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RECENT MAJOR WORKS APPLIED MUSIC Lou De La Rosa Bernstein Chichester Psalms 16 hrs of lessons = $46 total Director of Choral & Vocal Studies Beethoven Symphony No. 9 Planned Fall 2018 Duruflé & Fauré Requiem (408) 741-2013 Mozart Requiem, 2018 AA DEGREE PROGRAMS 14000 Fruitvale Avenue Saratoga, CA 95070 Transferable to CSU & UC RECENT MUSICALS [email protected] Little Shop of Horrors, Pippin westvalley.edu/music Sweet Charity, Guys & Dolls VOICE FACULTY Cabaret, 2018 Jacque Wilson-Scharlach A California Community College Boston Conversatory Located in the Heart of Silicon Valley VOCAL ENSEMBLES Mary Linduska Concert Choir University of Illinois, Urbana Chamber Singers Vocal Jazz Sandra Bengochea Musical Theater & Opera Scenes Manhattan School of Music Esther Archer NEW CLASSES Collaborative Pianist & Vocal Coach Diction for Singers: • Italian, English & Latin Myles Ellis • German, French & Spanish Vocal Jazz Director Come and join us!

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2 • Cantate • Vol. 30, No. 3 • Spring 2018 California Choral Directors Association 5 | REFLECT AND REJUVENATE from the president’s pen · by rob istad

6 | BUT LET’S TALK ABOUT ME letter from the editor · by eliza rubenstein

8 | THE BOYS ARE BACK IN TUNE ragazzi celebrates 30 years in the bay area · by sydney albin

16 | THE FIRST TIME the composer’s voice · by dale trumbore

19 | CCDA SUMMER CONFERENCE AT ECCO

20 | SEEN & HEARD

21 | 2019 CCDA STATE CONFERENCE AND HONOR CHOIRS

22 | 2018 CCDA FALL REGIONAL CONFERENCES

23 | VISION FOR THE FUTURE scholarship fund donors

24 | THE WAY TO SAN JOSE reflections on casmec 2018 · by colleen chester and molly peters

26 | WHY ISN’T CCDA RETURNING TO CASMEC IN 2019? by robert istad, lou de la rosa, and jeffrey benson

28 | NEWS AND NOTES Yay, summer’s almost here! Be sure your happenings from around the state plans include the 2018 CCDA summer conference at ECCO—More details on 30 | TOP FIVE: ETHNIC & MULTICULTURAL Page 19 or at www.calcda.org! by angel vázquez-ramos

33 | TOP FIVE: MUSIC IN WORSHIP by ruben valenzuela

35 | TOP FIVE: COMMUNITY CHOIRS by kristina nakagawa

36 | TOP FIVE: SHOW CHOIRS by william zinn

38 | CALIFORNIA ACDA DIRECTORY

Leading the Way Cantate • Vol. 30, No. 3 • Spring 2018 • 3 CANTATE Volume 30, Number 3 WHEREAS, the human spirit is elevated to a broader understanding of itself Official publication of the through study and performance in California Choral Directors the aesthetic arts, and Association, an Affiliate of the American Choral WHEREAS, Directors Association serious cutbacks in funding and support have steadily eroded state Eliza Rubenstein, editor institutions and their programs [email protected] throughout our country,

BE IT RESOLVED GUIDELINES FOR SUBMISSIONS that all citizens of the United We welcome and encourage CCDA members States actively voice their affirmative to contribute articles, announcements, music and and collective support for necessary book reviews, job vacancy listings, photographs, funding at the local, state, and national and other items of interest to Cantate! levels of education and government, to ensure the survival of arts programs Please send queries and article ideas to for this and future generations. [email protected]. You are also welcome to submit completed articles, but please California Choral Directors Association note that not all articles received will be published. empowers choral musicians to create transformative experiences for Deadlines for publication are as follows: California’s diverse communities. August 15 (Fall issue); November 1 (Winter issue); March 1 (Spring issue). CCDA is a 501(c)3 non-profit, tax-exempt The editor reserves the right to edit all submissions. corporation and an affiliate of the American Choral Directors Association.

ADVERTISING IN CANTATE UPCOMING EVENTS Please visit our website (www.calcda.org) or e-mail us at [email protected] for complete information on advertising in Cantate, CCDA Summer Conference at ECCO including rates, deadlines, and graphics specifications. July 22-25, 2018 (Oakhurst) Advertisements are subject to editorial approval. CCDA Fall Regional Conferences On the cover: All-State Choir members share September 8, 2018 (Long Beach) a hug after their final performance in San Jose. September 15, 2018 (Hayward) Photo by Robyn Peters.

4 • Cantate • Vol. 30, No. 3 • Spring 2018 California Choral Directors Association From The president’s pen: Reflect and Rejuvenate

he final days of our musical season My heart and brain are full thanks to the Tapproach, and we are all struggling to world-class performances and superb interest reach the finish line with our souls intact. I sessions at all three events. I feel heartened by find the end of the year a conundrum. After the diversity and creativity I witnessed onstage the highs of conference and festival season, and in our sessions classrooms. The spirit Robert Istad is in his we must fight the urge to treat our end-of-year of connectedness was alive at each of these inaugural season as the performances as perfunctory. We do our events! I thank all of the wonderful leaders best to provide transformative culminating who serve on the CCDA Board of Directors Artistic Director of experiences for our audiences, students, and and ACDA Western Division Board of Pacific Chorale. Istad parishioners, but I sometimes struggle to find Directors for their selfless dedication to us and a way to make these events truly authentic. our profession. Congratulations to all of the is also Professor of These performances are often structured members of California’s choral community Music and Director of as choral/orchestral concerts, pops concerts, who performed, presented, and participated gala events, and special services—the kinds so beautifully. You inspire me! Choral Studies at Cali- of calculated activities rarely feel authentic. fornia State University, Rather, they often smack of formulaic pro- s we joyfully congratulate our graduating grams, speeches, and other required end-of- students and bid a short farewell to our Fullerton, where he was A year rituals. musicians for the summer break, many of us recognized as CSUF’s I believe the best way to infuse authentic are already planning for future seasons. The excitement into these events is through time for musical rejuvenation is upon us! I 2016 Outstanding personal artistry. We are all artists, and we hope you will take the time to consider attend- Professor of the Year. have the right (and responsibility) to behave ing one of the myriad summer events dedi-

He is the former Artis- as such. We must actively choose to inspire cated to your professional development in our ourselves, our colleagues, and our students state. Most specifically, I hope to see you all tic Director of Long to be artistically present. This may require at ECCO (July 22-25, 2018) this summer! Beach Camerata Singers adding a little extra-musical enhancement to Dr. Betsy Cook Weber is our headliner, and our concerts, inviting special guest artists or Jeffe Huls and his team have done a yeoman’s and Long Beach Bach audience members to participate, or simply work planning a truly transformative experi- Festival. He is Dean demanding the very best efforts from musi- ence for us. This event regularly sells-out. cians in our rehearsals when we feel tired. Please reserve your space early! As you plan of Chorus America’s I push myself to surprise my musicians and for next year, please take a moment to add our Academy for Conduc- audiences the most at the end of the year and CCDA events to your calendars. Nurturing try to exhaust my creativity to do so with joy in your personal artistry is CCDA’s mission, and tors, and has prepared every rehearsal and performance. May you all I hope you’ll make your attendance at these choruses for a number find the courage and energy to feel and behave experiences a priority. like artists this spring! Congratulations to all of you on the conclu- of America’s finest con- sion of another inspiring year of choral music ductors and orchestras. n the time following our last issue, I’ve had in California. I feel so grateful to be a part of Ithe pleasure of seeing many of you at our our vibrant community, and I thank you for the CCDA State Conference at CASMEC, incredible work you do to connect and inspire CCDA’s All-State Honor Choir weekend, the people of our state!  and ACDA’s Western Division Conference.

Results of the Election for Regional Representatives (Terms begin July 1, 2018) Northern Region: Alissa Aune • Central Coast Region: Carolyn Teraoka-Brady • Far South Region: John Russell Many thanks to all of the candidates for their willingness to serve!

Leading the Way Cantate • Vol. 30, No. 3 • Spring 2018 • 5 letter from the editor: BUT LET’S TALK ABOUT ME

o, not about me—but let’s talk about how because it listed every single mentor, collabora- Nwe talk about ourselves, specifically in our tor, festival, competition, and concert series in professional bios. The two or three paragraphs this singer’s career to that point. The difficult about you in a concert program may shape truth is that most of our audience members your audience’s impression of you before you aren’t interested, and nothing turns them off ever step on a stage. What does the content faster than five column-inches of proper names

Eliza Rubenstein is the and tone of your bio say about you to someone that mean nothing to them. If and when you’re who’s never met you or heard your work? Is fortunate enough to have had a long, glowing Director of Choral your bio intended to help audience members career, choose a few successes to spotlight and and Vocal Activities at get to know you and connect with you, or rotate or update them regularly. does it engage in “bio terrorism” by trying to Orange Coast College, impress them? 5) Don’t try too hard. “Whether she’s surfing the sun-kissed waves of ‘the O.C.’ or and the Artistic At least one old incarnation of my bio mentioned that I originally meant to be an pumping her hands in the air in support of Director of the English teacher, so I’ll ask your indulgence her beloved Cardinals in their heart-pounding quest for a 12th World Series ring in the Orange County as I exorcise a half-dozen pet peeves with the following list of suggestions and exhortations sweltering St. Louis summertime, Eliza Women’s Chorus about the professional equivalent of your Rubenstein brings fervor and persistence dating profile. to everything she....” Yuck. Enough. Prose and the Long Beach that screams “please find me fascinating Chorale & Chamber 1) Write it well. If crafting prose isn’t and quirky” isn’t appealing. (In this case, it’s also dishonest, because I can’t surf and Orchestra. She holds your gift, enlist a wordsmith friend or hire a freelancer. Vary your sentence structure; the Cardinals aren’t likely to sniff the World degrees from Oberlin ensure that your grammar is beyond reproach; Series this year.) College and UC-Irvine, punctuate correctly; and check for errors in 6) Create common ground. Is your bio parallel structure, which are ubiquitous in and she is a former (and your headshot, for that matter) intimidat- bios. Spelling matters, too—I once edited the ing, or is it approachable? Each of us gets to animal-shelter supervi- bio of a world-renowned instrumentalist who choose how we present ourselves, naturally, listed 20 collaborators and spelled 14 of their sor and the co-author but if we want to bring more people into our names wrong, and I’ve seen more than one choral world, it makes sense to take every of a book about dog “Brahm’s” in ACDA concert programs over opportunity to find the ways in which we’re the years (shudder). adoption. Eliza’s family alike. Mention your family, your pets, your 2) Show, don’t tell. You don’t need to hobbies, your odd talents, your sports teams, includes her partner, inform us that you’re a passionate teacher or the non-musical jobs that put you through Julie Fischer; a yel- with a deep love of choral music; we already school. They’ll set you apart from the rest of assumed that, since you chose a career in us, and they’ll serve as ice-breakers for fans or low Labrador named teaching and/or choral music, and we’d feel parents in ways that lists of accomplishments Dayton; and a cat less awkward hearing that sort of thing from won’t. (The dog-related parts of my bio have some other source—a reviewer, a student, a started ten times more post-concert conversa- named Wilbur. She’s colleague—than directly from you, anyway. tions, and led to many more repeat concertgo- passionate about ers and new donors, than the musical ones.) 3) Burn the word “additionally.” It’s grammar, Thai food, a syntactic crutch that has never yet made a nd finally, if your audience members photography, and the sentence more readable. While you’re at it, Aspeak many languages, consider having burn the phrases “....is in demand” (it’s vague your fabulous bio translated into one or more St. Louis Cardinals. and dull) and “....is a frequent clinician and of the most common, as I’m finally, belatedly adjudicator” (we know). doing with mine. Almost everything we do in this profession 4) Pick the highlights. I attended a is an opportunity to include more people in performance a few years ago with a wonderful this art form we love. Let’s never waste one.  vocal soloist whose bio was three pages long,

6 • Cantate • Vol. 30, No. 3 • Spring 2018 California Choral Directors Association Holy Names University Celebrating 50 years of music education The Kodály Center Kodály Center since 1969 LOCATED IN THE BEAUTIFUL SAN FRANCISCO BAY AREA

The Kodály Center Honorary Board STUDY WITH US Takács Quartet Core curriculum in musicianship and choral conducting Sir András Schiff Master of Music (Music Education) Madame Sarolta Kodály Certificate programs Madame Erzsébet Szőnyi Gilbert de Greeve 50th Summer Institute, June 18 - July 6, 2018 Éva Voisin www.hnu.edu/kodalysummer Robert Geary Charles M. Crane Director Maree Hennessy SCHOLARSHIPS Contact us Plan to teach in public schools? HNU Kodály Center HNU has just announced a 50% scholarship award. [email protected] Looking for fellowship opportunities? 510.436.1039 Two Logan Fellowships are now available, www.hnu.edu/kodaly covering 75% of tuition.

INTERNATIONAL FACULTY János Horváth, Ildikó Thesz Salgado, Gemma Arguelles, Maree Hennessy Visiting Summer Faculty: Dr László Nemes (Liszt Academy, Hungary), Judit Hartyányi, Helga Dietrich, Dr. Miriam Factora, Hélène Matters

Our purpose is to advance Zoltán Kodály’s vision of music for all, providing quality, accessible and inclusive education for diverse communities and cultures. www.hnu.edu/kodaly

Leading the Way Cantate • Vol. 30, No. 3 • Spring 2018 • 7 THE BOYS ARE BACK IN TUNE

Ragazzi Boys Chorus celebrates 30 years on the Peninsula  by Sydney Albin

8 • Cantate • Vol. 30, No. 3 • Spring 2018 California Choral Directors Association ords fail,” “Wsays Jesse Buddington, an alum and staff member of the Ragazzi Boys Chorus, when asked to reflect on his experience with the chorus as it cel- ebrates its 30th anniversary. “It is a sentiment that can only be forged through years of working together, playing together, touring together, and Ragazzi Boys Chorus celebrates 30 years on the Peninsula  by Sydney Albin of course, singing.” Ragazzi will celebrate its three decades as a Bay-Area institution with a June 10 concert at Stanford University’s new Bing Concert Hall. The reunion event will feature all of Ragazzi’s current singers—from tall to small—and special appearances by Ragazzi Continuo, the adult a cappella choir composed of Ragazzi alums, and many generations of Ragazzi grads returning from around the world to join the jubilee. Currently composed of 200 boy singers aged 7 to 18, from more than 100 schools in more than 30 Bay Area communities, Ragazzi’s influence has grown since its founding. But the choir’s boom- ing success did not come without challenges. Ragazzi’s ability “to survive and thrive in a culture that sadly fails to recognize the great benefits of music education” is one of its proudest achieve- ments, says Ragazzi’s Co-Founder and Artistic Director, Joyce Keil. The seeds of Ragazzi were sown in 1985, when Keil was working as a full-time assistant conductor for the San Francisco Boys’ Chorus. As part of her job, Keil was in charge of recruiting from elementary schools, and she found herself amazed by the energy and eagerness of boys who loved to sing. Keil began to research societal attitudes and how gender affected interest in singing, and determined there was a need for an accessible choir for boys on the San Francisco Peninsula.

Leading the Way Cantate • Vol. 30, No. 3 • Spring 2018 • 9 Two years later, Ragazzi Boys Chorus was born with Mosbacher went on to attend Stanford University, just under a dozen founding members. Keil focused on where he turned his attention to other pursuits, playing exploring the soprano sound unique to young boys, as on the Varsity baseball team and earning a degree with well as the profound level of camaraderie achieved when Honors in Political Science. He launched his career at boys work together. Within a year, Vance George—then the Freeman Spogli Institute for International Studies, the chorus master of the San Francisco Symphony— publishing articles in Foreign Affairs, The Washington invited Ragazzi to sing with the famed orchestra in Quarterly, and the Los Angeles Times, but found that Honegger’s King David, launching the chorus into the the call of music never subsided. With encouragement professional musical world. from family, friends and mentors, Mosbacher left the “I was actually surprised at how powerful a role the worlds of journalism and foreign policy to pursue a mu- chorus played in the lives of our singers,” says Keil. “I sical career, appearing in off-Broadway hits and headlin- watched with delight ing in major cabarets as the boys learned on both coasts. He discipline, tenac- fronts his own band, ity, and teamwork, touring the country while forming deep, and recording. “My lifelong friend- training from Raga- ships.” As the size zzi was so strong of the chorus grew that I was able to and the boys met reenter the music and surpassed each world after ten years challenge, Ragazzi away and hit the added an intensive ground running,” he annual summer says. camp, and soon Jesse Buddington embarked on inter- has now spent more national tours. than half of his life As word spread as an active singer of the boys’ crystal- Above: Jesse Buddington as a Ragazzi chorister in the in, or as director of, a Ragazzi group. line singing and late 1990s (LEFT) and as a RAGAZZI director today diligent work ethic, “I cannot eas- Ragazzi received PREVIOUS PAGE: RAGAZZI members today (Lower left) and ily imagine my life regular invitations to the founding members of the chorus in 1988 without Ragazzi,” perform with the top he says, “as it would arts institutes in the Bay Area, including the San Fran- be fundamentally different from the life I lead today.” cisco Opera, the San Francisco Symphony, Opera San Buddington also graduated from the program in the Jose, Symphony Silicon Valley, Masterworks Chorale, early 2000s and is currently one of the thirteen members and many others. In 2000, Ragazzi was honored for of Ragazzi Continuo. The adult choir was founded by its contribution to the San Francisco Symphony’s triple men who were searching for a post-college men’s chorus Grammy Award-winning recording of Stravinsky’s Per- of a high standard—one that allowed them to thrive séphone. The group has toured throughout the United musically as they had as Ragazzi boys. Their collec- States, as well as internationally, visiting Russia, Japan, tive yearning led in September 2010 to the creation of Portugal, Spain, Italy, Australia, New Zealand, South Continuo, composed of members whose day jobs find Africa, and Cuba, and has released five CDs. them practicing law, teaching voice, working in tech, and more. Their love of music and years of training are ithout Ragazzi, there is no chance I would be evident in their finely-honed performances. “Wpursuing my dreams like I am able to today,” Buddington was also a born singer; as a preschooler says Jack Mosbacher, who graduated from Ragazzi in he would disappear for long periods, only to be found 2003. The lively redhead was a natural singer from a by his teacher in a corner of the bathroom, singing his young age: “When I was four years old, I used to stand heart out in the echoing acoustics. One of Buddington’s on the living room table and sing ‘Ya Got Trouble’ from teachers pointed him to Ragazzi. He attended one The Music Man. My parents took the hint and found concert with his mother and immediately wanted to join. Ragazzi. I fell in love with Ragazzi at my first rehearsal, After graduation from Ragazzi, Buddington earned a when I was six years old.” degree in vocal music from the University of California,

10 • Cantate • Vol. 30, No. 3 • Spring 2018 California Choral Directors Association Santa Cruz with an emphasis in Renaissance/Baroque joining Continuo in the future. “The years I quit gave performance practice. In 2010 he joined A Cappella me perspective,” he says, adding “I really realized how Records (renamed Loudr in 2013), a company that this program is unlike any other. The opportunities, enables composers in all genres to negotiate licenses and the music we get to sing, the people we get to meet, the receive royalties for musical works that are recorded and directors we get to work with. It’s unlike anything else.” offered in download platforms and streaming services. Current Head Chorister and Soloist Nicholas Hu But Buddington never quite left Ragazzi behind, has been a member of Ragazzi for seven years. Ac- returning to work with and mentor young singers, and cepting an invitation via Ragazzi to audition for the eventually taking on his current post as director of the San Francisco Opera in 2015, Hu earned a spot as group’s Young Men’s Ensemble for teen boys whose the understudy for the one of the three child spirits in voices have changed. “More than anything, I wanted the company’s acclaimed production of Mozart’s The to be there for the next generation of Ragazzi boys, as Magic Flute. One Wednesday morning on the way to my instructors and counselors were there for me,” he school, Hu’s parents received a call from the opera: says. “Being able to help shape the future of Ragazzi is The lead boy for his role was sick and Hu was going on incredibly important to me. It’s the way in which I can that night. Hu had never been on stage, in a costume, most appropriately give thanks for everything that the or rehearsed with the orchestra. Although he did not organization has given me throughout the years.” express any outward concern, Hu’s father wondered if his son could rise to the challenge and perform in front verett Schafer is one of the Young Men’s Ensemble of 3,000 people with only six hours of preparation. But Esingers that Buddington is currently directing. the intense training and character development of Raga- Schafer’s musically inclined parents were fixed on zzi paid off, and Hu had no problem performing under enrolling him in Ragazzi in the first grade. As Schafer pressure. It seemed like a once-in-a-lifetime experience, transitioned into but lightning hit a middle school, he second time two years quit choir, think- later, when the San ing it was time Francisco Symphony to try something alerted Ragazzi that else. “After a it was seeking a boy while, I felt like I soloist for Leonard had this huge hole Bernstein’s Chiches- in my life. That ter Psalms. Hu was caliber of music awarded the role, in my everyday receiving accolades life was missing. from media, includ- I was in musi- ing the San Francisco cal theater in my Chronicle, which noted local town. But “boy soprano Nicholas it just wasn’t the Hu floated a solo line same as Raga- as pure and clear as a zzi.” Three years millstream.” later, Everett Above: Jeremy and Matt Weinglass during their days as Ragazzi members and today auditioned back wins Matt and into Ragazzi and TJeremy Weinglass, found it felt like home. His fondest memories of Raga- members of Ragazzi’s original group and two of the zzi thus far have been the international tours to Cuba, program’s very first graduates, will be among the many South Africa, and the Baltic regions, and he singles out alums returning for the 30th anniversary celebration. South Africa as his favorite. “We saw the vast disparity The Weinglass brothers were first introduced to Raga- in the country—economically, socially, and culturally,” zzi at 10 years old, when a classmate’s mother suggested he says. “But we came together with members of the lo- they give it a try. More than 20 years since they gradu- cal communities and made music. Moments like that are ated from Ragazzi, both Weinglass brothers are still so important and humbling.” As high school graduation heavily immersed in music and performance arts. nears, Schafer’s time with Ragazzi is coming to a close. “I believe Joyce Keil is responsible for the love I However, he is certain that he will want to continue developed for music theory,” says Jeremy, who makes his with music, whether it be in a local choir or possibly living as a musician. “She not only taught it as a lan-

Leading the Way Cantate • Vol. 30, No. 3 • Spring 2018 • 11 Above left: Ragazzi choristers Nick McKee and Nicholas Hu) rehearse with conductor Michael Tilson Thomas for the San Francisco Symphony’s performance of Leonard bern- stein’s Chichester Psalms (Photo: Alan Hu) Above right: Ragazzi’s Henry Phipps performs with Thomas Hampson and others in the San Francisco Opera’s production of Christopher Theofanidis’ Heart of a Soldier in 2011

guage, but she made it fun.” A Los Angeles resident zzi’s doors, the benefits of the program have proved since 2001, Jeremy has played piano for corporate and more enduring wide-ranging than most could have entertainment industry events, as well as charity galas, imagined three decades ago. Says Buddington, “The weddings, and private parties throughout Southern boys come together and express all their many feelings California. He has also been resident pianist at the of elation, grief, and love in the best language suited to Hotel Bel-Air since 2016. the task—that of music.”  His brother Matt also currently resides in Southern California, where he runs his own production company, The Ragazzi Boys Chorus presents its 30th Sherwood Players. Matt gives the chorus full credit for Anniversary Concert on Sunday, June 10, at informing many aspects of his adult life. “Ragazzi has 7:30 p.m. in Stanford University’s Bing Concert helped shape a ton of different relationships throughout my life,” he says. “It has made me a more disciplined Hall, 327 Lausen Street, Stanford, CA 94305. individual. I have learned the importance of surround - Call Ragazzi at (650) 342-8785 or visit them ing myself with others on a team to achieve a common online at www.ragazzi.org for more information goal. It’s really played a role in areas beyond music.” about the performance or the chorus. side from the program’s top-tier musical education Aand performance opportunities, the type of young men that Ragazzi produces is what truly distinguishes the organzation. Alan Hu, the president of Ragazzi’s Board of Directors and the father of Nicholas Hu, has Sydney Albin is a recent graduate said that the role modeling and social support within Ragazzi was one of the driving factors that led him to of the University of California, pick Ragazzi for his son. Jesse Buddington adds that Davis, who has spent the past six “The name of Ragazzi carries recognition and re- months becoming thoroughly spect—not only for what it has achieved as an organiza- immersed in the Bay Arts arts com- tion, but for the sorts of young men it consistently puts munity. She is an arts and enter- into the world.” Whether it was the choice of a parent or a passion tainment publicist for Carla Befera for music that initially led young boys through Raga- Public Relations, located in Silicon Valley.

12 • Cantate • Vol. 30, No. 3 • Spring 2018 California Choral Directors Association CCDA thanks VoiceLessons.com for its sponsorship of this year’s conferences!

Leading the Way Cantate • Vol. 30, No. 3 • Spring 2018 • 13 2018 KODÁLY INSTITUTE California State University, Bakersfield June 25 -July 13, 2018 8:30AM - 5:00PM CSU Bakersfield, Music Building Instructors RENÉ FERRELL - Founder & Co-Director JO KIRK - Level 1 LISA SIMMELINK - Level 2 & Folk Song Research MATT HANNE - Musicianship 1 & 2 ANGEL VÁZQUEZ-RAMOS - Conducting & Ensemble

To register visit our website kodaly.csub.edu Early Registration $775 Effective until April 15, 2018. Class size is limited so please reserve your spot early. Standard Registration $850 Effective April 16, 2018 through June 1, 2018

14 • Cantate • Vol. 30, No. 3 • Spring 2018 California Choral Directors Association IDYLLWILD ARTS SUMMER PROGRAM 2018 Classical, Jazz, and Vocal Music Programs

June 24-July 7 July 8-21 Jazz Instrumental Intensive Symphonic Band Piano Workshop* Wind Symphony Intensive Piano Performance Intensive* Symphony Orchestra Intensive* Triple Threat Shakespeare Theatre Bootcamp* Intensive

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www.idyllwildarts.org/summer 951-468-7265 • [email protected]

Leading the Way Cantate • Vol. 30, No. 3 • Spring 2018 • 15 the COmposer’s voice: THE FIRST TIME

ne of the most common questions I’m lives outside of me. Through the alchemy of live Oasked immediately after a performance is performance, all that vulnerability and aware- this: What’s it like to hear your music for the ness of time and joy adds up to feeling incred- first time? ibly present and lucky to be here, to be alive. This always feels a bit like a trick question That heightened joy is unlike any other Dale Trumbore has to me, because I get several chances to hear my feeling I’ve experienced in my life. In a way, received commissions, music for the “first” time. There’s the first time elements of feeling vulnerable and hyper-aware a bit of music occurs to me in the composition are similar to watching my close friends or performances, and process, followed by hearing it in a final draft, piano students perform, and the joy is similar to awards from orga- after much editing and revising. There’s hearing the happiness I feel watching any outstanding the piece in rehearsal for the first time, too. performance. But something sets a premiere nizations including But when people ask what it feels like to apart. I imagine that performers and conductors ACDA, ACME, Center hear my music for the first time, they usually experience a similar feeling when they perform

City Opera Theater, mean the concert itself, and the short answer is at their highest level, but I’ve only ever gotten that it usually feels wonderful. The much more that feeling from composing. Maybe it’s the Chanticleer, Inscape accurate answer is that, at a premiere, I am spontaneity of never quite being able to predict Chamber Orchestra, the almost uncomfortably hyper-attuned to every what the piece will sound like live, even— single detail. My mind races: Everyone looks especially—when the dress rehearsal has gone Kronos Quartet, and nervous. Why are they nervous? It sounded perfectly. VocalEssence, and she great in rehearsal! That part wasn’t as good as That feeling is addictive. Experiencing the it was in rehearsal. Did I let this slow section first polished premiere of my original music has been hailed by the go on for too long? Oh, that section was great! at age seventeen, as that feeling hit for the New York Times for her I love this ensemble. Someone’s fussing with first time, I knew my decision to pursue music a candy wrapper—do they hate this piece? in college and beyond was the right one. Of “soaring melodies and Ooh, that part was actually really good. I love course, when you’re a teenager, most emotions beguiling harmonies.” this piece! Almost done, almost—oh no, no no feel momentous—your inner experiences are no, that incredibly loud cough during the final heightened, your world still full of firsts. But the Dale is orginally from chord is definitely going to be on the recording. truth is that even now, I still feel that way. That New Jersey and now Well, that piece was okay. Good performance. feeling hits just as hard now as it did at seven- Time to walk onstage. Don’t trip, don’t trip, teen. Even at a less-than-ideal performance, I lives in Los Angeles. don’t trip.... still feel hyper-sensitive, vulnerable, and grateful Hear her music at It’s as if I’m a highly sensitive microphone to be alive. designed to pick up even the smallest distur- www.daletrumbore.com. bance around me. I don’t usually get nervous think I’m asked so often what it feels like to before a premiere, or at least I don’t get nervous I experience a premiere because an audience the way I do when I’m performing. But even if will never truly hear a piece as its own composer this hyper-awareness isn’t nerves, exactly, I’m does. Of course, the irony of this is that a still stuck with it for the duration of the piece. composer never gets to hear their piece for the My skin prickles. I feel vulnerable and exposed, “first time” as the audience does, either. Just as and every sensation is heightened. we can never recreate the experience of watching I often cite the way it feels to hear my own a movie or reading a book for the first time, a music premiered as one of the reasons I’ve composer never gets to hear a premiere without chosen to be a composer. But who would knowing what music comes next. But there’s purposefully seek out the feeling of being a different suspense inherent in not knowing uncomfortably vulnerable? exactly what will happen next in any live There’s something else there, too, and that performance. That spontaneity, combined with other feeling is joy. At any premiere, even one the potential for immense joy, is the reason we that doesn’t quite go as expected, an idea that all attend live concerts, whether we’ve written previously existed only in my head suddenly the music or not. 

16 • Cantate • Vol. 30, No. 3 • Spring 2018 California Choral Directors Association CONGRATULATIONS CALIFORNIA CHOIRS ON YOUR SUCCESSFUL 2017 CONCERT TOURS

Azusa Pacific University MS. MICHELLE JENSEN California State University Long Beach Bob Cole Conservatory of Music DR. JONATHAN TALBERG Vanguard University DR. JAMES MELTON Acalanes High School MR. BRUCE LENGACHER Ms. Michelle Jensen Beverly Hills High School MS. STACEY KIKKAWA Canyon High School MS. ARIEL MAY Chino Hills High School MS. LAURA RUTHERFORD Irvine High School MS. TINA PETERSON Presentation High School MS. EMILIE BERTRAM St. Andrews Presbyterian Church Dr. Jonathan Talberg DR. JAMES MELTON

www.perform-international.com www.perform-america.com [email protected]

University of redlands school of MUsic Bachelor of Arts • Bachelor of Music Master of Music • Artist Diploma Music Scholarships & Graduate Assistantships Available Dr. Nicholle Andrews Director of Choral Studies Dr. Joseph Modica Associate Professor of Choral Music Information and applications [email protected] 909-748-8014 www.redlands.edu/music

Leading the Way Cantate • Vol. 30, No. 3 • Spring 2018 • 17 18 • Cantate • Vol. 30, No. 3 • Spring 2018 California Choral Directors Association Save the dates…

renew…refresh…re-connect

Summer Conferenceat E.C.C.O

Conducting

Ve spe rs Pedagogy

Repertoire Vo c a l Te c h n i q u e

Performance Practice Camaraderie July 22-25, 2018

Headliner: Dr. Betsy Cook Weber University of Houston, Moores School of Music

Registration Opens early April visit www.calcda.org

Leading the Way Cantate • Vol. 30, No. 3 • Spring 2018 • 19 SEEN & HEARD

op to bottom: Pacific TChorale Academy stu- dents show off their accom- plishments with springtime concerts at three school sites in the Newport-Mesa Uni- fied School District (photo courtesy of Molly Pontin); the Chamber Choir of Christopher High School in Gilroy travels to New York City to perform with Eric Whitacre at Carn- egie Hall (photo courtesy of Kira Dixon); and Tesoro High School choristers—more ac- customed to Orange County weather—experience snow for the first time during their tour to Montréal, Québec (photo by Ashley West, courtesy of Keith Hancock). Send one or more high-quality photos of your ensemble’s latest activities to cantate.editor@gmail. com if you’d like them to be considered for a publication in a future issue!

20 • Cantate • Vol. 30, No. 3 • Spring 2018 California Choral Directors Association 2019 CCDA State Conference & Honor Choirs San José, California March 14-16

San José State University Cathedral Basilica of St. Joseph Conference & Rehearsal Venue Concert Venue Featuring Performing Choirs, Interest Sessions, and the CaliforniaAll-State Honor Choirs • Richard Bjella, Texas Tech, TTBB • Kevin Johnson, Spelman College, SSAA • Giselle Wyers, University of Washington, SATB • Rollo Dilworth, Temple University, Junior High/9th Grade Apply to perform or present an interest session at www.calcda.org Application deadline: May 18, 2018

Leading the Way Cantate • Vol. 30, No. 3 • Spring 2018 • 21 22 • Cantate • Vol. 30, No. 3 • Spring 2018 California Choral Directors Association Vision for the Future Scholarship Fund Donors special care has been given to the preparation of donor acknowledgments. We regret any errors or omissions. please contact us at (657) 217-0767 or [email protected] with corrections. Thank you for your support!

President’s Circle Bruce Lengacher Lauren Diez Platinum ($500 and higher) Arthur Lio Julie Ford Buddy James MaryClare Martin * in honor of Perla Warren Eric Medeiros Brandon Harris + President’s Circle in memory of Tim Shannon Michelle Hawkins Gold ($300 and higher) Li-Wen Monk * Stacey Kikkawa Matthew Netto * Anthony Lien * Kenneth J. Abrams in honor of John Russell in honor of Buddy James, Michael Tammi Alderman * Jason Pano Najar, and Matthew Potterton Lou De La Rosa * in honor of Lou De La Rosa, Susanna Martone Robert Istad and David Navarro * Robert Istad, and Christopher Peterson Michael J. Mello Lori Marie Rios * Tina and Christopher Peterson * Molly Peters Nick Strimple * Molly Buzick Pontin Zanaida Robles in honor of James H. Vail Shawn Reifschneider * Jo Anne Stoddard Antone Rodich * President’s Circle John Russell * Supporter (up to $49) Silver ($100-$299) Joseph Schubert * Judy Bowers Anonymous * in honor of David Norman Jamie Butler in memory of Paul Salamunovich and Roman Maciejewski Lydia Chaffee Daniel Afonso * Jennifer Sivers-Suh + Eileen Chang Jeffrey Benson * Grace Sheldon-Williams Karl Chang Jenny Bent Shelby Smith + Louis Clayson + Jack Bertrand * in honor of Daniel and Suzie Smith Cari Earnhart in honor of Dr. James K. Bass John Sorber * Maryloie Espinoza + Rob Blaney SCVA + Dr. Jennifer Garrett Ryan Board * Carolyn Teraoka-Brady * Leatrice Innocent Mitchell and Laurel Covington Polly Vasché * Nicholas Patton Jennifer Gaderlund William Zinn * Jan Pedersen-Schiff Emily Gates Susan Peterson Cricket Handler Sponsor ($50-$99) Christiane Rohayem Jeffe Huls * Dana Alexander Alexis Rubell in memory of Lynn Bielefelt Kyle Ball Sheen Leem Sanchez Mark Hulse Ruth Ballenger Stephanie Stewart Mary Anne and Rick James Bernadette R. Burns Kevin Tison Beth Klemm * Patrick Burzlaff Darla Tuning in honor of Norman Paschen, my Dad! Kelly Caswell Elizabeth Waterbury John Knutson in honor of Mary Purdy Kaii Lee Jessica Cosley * Founder’s Circle + New donor

Leading the Way Cantate • Vol. 30, No. 3 • Spring 2018 • 23 The way to san jose: Reflections on another great weekend of CCDA at Casmec THe conference  by COlleen Chester

hat an incredible CCDA Conference at CASMEC for CASMEC advertisements; Jason Pano for his work W(California All-State Music Educators Conference)! with our social media and website; and Kristina Nakagawa The weekend of February 15-18 was packed full of great and Resounding Achord, who provided 59 scholarships to interest sessions, inspired performances, exhibits, and All-State and Regional Honor Choir students. camaraderie! Bravo to all of our performing choirs and their directors: Endless thanks to the members of the CCDA Board Bakersfield College Chamber Singers and Dr. Jennifer of Directors for their hard work in making our 3rd annual Garrett; Acalanes High School Bella Voce and Bruce state conference a success: Carolyn Teraoka-Brady, who Lengager; American River College Vocal Jazz Ensemble once again served as our performance ensemble liaison for and Dr. Art La Pierre; Cuesta College VOCE and John our concerts in St. Joseph’s Basilica; Polly and Burt Vasché Knutson; Filharmonics; CSU Fullerton Concert Choir and for serving our clinicians during our interest sessions; Molly Dr. Christopher Peterson; Reyburn Intermediate Tenor Peters, who chaired and organized our outstanding High Bass Choir and Allison Crose; Santa Clara University School Honor Choirs, Chamber Singers and and Amanda Isaac for Dr. Scot Hanna-Weir, her work as our Junior Cantabile Vocalise and High School Honor Elena Sharkova; Monte Choir Chair; Willow Vista High School Chamber Manspeaker, who Singers and Jodi Reed; and chaired and organized Kitka. our Choral Leadership We recognize our Academy (CLA); Lori wonderful choral clinicians Marie Rios and Angel and their inspired interest Vázquez-Ramos who sessions: Dr. Alyssa Cossey, served as CLA faculty; Becky Marsh, Dr. Josh Michelle Hawkins for Palkki, Dr. Jeffrey Benson, her help organizing Dr. Scot Hanna Weir, the Vocal Jazz Concert Rachelle Randeen, Tammi as well as set up, tear Alderman, Dr. Jenny Bent, down, and audio support Dr. Buddy James, Dr. during the concert; Jeffrey Christopher Peterson, and Benson, our site host for Roger Emerson. the honor choir rehearsal We were, once again, facilities at SJSU; Kim blown away by our Nason, Buddy James, California All-State Honor Kristina Nakagawa, ABOVE: This year’s class of future conductors attend- Choirs under the direction Angel Vázquez-Ramos, ing the Choral Leadership ACADEMY of Dr. Kevin Fenton, Tesfa Tammi Alderman, Wondemagegnehu, Dr. Paul Michelle Hawkins, Gavin Spencer, Susie Martone, Arlie Rardin, and Dr. Anthony Trecek-King, whose inspiration Langager, Tina Peterson, and Bill Zinn for organizing our and love for choral music will change the lives of our students amazing reading sessions; David Montoya, who organized forever. Many thanks to our honor choir managers—Monica the 2018 CCDA Honor Choir commission, composed by Covitt, Christopher Borges, Mary Purdy, and Mary Shawn Kirchner; Kathleen Preston, our incredible Executive Stocker—without whom we could not serve our amazing Administrator who not only worked registration throughout honor choir students. the entire conference but who brilliantly serves all of us with Serving as the CCDA Coordinator for CASMEC has her organizational skills; and President Rob Istad and Vice been an extraordinary experience. Although CASMEC President Lou De La Rosa for their assistance, guidance, will be moving to Fresno next year, we will be holding our and mentorship to me throughout this whole process. State Conference and State Honor Choirs in San Jose again Additional thanks go to Josh Palkki, who helped next year, and we look forward to seeing you March 14-16, organize the work assignments filled by our wonderful 2019. Mark your calendars—we promise you will not want Board of Directors; Anthony Lien for designing graphics to miss it! 

24 • Cantate • Vol. 30, No. 3 • Spring 2018 California Choral Directors Association The way to san jose: Reflections on another great weekend of CCDA at Casmec THe honor choirs  by molly peters

his year’s honor choir weekend is in the books—and it • “First off thank you so much for helping me out financially Twas a huge success! We were back at CASMEC for at All State this year! The experience was amazing and I met the third year in a row. San Jose State University generously tons of new friends. Choir is a huge part of my life and being hosted our four performing ensembles for rehearsal (thank a part of such a great group of singers was awesome! Please you, Dr. Jeffrey Benson!), and the concerts were held in the keep making high schoolers’ dreams come true!”—Tommy gorgeous St. Joseph Basilica in downtown San Jose. It Lassiter is always a treat to see the kids’ faces as the enter the basilica for the exchange concert on Friday night—they • “All State Honor Choir is come in with their phones pointing up to the dome and an extraordinary event I will their jaws dropped (so relaxed, I bet that would be a never forget. We all sang side perfect “ah” vowel!). It is truly magical for them. by side to produce an amazing The students loved all four of our directors: Dr. performance. Singing any song Anthony Trecek-King (Junior High/9th), Tesfa gave me goosebumps alongside a Wondemagegnehu (TTBB), Dr. Paul Rardin (SATB), feeling of excitement. Thank you and Dr. Kevin Fenton (SSAA). Our conductors for giving me this opportunity of connected on a deep level with our students, and were a lifetime.”—Emilio Lopez Felix not afraid to touch on uncomfortable subjects that are • “Thank you so much, part of life for today’s teenagers, including issues of race, Resounding Achord, for helping violence in schools, and poverty. me pay for this Honor Choir trip. This event can’t be pulled off without the help of Being able to create music with many, many people! Thank you to the teachers who such a talented group of people volunteered to help at registration, especially those who and an amazing conductor was did part checks. Amanda Isaac nailed it as the JHS more than I could have wished chair for her first year, for by being in the honor choirs. and I look forward to our It has helped me learn about how partnership in the future. to be a better singer and hopefully a better Neither Amanda nor I conductor in the future.”—Alex Nguyen could have done anything without our amazing • “I am a recipient of the scholarship choir managers, who at all-state. First of all, a huge thanks to were with our students Resounding Achord for the fulfilling time and directors all weekend I had at all-state. Being able to sing with long: Christopher such amazing musicians and being able Borges, Monica Covitt, to learn from such an inspiring conductor Mary Purdy, and Mary such as Mr. Tesfa was truly one of the Stocker. To all the high best things that have happened in my life. school teachers who sent Thank you so much! I really appreciate students: thank you for it.”—Desh Padmakumar your hard work getting ABOVE: tesfa WONDeMAGegnehU gives his choir two thumbs up; ALL-State choir mem- your students prepared bers perform in concert. (photos courtesy If you’re part of an organization that for the weekend. of robyn peters) would like to sponsor any number of Last but certainly not students (even just one!), please e-mail least, CCDA is fortunate to have two sponsoring groups who me at [email protected]. For our students who provided 23 scholarships to deserving students for All-State. grow up in homes where finances are tight, the thought that Resounding Achord (Kristina Nakagawa, Artistic Director) someone they’ve never met would want to make a make provided 13 of those scholarships, and I am pleased and their dream come true will affect them in ways we can’t even proud to announce our newest partnership with ACFEA fathom. Tour Consultants (Hugh Davies), who provided the Until then….see you at Regional Honor Choirs in remaining 10 scholarships. Here’s what some of our student November and All-State next March!  recipients had to say about the experience:

Leading the Way Cantate • Vol. 30, No. 3 • Spring 2018 • 25 Why isn’t CCDA going to be at CASMEC 2019 in Fresno? by robert istad, lou de la rosa, and jeffrey benson

ASMEC, the California All-State Music Education honor choir students (the hotels downtown are reserved CConference, was born out of a convergence of circum- for band and orchestra students), no CCDA honor stances: a financial disaster that cancelled the CMEA choir rehearsal venues, and no CCDA concert venues State Conference, the largesse of the California Band aside from the honor choirs. CCDA would have had to Directors Association (CBDA) welcoming CMEA to commit to running a simultaneous conference perhaps join the CBDA State Conference in Fresno about eight three to eight miles away, spending too much time on years ago, and the desire on their collective parts to lure shuttle buses between interest sessions, concert sessions, CCDA to rejoin in the belief that we are stronger music and honor choir rehearsals. In short, no one would have advocates together than apart. been served. With a pressing need to confirm honor choir In 2016, the first year of the unified CASMEC conductors, CCDA withdrew from the move to Fresno. in San Jose, CBDA ended up losing $70,000 due to CBDA signed a three-year contract to be in Fresno unexpected high costs and a too-low conference registra- through 2021. In order not to compete with CASMEC, tion fee. Many CBDA constituents and board members we moved the All-State Honor Choirs to mid-March. clamored for a return to Fresno, where CBDA had been The CCDA State Conference and All-State Honor held for many years, and where the financial climate is Choirs will be held at San Jose State University in 2019 primed for good deals. Unfortunately, CASMEC has on a slightly smaller scale, and at a cheaper price than outgrown Fresno; in the past, CCDA provided only Pasadena, Santa Monica, or Long Beach could provide. interest sessions and the Choral Leadership Academy The CCDA Board remains committed to finding a (CLA). CCDA All-State Honor Choirs, which have way to return completely to CASMEC. In the mean- grown to four, were not a part of CASMEC until the time, we will continue to co-sponsor the CLA, and look 2016 conference in San Jose. forward to finding a way forward at the CASMEC Still, the return to Fresno was announced by CBDA Strategic Planning Retreat in early June 2018.  last June with no concrete plans for lodging CCDA

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26 • Cantate • Vol. 30, No. 3 • Spring 2018 California Choral Directors Association The Bob Cole Chamber Choir Jonathan Talberg, conductor

Winner Spittal International Choral Festival 2017 Best Choir Best Folk Choir

Winner the Welsh Eisteddfod “Choir of the World” 2016 Best Chamber Choir Best Folk Choir 2nd Place Youth Choir

Leading the Way Cantate • Vol. 30, No. 3 • Spring 2018 • 27 Send news of hirings, retirements, awards, News and notes commissions, premieres, collaborations, or projects to your regional representative from around the state or [email protected]!

NORTHERN REGION College Choral Festival on April 21 and which allows those who don’t want to will travel to compete in the World Choir drive at night to continue singing classi- Eric Seiler and the Yreka High School Games this July in South Africa. cal music. The choir presents one concert Vocal Ensemble will travel to New York each semester, with Randall Thompson’s in April to be a part of the King’s Sing- Contra Costa College’s vocal jazz Frostiana planned for April. The en- ers Reunion Concert at Carnegie Hall. ensemble, JAZZ-ology, performed as a semble has about 80 members, including headliner at Club Bonafide in Manhat- Art Huff, who recently celebrated his Ron Slabbinck, director of choirs at tan in April. 90th birthday. Art founded the CCDA College of the Siskiyous, will once again Summer Conference at ECCO in 1986. host a “Just Sing!” day, in which choirs CENTRAL COAST REGION share their music and then cap the morn- Ryan Clippinger of Arvin High ing off with a group number. The event Plans are in the works for the 20th School reports that in January nearly will feature Mount Shasta, Weed, and Annual Cuesta College Vocal Jazz 400 singers came together under the Yreka Middle Schools, as well as Mount Festival in November, featuring headlin- direction of Tammi Alderman for Shasta and Yreka High Schools. ers Groove 4Thought. This outstanding the annual Kern High School District professional group from Seattle combines Festival, “It’s a Grand Night for Music,” The Northern California Band and artistry and innovation to provide amaz- at the Rabobank Arena in Bakersfield. Choir Directors’ Association held its an- ingly “studio perfect” performances. nual Honor Choir event at Chico State They have received rave reviews from The Bakersfield High School Chorale University at the beginning of February. the likes of Ben Folds, Brian McKnight, and Alumni performed Vivaldi’s Gloria Dr. Jonathan Talberg was the guest Shawn Stockman, and more. The in February with full orchestra, con- conductor. Cuesta Vocal Jazz Festival started in ducted by Christopher Borges. BHS 1998 as a one day “workshop”; it has Alums come together every three to five Humboldt, Del Norte, and Trinity grown throughout the years to a two day years to produce concerts, share stories, and inspire younger students to keep counties presented the All County Music festival, and is now expanding to two Festival on March 16 and 17 at Arcata singing. stages. Dates will be announced soon. High School. The concert included bands, orchestras, and choirs at both The current BHS Choir President, middle school and high school levels. Dos Pueblos High School Vocal Jazz senior Emilio Lopez Felix, is the recipi- (Goleta) was selected to participate ent of the first annual Dr. Randi Carp The Eureka Symphony Orchestra and in the Next Generation Jazz Festival. Choral Music Education Scholarship, Chorus will perform Luigi Cherubini’s This festival includes middle school, presented at the CMEA Awards ban- Requiem at The Arkley Center for the high school, and collegiate groups every quet at CASMEC in San Jose. Emilio Performing Arts on May 18 and 19. March in Monterey and is sponsored says, “Through choir I have learned by the Monterey Jazz Festival. The how to communicate and to lead. I BAY AREA ensemble was very proud and excited to want to show others how music brings sing on the Next Gen stage. Courtney people together and lifts us up.” Director Jeremy Fox and Harmonic Conver- Anderson is in her third year of teach- Christopher Borges says that “Emilio gence collaborated with San Marin High ing at Dos Pueblos. has demonstrated the fortitude to carry School and San Marin School of the himself beyond anything we might con- Arts for a collaborative jazz concert on CENTRAL REGION sider challenging. He loves people and March 14. music almost equally, and in him and his The Stanislaus County Junior High passion to succeed I see the heart of the WomenSing offered a concert entitled “A and High School Honor Choirs per- American Dream.” Celestial Evening of Science and Song” formed in Modesto in January with guest at the Starlit Chabot Planetarium on conductors Molly Peters and Angel Mark Swope, choral director at Stagg April 14. Vázquez-Ramos, respectively. High School in Stockton, has initiated a unique and exciting choral event. Stagg The choirs of Saint Mary’s College In Fresno, Anna Hamre has a new Sings! brings together the school’s 400 (Julie Ford, director) hosted a NorCal afternoon community choir, Coro Solare, music students to sing in concert. In

28 • Cantate • Vol. 30, No. 3 • Spring 2018 California Choral Directors Association March the mega-chorus raised $1,000 in donations for the Bremer, Ray Woods, and Al Talberg. To their families, Wellness Center of San Joaquin County. friends, and colleagues we send love, sympathy, and support.

SOUTHERN REGION FAR SOUTH REGION

The University of Redlands will launch a Master of Music Carlsbad High School Choir and Orchestra are preparing in Vocal Chamber Music for September 2019. This program J.S. Bach’s Magnificat for performances with the MiraCosta will be led by Christopher Gabbitas of The King’s Singers, College Chamber Singers at MiraCosta’s concert hall on in addition to faculty members Nicholle Andrews and Friday, May 18. The choir will also be performing Morten Joseph Modica, with a focus on practical music-making and Lauridsen’s Les Chansons des Roses. The choirs at Carlsbad the commercial understanding of what it takes to be a profes- are also competing in the Southern California Show Choir sional vocal chamber musician. Circuit and attending several Concert Choir and Chamber Choir Festivals during the spring semester. Congratulations to all who participated in CASMEC and Western ACDA from the Southern region! Besides the San Diego Children’s Choir is wrapping up a successful featured choirs at ACDA, the following choirs contributed season with newly appointed Artistic Director Ruthie Mill- supporting performances: Kirk Choir of Pasadena Presbyteri- gard. Holiday season highlights included annual traditions of an Church (Timothy Howard); performing with the San Diego Beverly Hills High School Mad- Symphony and San Diego rigal Singers (Stacey Y. Kikka- Master Chorale in Noel Noel, wa); Los Angeles Urban Voices as well as providing the chorus Project (Leeav Sofer); Don for The Nutcracker with the San Benito Fundamental School Bob- Diego Ballet. Spring highlights cat Choir (Laura Pitts); Mar- include collaborations with Wes- shall Fundamental Middle School twind Brass, San Diego Chorus Choir (Jonathan Gould); and of Sweet Adelines International Gabrielino High School Concert (Kathleen Hansen), and Choir (David Pitts). the University of San Diego Choruses (Emilie Amrein). The Inner City Youth Orchestra Advanced ensemble choris- created a Service of Remem- ters are preparing for a trip to brance to commemorate the 50th ABOVE: Contra Costa College’s vocal jazz Scotland in July to participate in anniversary of the Assassination ensemble, JAZZ-OLOGY. the Stirling Bridge International of Martin Luther King, Jr. on Arts Festival. April 4. At the Dorothy Chandler Pavilion, a pre-concert event began at 6:01 p.m. (when Dr. In February, Escondido’s Center Chorale presented the West King was shot), with the formal concert beginning at 7:05 Coast premiere of Alec Roth’s A Time to Dance, conducted p.m. (when Dr. King was pronounced dead). This concert by Joe Stanford. Portions of the work were danced by Faith featured a West Coast premiere of the orchestrated setting of Jensen-Ismay and the Mojalet Dance Collective. TTBB multi-movement The Seven Last Words of the Un- armed by Joel Thompson—music that uses the final words The San Diego Master Chorale and Music Director John of seven African-American men who were unarmed when Russell recently hosted their second annual Honor Choir, killed by police and other aggressors. Performers included 80 featuring over one hundred high school singers from seventeen TTBB singers from the Greater Los Angeles area. schools in the greater San Diego area. The feature event of the day-long experience was combining the full membership of the In April, the USC Thorton Chamber Singers (Jo-Michael SDMC with the Honor Choir for a beautifully sung rendition Scheibe, director) presented Considering Matthew Shepard, of “Lift Ev’ry Voice and Sing,” arranged by Los Angeles- an oratorio/passion composed by Craig Hella Johnson. After based composer and conductor Zanaida Robles.  the performance, audience members were invited to a discus- sion between Hella Johnson and representatives of the USC Office of Religious Life and the LGBTQ community. Thanks to our Regional Representatives (Jenny Bent, Julie Ford, Polly Vasché, Carolyn Teraoka-Brady, Stacey Kikkawa, The Southern Region honors four people from our choral and John Russell) for collecting and sharing news from their family that have passed away: Ed Brahams, Donald areas! Send your news to your regional representative if you’d like to be included in a future issue.

Leading the Way Cantate • Vol. 30, No. 3 • Spring 2018 • 29 Top Five for your Choir: ETHNIC & MULTICULTURAL

e courageous—you can do it. And challenge is to add the movement (not a lot of “Bif you need help, I promise you, you different steps) and to perform the piece with will get it!” Dr. Christian Grases said those the right “spirit.” Use the video on YouTube of words to those in attendance at the Ethnic the Mcondece Choir performing for reference & Multicultural Music Reading Session (language and movement). during the 2018 ACDA Western Division Angel M. Vázquez- Conference in Pasadena, to encourage the Arr. David Hill Ramos, a native of participants to program more ethnic and Canto del Agua multicultural repertoire and leave behind the TTB Carolina, Puerto Rico, fear of tackling a new piece with a language Alliance Music Publications, AMP 0834 is Assistant Professor and musical idiom different to what we are I learned this piece from my colleague Dr. used to. and Director of Cho- Christopher Peterson. Sung in Spanish, it is During this reading session I felt especially fun and energetic, and it’s suitable for most ral and Vocal Studies challenged by two fantastic pieces: “Kaisa isa high school TTB choirs. Arranger David Hill Niyan” by Nilo Alcala, and “Leron, Leron at California State did a good job preserving the Joropo feel with Sinta,” arranged by Saunder Choi. I recognize a well-conceived piano part. University, Bakersfield. that I needed the same pep talk and I should also be more courageous as I look for reper- He teaches undergradu- Arr. Eduardo Lakschevitz tory. As with anything else, in order to start Sambalele ate courses in music feeling more comfortable with music from other SSA cultures we must dive in and spend more time education and cho- Colla Voce 20-96860 listening to, studying, and performing it. It has ral conducting, and never been easier to access ethnic and multicul- Sung in Portuguese, this setting of Sambalele is challenging and well suited for a SSA conducts the University tural choral music and advice or acssistance to perform it successfully. Be courageous! Here advanced middle choir. It utilizes two Brazilian Singers and Chamber are five selections you could easily incorporate folk songs (Sambalele and Balaio) as partner songs and includes a nice piano part. Singers. Before his ap- into your curriculum:

pointment to CSUB, Jacob Narverud Arr. Michael Barrett he served as Director Sisi ni moja Maginsondele Nkosi Yam SA(T)B SATB of Choral Music Santa Barbara, SBMP 1338 Santa Barbara, SBMP 1421 Education at Chapman This is a fun piece that could work well with According to arranger Michael Barrett, this University from 2010 middle or high school choirs. The text evokes piece is a “traditional praise and worship song universal values of empathy and unity. The from the Zulu culture.” The alto and bass to 2015. Dr. Vázquez- restrained ranges, descant section towards the solos create a call and response between them Ramos also taught end, and B(T) part make this piece accessible and the rest of the choir throughout the piece. and perfect as a great closer for your program. I really like this piece, because it is a different secondary choral music take on one of my favorite hymns, “Nearer My for seven years in Pinel- Jaime Chiphanga God to Thee.” Ranges are suitable for most high school choirs. If you are looking for a las County Schools in Ndiyende njirayi SATB terrific new a cappella work for your repertoire, the Tampa Bay Area. Earthsongs S-423A this is it!  Ndiyende njirayi is a short piece that is not hard to learn. It only has six different words to be mastered in Chinyanja. The biggest

30 • Cantate • Vol. 30, No. 3 • Spring 2018 California Choral Directors Association MMCC-Ad-Cantate-7.5x10-bw-Smr2018-outlined.indd 1 11/13/17 11:40 AM

Leading the Way Cantate • Vol. 30, No. 3 • Spring 2018 • 31 32 • Cantate • Vol. 30, No. 3 • Spring 2018 California Choral Directors Association Top Five for your Choir: MUSIC IN WORSHIP

hurch choirs come in many guises, each Stephen Sturk (b. 1950) Cwith its own strengths and weaknesses. Mass of the Angels (English & Latin) Some are fully amateur, others semi-amateur, Unison, Children’s Choir, Congregation, and some professional. Selecting repertoire for Orff Instruments, and Organ each of these scenarios can be a daunting task. [email protected] All church choirs, regardless of level, This setting of the Ordinary of the Mass by Ruben Valenzuela should spend some time with purely poly- San Diego-based composer Stephen Sturk phonic repertoire. Learning to absorb and is the founder and checks all the boxes as it cleverly uses singable understand the mechanics of polyphonic fragments from well-known plainsong masses, director of the Bach singing is an essential skill, even if a particular assigns the perfect balance of text and music choir’s repertory does not regularly include this Collegium San Diego to the choir and congregation, incorporates repertoire. All too often, choirs overlook the ostinatos by Orff instruments, and includes and the Director of vertical and horizontal implications of a par- congregational passages accompanied by the ticular writing style. Polyphonic singing gives Music and Organist organ. It is intergenerational music-making at regular attention to these parameters, which is its best! If your church does not use settings at All Souls’ Episcopal paramount to identifying and shaping musical of the Mass, consider using a movement as an Church, San Diego. lines and fostering autonomous singing. independent anthem. Here are five contrapuntal anthems that He has led the BCSD can be introduced, taught, and assimilated in Giovanni Pierluigi da Palestrina a short amount of time, and that will leave a in numerous Southern (c. 1525-1594) pedagogical imprint. California premieres of Sicut cervus SATB a cappella Historically Informed Johannes Brahms (1833-1897) www.cpdl.org Geistliches Lied, Op. 30 Performances of music SATB & Organ This motet distills the beauty and perfection from the Renaissance, Oxford University Press: 9780193851733 of Palestrina’s polyphonic language into an approachable style, with each vocal entry Baroque, and early This work offers an opportunity to discuss crystal clear from one part to the next. This canons, and general polyphonic singing within Classical period. He is short motet provides a great way of introduc- the beauty of Brahms’ musical language. The ing Palestrina’s musical language to a choir a member of the As- ravishing Amen at its conclusion is one of the looking for an introduction to Renaissance most beautiful you will encounter from this sociation of Anglican choral music. period. If the German is an obstacle, do not Musicians, the American hesitate to use the English translation provided Healey Willan (1880-1968) Musicological Society, by the edition. Fair in Face (from Liturgical Motets) SATB a cappella the American Bach Stephanie Martin (b. 1962) Leslie Choral Series: L4152 Society, the Herbert O Sacrum Convivium Biretta Books (www.birettabooks.com) (from Four Motets) Howells Society, and SATB a cappella This is one of Willan’s lesser-known motets, characterized by his unmistakable harmonic the American Guild of Cypress Choral Music: CP1254 language rooted in polyphony, a penchant Organists, and he holds Toronto-based Martin offers these motets that for modalism, and the influence of plainsong. are beautifully crafted, with clear voice leading a PhD in Musicol- These three characteristics give this motet a and individual parts that are satisfying to sing. sense of graceful flow and mysticism. The ogy from Claremont All four motets (Ave verum corpus, Sicut beautiful text, taken from the Office of Our Cervus, O Salutaris Hostia, and O Sacrum Graduate University. Lady, is the perfect catalyst for Willan’s acces- Convivium) are of practical value to liturgical sible yet profound musical language.  choirs, but they can be used in various settings as needed.

Leading the Way Cantate • Vol. 30, No. 3 • Spring 2018 • 33 choral& sacred at the universitymusic of southern california thornton school of music

2018 CHORAL LEADERSHIP WORKSHOP Tesfa Wondemagegnehu, guest clinician Saturday, October 20, 2018

For registration info, call (213) 821-5756 or email [email protected]

RECENT PERFORMANCES DEGREES OFFERED World Choral Symposium, Seoul, South Korea Choral Music BA, MM, DMA ACDA National & Regional Conventions Sacred Music MM, DMA National Collegiate Choral Organization, Colorado & Oregon Craig Hella Johnson’s Considering Matthew Shepard APPLICATION DEADLINE Performances with the Rolling Stones, Sir Elton John, Barry Manilow DECEMBER 1, 2018 UPCOMING EVENTS, 2018-19 Fall 2019 Admission for freshman, transfer, and DEC 8 Winter Gala, Bovard Auditorium/USC, 7:30 PM graduate students APR 14 Morten Lauridsen’s Lux Aeterna, Walt Disney Concert Hall, 7:30 PM Financial packages available APR 27 Mozart’s Requiem, Alex Theater, 8:00 PM for undergraduate and transfer APR 28 Mozart’s Requiem, Royce Hall, 7:00 PM students Teaching assistantships and FACULTY scholarships available for Jo-Michael Scheibe, chair Alvin Brightbill Professor Emeritus graduate students Nick Strimple Ladd Thomas James Vail Cristian Grases Lisa Sylvester David Wilson Morten Lauridsen Lynn Helding Tram Sparks Suzi Digby Mary Mattei

visit music.usc.edu/choral

34 • Cantate • Vol. 30, No. 3 • Spring 2018 California Choral Directors Association Top Five for your Choir: COMMUNITY CHOIRS

ommunity choirs have a luxury in that the Johnny Mercer & Henri Mancini, Centire world of repertoire is open to us: arr. Steve Zegree sacred, secular, heart-stopping, moving, and The Days of Wine and Roses even silly. Two years ago my group toured to SATB a cappella Ireland, where we had the opportunity to hear Alfred Music 41609 a true Irish tenor singing some of his favorite While not specifically a drinking song, old songs in a pub. It was magical. After that Kristina Nakagawa is “The Days of Wine and Roses” gave us an experience, a few of my singers came to me and opportunity to show off some soloists and have the Artistic Director said, “What if we did a whole concert of drink- a slow moment in an otherwise excitable and ing songs?” I couldn’t think of any reason why of Resounding Achord, rousing program. Mercer and Mancini won we couldn’t, and we even took it a step further the Academy Award for Best Original Song and has been performing and performed our two concerts in actual beer in 1963, and the song is truly timeless. Those and directing in the Sili- halls. The audience had food and drinks while familiar with Steve Zegree know that his jazz we sang, and nearly 30% of the people who con Valley for the past and standard arrangements are perfectly acces- attended had never heard us before. Genius! sible for all types of choirs, not just those with a 15 years. She previously I hope some of these ideas might spark some jazz focus. innovative programming for you. conducted at Pinewood Trad. Sea Shanty, School in Los Altos Arnold van Bruck arr. Stephen Hatfield So trinken wir alle and served as Assistant All for Me Grog SSATB a cappella SATB a cappella Conductor for The Chester Book of Madrigals No. 6; Boosey & Hawkes, Inc. 48005056 Chester Music 14025419 Choral Project in San The lyrics “All for me grog an’ tabacca!” are Arnold von Bruck (c.1500-1554) was a José. Before settling in repeated more than 20 times, and after repeat Franco-Flemish Renaissance composer. 5 or so, the entire audience had joined in with the San José area, she Most of his works were sacred in origin, and us, drinks and voices raised together. This folk despite living in the land of Luther during the conducted two choirs song also gives choirs an opportunity to try on Reformation, his posts and positions seem to a different style of tone—brighter and more at UC-Irvine. She holds indicate that he remained a Roman Catholic rustic—than our beloved bel canto legatos. a Bachelor of Music for his entire life. This lively piece in German sings to the virtues of fine wine and ends with a Trad. Finnish, arr. Jonathan Rathbone degree in Vocal Perfor- rousing “Trinks gar aus!” on each verse, which Sakkijarven Polkka mance from UC-Irvine, translates to “just drink it!” It was the perfect SATB div. a cappella opener for our concert, and would be a wonder- C.F. Peters EP77038 and a Master’s degree ful selection to uplift your audience and wake When singers first look at the sheet music for in choral conducting everyone up! this polka it is incredibly intimidating. However, from San José State F.J. Adams, arr. Robert de Cormier it is quite repetitive, and with dedicated prac- University. There is a Tavern in the Town tice, can easily be performed by an intermediate SATB a cappella to advanced high school ensemble. The cost per Theodore Presser Co. 392-02559 copy is high, but I can guarantee that it is worth the investment. The interplay between the voices This piece plays back and forth between the offers incredible opportunities for movement treble and bass voices, offering some classic and characterization, and the bass solo toward opportunities for movement and melodrama. the end of the work gave us the perfect “drunk Fans of the cartoon Animaniacs and the chil- uncle” moment!  dren’s nursery song “Head, Shoulders, Knees, and Toes” will instantly recognize the tune.

Leading the Way Cantate • Vol. 30, No. 3 • Spring 2018 • 35 Top Five for your Choir: SHOW CHOIRS

e have access to such a treasure of litera- can have a positive effect on tomorrow and that Wture, it’s hard to know which direction they can take with them the lessons of today and to go in programming our performances. From yesterday. classic theater music to contemporary popular Be sure that you include opportunities in Since 1980, Bill Zinn song, we have the world as our oyster. your choral program for students to encounter I know that many in CCDA are “classical” music that speaks to them today, whether it be a has dedicated his musicians. What’s not to like in the great 16th-century motet, musical theater, or the latest professional life to the standards of choral music? From Carmina a cappella stylings. It will shape tomorrow! Burana to Messiah to Palestrina to the legacy of Here are five songs that speak to me now. Sacramento area’s musi- the Christiansens, we are rich in choral culture cal community. He has throughout the history of mankind. Sara Bareilles, arr. Mac Huff Still, we should not neglect the impact that Opening Up (from Waitress) performed as a member popular music has had on American and world Hal Leonard 00209811 (SATB) and Assistant Chorus culture. Recently, in viewing the PBS recogni- Also available for SSA and SAB Show Trax CD, Rhythm Section parts Master of the Sacra- tion of Tony Bennett for the 2017 Gershwin Award, I felt myself being washed in American mento Opera Chorus, song culture. Show Choir is the natural expres- Justin Paul, Benj Pasek, arr oger merson and he sings with the sion of American popular and theater music. . R E Who among us hasn’t marveled to Lin Manuel- Waving Through a Window Sacramento Master Miranda’s Hamilton? Doesn’t West Side Story (from Dear Evan Hansen) Singers. Bill has taught hold a place in your heart? Surely The Sound of Hal Leonard 00233506 (SATB) Music lives in each of us! Also available for SAB and 2-pt. in the Davis Joint Uni- Our students deserve to know this rich Show Trax CD and rhythm section parts fied School District history of song. American musical theater and popular music have driven and responded Sting, arr. Greg Jasperse since 2003, and in to social change as long as there’s been an Fields of Gold (a cappella) 2002 he was awarded America. South Pacific raised the curtain on Hal Leonard 08748893 prejudice. Porgy and Bess opened many eyes Music Teacher of the to the reality and beauty of African-American Benj Pasek, Justin Paul, and Justin Year by the Capitol culture. Folk and rock music in the 1960s made Hurwitz, arr. Jacob Naverud Another Day of Sun (from La La Land) Section of CMEA. our nation look injustice, poverty, and war in the face. The list goes on. Alfred 00-46485 (SATB) Our nation’s future depends upon the young Also available for SSA and SAB people of today. While you’re teaching them SoundTrax CD proper vowel formants, breath support, and cho- ral diction, don’t forget to educate them in the Justin Paul, Benj Pasek, music of America’s history and introduce them arr. Roger Emerson to the quality found in the best contemporary You Will Be Found (from music of the day. We are touching the hearts of Dear Evan Hansen) the future every day. Make sure that the future Hal Leonard 00233554 (SATB) reflects the experience that got us here. Also available for SSA and SAB Show Trax CD and combo accompaniment knew going into this school year that I would parts  I be retiring in June. I selected the music for my choir’s Annual Cabaret Dinner with all of this in mind before telling them of my plans. I want my students to know that they connect the past to the future through their experience together and with me. I want them to know that they

36 • Cantate • Vol. 30, No. 3 • Spring 2018 California Choral Directors Association SONOMA STATE UNIVERSITY DEPARTMENT OF MUSIC at the Green Music Center

ENSEMBLES Symphonic Chorus Concert Choir Santa Rosa Symphony Symphonic Choir Opera and Music Theatre Productions Music Theatre Scenes Workshop SUMMER PROGRAM Chanticleer in Sonoma

MASTER CLASSES Master class opportunities with world-renown vocalists from the Green Music Center performance series AUDITION DATES November 10 Dr. Jenny Bent January 26 Director of Choral Activities March 9 Choral Director, Santa Rosa Symphony Program Director, CHANTICLEER in Sonoma [email protected] www.sonoma.edu/music

Leading the Way Cantate • Vol. 30, No. 3 • Spring 2018 • 37 CCDA BOARD Directory

EXECUTIVE BOARD REPERTOIRE & RESOURCES

President REGIONAL YOUTH Community Choirs Robert Istad REPRESENTATIVES Kristina Nakagawa (562) 822-5952 Children’s & (408) 205-6050 [email protected] Bay Area Community Youth artistic@ Julie Ford Kimberly Nason resoundingachord.org President-Elect (925) 631-4670 (949) 472-6492 Jeffrey Benson [email protected] [email protected] Music in Worship (408) 924-4645 Central Ruben Valenzuela jeffrey.s.benson@ Junior High & Middle (760) 715-7956 gmail.com Polly Vasché School [email protected] (209) 526-9692 Susie Martone Vice President [email protected] [email protected] Professional Choruses Lou De La Rosa Central Coast Molly Pontin (408) 206-7192 Senior High School (714) 662-2345 l.delarosa.wvc@ Carolyn Teraoka-Brady­ Tammi Alderman (805) 689-­ 1780­ [email protected] gmail.com (626) 299-7020 x3615 cteraoka-­brady@ [email protected] REPERTOIRE-SPECIFIC Membership & sbusd.org Development Far South COLLEGIATE Contemporary Commercial Lori Marie Rios John Russell Choirs (818) 679-7463 College & University (917) 686-0110­ William Zinn [email protected] Buddy James (916) 601-4175 [email protected] (510) 885-3128 [email protected] Treasurer Northern buddy.james@ Chris Peterson Jenny Bent csueastbay.edu Ethnic & Multicultural (657) 278-3537 Perspectives [email protected] [email protected] Two-Year College Angel Vázquez-Ramos Southern Arlie Langager (714) 305-1087 Executive Administrator/ (858) 774-­ 0412­ Stacey Kikkawa [email protected] CCDA Office [email protected] [email protected] Kathleen Preston Men’s Choirs 921 N. Harbor Blvd., #412 Student Activities Gavin Spencer La Habra, CA 90631-3103 Josh Palkki (530) 241-4161 (202) 679-3350 (657) 217-0767 [email protected] josh palkki csulb edu [email protected] . @ . Vocal Jazz LIFELONG Michelle Hawkins EVENT CHAIRS (650) 738-7134 Choral Composition [email protected] Summer Conference CCDA State Conference David Montoya at ECCO Colleen Chester (626) 419-8031 Women’s Choirs Jeffe Huls (707) 291-9059 [email protected] Tina Peterson [email protected] colleen.p.chester@ (562) 453-9681 gmail.com [email protected] CLA Coordinator Willow Manspeaker wmanspeaker@stevenson- school.org COMMUNICATIONS

All-State Honor Choirs Cantate Editor Webmaster & Social Media Coordinator Molly Peters Eliza Rubenstein Graphic Design Jason Pano (213) 880-7597 [email protected] Anthony M. Lien (408) 768-0733 (530) 758-5896 [email protected] cantate.editor@ [email protected] gmail.com [email protected]

38 • Cantate • Vol. 30, No. 3 • Spring 2018 California Choral Directors Association Follow your passion!

       Bachelor of Arts Dr. Jeffrey Benson, Concert Choir Bachelor of Music director of choral activities Choraliers in Performance [email protected] Vocal Jazz Ensemble Bachelor of Music SJSU Choirs Treble Choir Education SJSU Choirs Spartan Glee Club Master of Music in @SJSU Choirs Choral Conducting Opera Theatre sjsu.edu/music Summer Masters Degree in Music   Education    July 16–20, 2018 sjsu.edu/music/ choralworkshops

Leading the Way Cantate • Vol. 30, No. 3 • Spring 2018 • 39 California Choral Directors Association 921 N. Harbor Blvd., #412 La Habra, CA 90631-3103