Sand and Steel, MMARYLANDARYLAND Neely Bruce (Middletown, CT) Lisa DeSpain (New York, NY) Takoma Park – Hallelujah, New Britain – Reliquary of Labor, In Praise of Light, Lisa DeSpain (New York, NY) Ken Steen (Glastonbury, CT) IIOWAOWA Fort Dodge – Rural Symphony,
DDELAWAREELAWARE Jonathan Chenette (Grinnell, IA) MMASSACHUSETTSASSACHUSETTS Fitchburg – Raging River, Rolling Stone, Wilmington – Delaware Rhapsody, *Grinnell – Roots of Renewal, Barbara White (Princeton, NJ) Robert Macht (Baltimore, MD) Craig Naylor (Kalispell, MT)
FFLORIDALORIDA MMICHIGANICHIGAN KKANSASANSAS Ann Arbor – Lokananta, Gabriel Gould Miami – Migrants Journal, *Arkansas City – Carl Sandburg’s Prairie, (Ann Arbor, MI) Lukas Ligeti (New York, NY) Eugene Friesen (Townshend, VT) Dearborn and Ann Arbor – Arboresque, *Tallahassee – Breathe In the Colors You Glasco – Dreams and Faith Simon Shaheen (MI) See, Oliver Lake (Montclair, NJ) (The Solomon Valley Anthology), Greg Sanders (Kingsville, TX) *Battle Creek – Dreaming a World, Peter Boyer (Upland, CA) GGEORGIAEORGIA Arkansas City and Wichita – Kennesaw – The Unsung, Headfi rst into the Blue Fields of
Eric Alexander (Acworth, GA) Grace, Philip Aaberg MMINNESOTAINNESOTA *Cotton – Cotton Cantata, Tyler Kaiser Macon – Spirit Jug, Scott Ethier (Oakland, CA) (Duluth, MN) (Astoria, NY) St. Paul – Descendants of the Dragon, KKENTUCKYENTUCKY Zhang Ying (Minneapolis, MN) HHAWAIIAWAII *Scottsville – Tabernacle Trilogy: *Kailua-Kona – The Channel, Three Songs, Depp Britt *St. Paul – Reconciliation, Geoffrey Christopher Rogers (Hawi, HI) (Nashville, TN) Stanton (Ann Arbor, MI) Louisville – Big Madisonial Ceremonial, *St. Paul – Rondo Oratorio, Stephen IIDAHODAHO Gary Powers Nash Newby (Everett, WA) *McCall – Breath of the Mountain, (Itta Bena, MS) Linda Tutas Haugen MMISSISSIPPIISSISSIPPI (Burnsville, MN) LLOUISIANAOUISIANA *Madison – Traces of Mississippi, Twin Falls – Magic Valley, Anthony New Orleans – My Name is Citizen Anne LeBaron (Pittsburgh, PA) Scott Watson (Allentown, PA) Soldier, Frank Proto *Gulfport and Biloxi – Dreams: (Cincinnati, OH) A Celebration of Mississippi Music, IILLINOISLLINOIS *Alexandria-Pineville – Evan Solot (Philadelphia, PA) *Freeport – Song of the Earth, Symphony No. 9: Hope, Patrick Beckman (Freeport, IL) William Banfi eld (St. Paul, MN)
CHORAL JOURNAL Volume 54 Number 4 31 CONTINENTAL HARMONY: A MUSICAL
MISSOURI *Roswell – Beyond Courage, *Portland – Northwest Passages: *St. Joseph – I Am St. Joseph, Stephen Melilo (VA) Five Dream Songs, David Dzubay John Bisharat (Los Angeles, CA) (Bloomington, IN)
St. Louis – Bushy Wushy Rag, NNEWEW YYORKORK Syracuse – Dance Mix, Rob Smith Phillip Bimstein (Springdale, UT) PPENNSYLVANIAENNSYLVANIA (Houston, TX) Gettysburg – South Mountain Echoes, *Geneseo – The Starry Messenger, Robert Maggio (Media, PA)
MMONTANAONTANA Glenn McClure (Geneseo, NY) University Park – Cross- Cultural *Missoula – Walt Whitman’s Dream, *New York City (West Harlem) – Variations, David Cleary William McGlaughlin West Harlem Christ, (Cambridge, MA) (New York, NY) Ishmael Wallace (New York, NY) *Carlisle – Make a New World, *Ennis – From the Dreams of Montana Glenn McClure (Geneseo, NY) Children, Eric Funk NNORTHORTH CAROLINACAROLINA (Bozeman, MT) *Concord – Building Bridges, Ronald RRHODEHODE IISLANDSLAND Nelson (Minneapolis, MN) *Newport – Testimonies, NNEBRASKAEBRASKA Charlotte, Dallas, Gastonia – High Seas Steven Newby (Everett, WA) *David City – Heartland, Deborah to High Shoals: Thematic Variations Fischer Teason (Hamden, CT) on the Life of Charles Wilkes, SSOUTHOUTH CCAROLINAAROLINA Macy – Huthuga, Stacy Fox (NY) Jerre Tanner (Kailua-Kona, HI) *North Charleston – Hope of a People, Evelyn Simpson-Curenton
NNEVADAEVADA NNORTHORTH DAKOTADAKOTA (Alexandria, VA) *Carson City – A Land of Sun and *Grand Forks – What the River Says: *Georgetown – The Tidelands of Sage, Jim Cockey (McCall, ID) Three River Songs, Steve Heitzeg Georgetown, James Clemens (St. Paul, MN) *Virginia City – Building from the Past, (Downers Grove, IL) Lisa DeSpain (New York, NY) Grand Forks – Meeting Ground, Geoffrey Hudson SSOUTHOUTH DDAKOTAAKOTA (Cummington, MA) NNEWEW HHAMPSHIREAMPSHIRE *Sioux Falls – Spiritscapes: A South *Plymouth – Voices of the Lake, Dakota Cantata, Bruce Roter James Clemens OOHIOHIO (Albany, NY) (Downers Grove, IL) *Carrollton – Suite Carroll County, Columbia – Prairie River Refl ections, Mona Lyn Reese (San Jose, CA) *Keene – Kaddish: Music of Dan Rager (Chesterland, OH) Remembrance and Hope, Akron – Women at an Exhibition, Lawrence Siegel Randall Woolf (New York, NY) TTENNESSEEENNESSEE (Westmorland, NH) *Johnson City – Appalachian Harmony, OOKLAHOMAKLAHOMA Daniel Kingman (Sacramento, CA) NNEWEW JJERSEYERSEY Edmond – Showdown on Two Street, *Newark – Jersey Polyphony, Sam Magrill (Edmond, OK) TTEXASEXAS Raymond Torres- Santos *Ada – Lowak Shoppala’ (Fire and Light), Houston – The Continuous Life, (San Juan, PR) Jerod Impichch_aachaaha’ Tate Eve Beglarian (New York, NY) *South Orange/ Maplewood – (Oklahoma City, OK) American Dale, UUTAHTAH Janet Albright (VA) OOREGONREGON St. George – Desert- Spirit-Valley , Portland – Wood, Water, Wind (W3), George Arasimowicz (Winfi eld, IL) Kenny Endo (Honolulu, HI) NNEWEW MMEXICOEXICO Springdale, Salt Lake City, Logan – Alto – Keepers of the Land, Red Rock Rondo, Philip Bimstein Jerre Tanner (Kailua-Kona, HI) (Springdale, UT)
32 CHORAL JOURNAL Volume 54 Number 4 CELEBRATION OF THE MILLENNIUM
VVERMONTERMONT WWASHINGTONASHINGTON WWISCONSINISCONSIN *Middlebury – Refl ections of the Sky, *Omak – Landscape Changing: *Osceola – River Spirit, Craig Naylor Peter Hamlin (St. Paul, MN) A Symphony for Okanagon County, (Kalispell, MT) Montpelier – Rumplestilskin and the Andrew Teirstein, (New York, NY) Battle of East Milkweed, Newport – Downriver!!, WWYOMINGYOMING Lawrence Siegel Charlie Maguire Jackson – Petticoat Rules: The Jackson (Westmorland, NH) (Minneapolis, MN) Hole Revue, Mary Murfi tt (Ancramdale, NY) and Pam Drews Phillips (Wilson, WY) VVIRGINIAIRGINIA WWESTEST VVIRGINIAIRGINIA Wintergreen – From Time to Time, *Parkersburg – The Unknown Region: *Ucross – POP 25, Philip Aaberg Anthony Iannaccone A Journey of Faith, Kenton Coe, (Chester, MT) (Ypsilanti, MI) (Johnson City, TN) Wise – Miners and Millhands, *Charleston – In Sideribus Domi: *Compositions include choral singing Ronald Short (Big Stone Gap, VA) At Home in the Stars, Paul Halley (Norfolk, CT)
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CHORAL JOURNAL Volume 54 Number 4 33