MAY 2002 CHORAL JOURNAL

Musical Influence and Style in the Choral Music of Steven Sametz by Douglas R. Boyer

Interactive Article - www.acdaonline.org/cj/interactive/may2002

Editors note: Many of the musical figures for this article and Princeton Singers, and has been guest conductor for such groups additional sound clips can be viewed and heard on our Web site as the Netherlands National Radio , Taipei Philharmonic, . Santa Fe Desert Chorale, Berkshire Festival, and the New York Chamber Symphony. 2 Perhaps best known for his composition I Have Had Sing­ Sametzs substantial output includes fifty choral works, fif­ ing, made famous by the male vocal ensemble , teen solo vocal works, a choral symphony, a chamber opera' and Steven Sametz is becoming recognized as a composer of con­ numerous orchestral and instrumental works. This article ex­ siderable depth and creativity. His compositions have been plores his musical influences and compositional style as seen in heard throughout the world: the Tanglewood, Ravinia, his choral music. Salzburg, Schleswig-Holstein, and Santa Fe music festivals. Such ensembles as Chanticleer, the Dale Warland Singers, the Musical Influences Sametz (b.1954) grew up in Westport, Connecticut, in a Santa' Fe Desert Chorale, the Philadelphia Singers, the Pro home filled with piano music. His father and older brother Arte Chamber Choir, and the Princeton Singers, among oth­ played the piano. The six-year-old Steven began imitating his ers, have commissioned his works. His first symphony, older brother at the keyboard. He recalls this memory: Carmina amaris, premiered the spring of 2001 to rave re­ views! and immediately captured the attention of one of his I started playing and writing on my own early in life. Les­ publishers, Oxford University Press. sons didn't start until I was ten, but I was writing pieces Sametz is an active educator and conductor. He is professor before then. So much of what I leaned was from having of music and director of choral arts at Lehigh University, good examples: I had a very good education, but much of it Bethlehem, Pennsylvania. He recently established a summer was absorbing the respect and diligence my teachers showed' choral school at Lehigh with Oxford University Press, which for the making of the music rather than the talking about focuses on composition and choral conducting and allows it. And it ended up being fun. How could one possibly not student interaction with such composers as Chen Yi, Alberto want to spend one's life doing this?3 Grau, and Libby Larsen. He serves as artistic director of the He also started singing early in his life. He remembers the Douglas R. Boyer is director of choral activities at Texas impact this made on his life, which eventually influenced his Lutheran University in Seguin, Texas, and director of music mUSIC: ministries at St. Andrew's UMC in San Antonio, Texas. I am a poster child for giving good literature to school chil­ dren. When I was in the fifth and sixth grade choir, I can

VOLUME FORTY-TWO NUMBER TEN 21 CHORAL JOURNAL MAY 2002

remember being endlessly fascinated ing a year abroad studying conducting tered at the University of Wisconsin was by the overlapping imitative lines with . During his years Catherine Comet. His orchestral conduct­ in singing Purcell's Sound the Trum­ at Yale, he worked as assistant choirmas- ing studies with Comet shaped his ap­ pet-all that weaving in and out ter at St. Paul's Episcopal Church in proach to score study and preparation. and no crashes! And the rhythmic Norwalk, Connecticut. He didn't know She required an in-depth and detailed drive of the words that union of lan- at the time how much this experience analysis of a work before they were al­ guage and counterpoint set me up would influence his music. It was in this lowed to step near the podium. Every for a lifelong love of choral po­ post that he was introduced to high week Sametz and his fellow students lyphony.4 church Christian liturgy for the first time. would be up in front of the This young, Jewish man found himself conducting the works of Stravinsky and By the sixth grade Sametz was accom- fascinated by the theatre of the Christian Ravel from memory. Comet's integrity c p-a::nyin-g~tlte-cltoica:.tya.~I5Ttl:re-ninm-graue cnurclf:-tl:re-music;-incense;-l5ells'Taiment;==ana.=el:rorougnness-ofpreparafion--were an he was arranging pieces for the group. He and fire. 6 inspiration to Sametz. He still does analy­ credits the excellent public music school From Yale he followed his mentor, ses based on the study methods instilled program in Westport and his teachers for Robert Fountain, to the Univer~ity of by Comet.8 the numerous opportunities he experi- Wisconsin-Madison, where he received Sametz's compositional training in­ enced in high school. Arranging Bach in- an MM and DMA degrees in choral con- cludes a brief study at Yale and with pri­ ventions for strings, arranging carols for ducting. Saffietz learned much of what he vate teachers during his stays in Europe. the choir, and writing woodwind pieces knows about conducting from Fountain Similar to his piano and conducting ex­ for his friends were just a few of the op- by singing in his ensembles. Singing un- periences, composition is another musi­ portunities he experienced in the ninth der Fountain was a revelation for Sametz, cal area he believes he learned more by grade. By the eleventh grade, he was com- because he was able to experience the observing, studying, and osmosis than by posing original pieces for the choir and exceptional sense of line in his conduct- classroom training or compositional men­ serving as student conductor.5 ing, the real independence of hands and tors. Sametz views himself foremost as a His music education continued at Yale his beautiful left-hand technique'? conductor. Starting in high school, he University, where he earned a BA follow- Another influential teacher he encoun- began composing and arranging out of

Summer Choral Holiday "It is the mix ofyoung and old, amateur and professional-united in a deep love of choral muslc­ that gives the Green Lake Festival of Music choral week . its special character... " I -Sir David Willcocks Emory University July 14-20, 2002 Sir David Willcocks, Jonathan . in Atlanta ...... Willcocks, conductors Paula Rockwell, Kirin Nielsen, Master of Music in ..Choral Condu~ting .. ' vocal clinicians Master of Sacred Music in Ch~ral>Conductihg EE~lt;I~t~&~~~gi!J~?:~·i?lli~JalI2.~I~~&£~~~tl • English Evensong service Eric Nelson, Director of Choral Activiti'es . , • Final concert with orchestra National and InternationaJTollrmg Opporrunities • Durufle Requiem For information contact: EMORY • Haydn Lord Nelson Mass Director of Graduate Studies Department of Music, Emory University www.greenlakefestlval.org Atlanta, Georgia 30322 404.727.6445 PO Box 569 http://www.emory.edu/MUSIC ....~..A~ ..~ Green Lake, WI 54941 \8J GREEN LAKE 800-662-7097 FeMMi4il OF MUSIC [email protected]

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[ill] Figure 1. Wonderous Love fiJi I I I I I I I I I I I I

v v v v .. ., ., ~JlI I I .. .. to send so great a ~ift? 0 my soul, 0 my soul! ~at won-drous I~ve is this, 0 my soul! [ •AJI hU"

eJ l send -so great a gift? 0 my soul, 0 -my soul! What won-drous love is this, 0 my soul! A .. - eJ caused the Lord of bliss to send -so great a ~ift? 0 my soul, 0 -my soul, ~hat won-drous I~ve is this, 0 my n .p. ? ,., n : I' sing! While mil - lions join the psalm I will sing! I ~ 1 1 1 1 I I 1 I I 1 1 I I 1 1

., .. -I .. l--r r\./-1 r r r r -I I F" n 1 ? n n

necessity for specific performances: tional harp and optional congregational participation. He structures the piece as a I think there is something impor­ Sametz has developed a ; four-voice canon with the unison men tant in the fact that I've never writ­ and optional congregation, singing an ten a'piece that I haven't heard. And unique compositional augmented version of the melody. Fol­ I almost always write for a perfor­ lowing a handbell introduction stating mance. I'm conducting, I have a voice supported by an the full tune, he sets the first stanza for program with a hole in it and I need first sopranos and handbells. With each a piece, then I will just write the underlying desire to subsequent stanza Sametz adds an addi­ piece. I've never thought of it as . tionallayer of melody until the full com­ what I do principally. It's an inter­ convey meanzng, , bination of the voices sounds like the esting thing that these days people pealing of bells as in figure 1 are beginning to think of me as a understanding, and . Although the resulting har­ I'm a practicing musician that emotional experience to monies created by this layering of voices writes for the performance.9 are beautiful, the ear is drawn to the lin­ listeners. ear melodic statements. Now that some thirty years have passed The influence of his liturgical experi­ since those first high school compositions, ence is displayed in many of his composi­ Sametz has developed a unique composi­ tions. He is drawn to setting medieval tional voice supported by an underlying for SSATB choir and handbells, with op- and early texts (e.g., Two Medieval Lyrics, desire to convey meaning, understand­ ing, and emotional experience to listen­ ers. Compositional Style The Kodaly Institute at Many of the musical influences dis­ cussed above have become an integral Capital University part of Sametz's compositional style. His Developing excellent teacher fascination with line, which began with musicians for the classroom his first choral singing experience, is evi­ dent in many of his pieces. He seems far more concerned about the horizontal na­ Master of Music in Music Education with Kodaly Emphasis ture of the line than the resulting vertical Applications being accepted for the three-swnmer program sonorities, or harmonic palette. The most straightforward and clearest example of Summer Kodaly Course July 15 - August 2, 2002 this approach is his arrangement of the Teacher resource materials and all KCA materials available. Contact Sandra Mathias, Southern American hymn Wondrous Love Capital (614) 236-6267 • [email protected]

VOLUME FORTY-TWO 23 NUMBER TEN CHORAL JOURNAL MAY 2002

[Q] Gently flowing 0 =20 Figure 2. jOh llama de amor viva! pp ,I"", of! J=60 S .., Oh! IIJllI: J=60 I A .., <; -& Oh! = -p t· -6-. ~t· :6l: 11 t· -6- r r din r din din PP[u]

J=40 PP I I I I I I "'" of! T .., - I" 7 I" ;:p4U [u] ...... : Bar. din din din din din din din din din din din din din din din din din din din din din si est do - lor _ si-cut do - lor _ me - us J=100 : B , I I I I [u] *"din"s are small accents inserted into the tutti legato [u]

Noel!, del nacimiento, jOh llama de amor llama de amor viva!, Carmina amoris). He The diverse texts, dramatic movement, viva!-A Mystical Vision ofSt. John ofthe incorporates bells and vocal bell sounds and overall structure of the work are uni­ Cross, and his choral symphony Carmina (e.g., I Have HadSinging, Dudaryku, W&n­ fied by the presence of the chant, Victimae amoris). He uses chant as a melodic and drous Love, and Ngam Sang Duan). Fi­ paschali laudes, throughout the work. structural element (e.g., Magnificat, jOh nally, he exploits the spatial elements of a Sametz speaks about the chant and his room to assist in communicating text use of it in this work: and meaning (e.g., in time of Carmina Amoris, and Magnificat). Victimae paschali laudes, one of the jOh llama de amor viva! A Mystical most ancient chants in western lit­ Vision of St. John of the Cross displays a erature, is the sequence for Easter number of these influences. This ex­ Sunday. As such, it is a triumphant tended unaccompanied work was com­ expression of faith. The chant, while missioned by Chanticleer in July 1985 not obviously apparent in much of and subsequently recorded. The text is the piece, forms the underlying Kodaly Certification Program drawn from a number of early sources: a thread through the work It is inte­ July 13 • July 26, 2002: Levell (of three) poem of St. John of the Cross, the words grated into the villancico, appears July 7 - July 26, 2002: Levell! of a traditional villancico, and selections in the second section as a hidden Loyola College in Maryland (Baltimore, MO) from the Liber usualis. These texts com­ motive, and forms the basis of the A.K.I. Faculty: bine to form a sensuous, dramatic, and fantasia portraying the ecstatic vi­ Amy Branum Huggins, Betty Bertaux, emotionally powerful libretto. Sametz sion. And as a final affirmation, it Director Assistant Director states that he tried to express the episode is heard in its most direct form to Laurdella Foulkes-Levy Robbin Schaffer of imprisonment in St. John's life close the work!! Private instruction in Voice and Conducting may be arranged. Graduate, Inservice and The work is programmatic. It opens The fantasia in figure 2 demonstrates The A.K.I. curriculum follows O.A.K.E. guidelines for Kodaly certification programs. three-line poem which St. John again Sametz's love ofline. Using the chant heard from his cell. (I am dying of as the melodic line, he proceeds to layer it For More Information: love/My darling, what shall I do?/ beginning in the bass, followed by the The American Kodaly Institute You shall die, alas!) Then follows a tenor, augmented in the alto, and subse­ 100 East Pennsylvania Ave., Suite 202 Towson, MD 21286 tortured section depicting the quently abridged in the soprano. The Phone: (410) 494-1480 * Fax: (410) 494-4673 circumflagellation; the villancico re­ polyrhythmic nature of the fantasia pro­ E-mail: [email protected] Website: www.ccmsings.org appears, yielding to a soothing, vides a sense of groundlessness, an aura of polyrhythmic fantasia evoking the other worldliness. Again, the listener is vision of the Blessed Virgin, this in­ drawn not to the resulting vertical sonori­ spires the setting of the actual poem, ties, but, rather, to the weaving of lines, which is the body of the work!O the horizontal flow of the music. Interest-

VOLUME FORTY-TWO 24 NUMBER TEN MAY 2002 CHORAL JOURNAL

J =64 (Hushed and still throughout, very sustained) Figure 3. Peace on Earth Small soprallo group ""'" ... pp - r- are firmly r r I ,~3~ ,.-3--;;! ,:"3~"",,. ~~ grounded in B~ major. Only once in these j", " ,,-: ~ three measures do the voices leave B~ to I I II I 1 III II I touch C major and return to B~. When :[: asked about these compositional traits, : Sametz responded: '-'~ (-16') * The printed B-flats ill the orgall should be soullded by addillg a 16' stop to the 8' stop at those pitches.

NUMBER TEN VOLUME FORTY-TWO 25 CHORAL JOURNAL MAY 2002

Internal rhymes and end-rhymes are "(when time from time shall set us free)." forgetting why, remember how present throughout with half-rhymes in The words "forgetting" and "remember," stanzas three and four. In addition to the found in line three of each stanza, alter­ in time of lilacs who proclaim meter and rhymes, phrase and word rep­ nate with each presentation, creating a the aim of walcing is to dream, etition are also important syntactic ele­ haunting sense of memory to the sound remember so (forgetting seem) ments of the poem. The phrase "in time structure of the poem. in time of roses (who amaze . of" begins each stanza with the exception in time of daffodils (who know our now and here with paradise) of the last, where a release from the con­ the goal of living is to grow) forgetting if, remember yes straints of time occurs in the second line in time of all sweet things beyond whatever mind

and in a mystery to be HEARFoNESTM (when time from time shall set us free) because great singing forgetting me, remember me 14 should be Form fun! The overall musical form is defined by the meaning of the poem. A metaphor of Why settle for ordinary? flowers blooming at their appointed time Go for the Gold! just $29 is used in the first three stanzas to convey (less in quantity) the different stages of our lives. The fourth www.hearfones.com N EXT E P 888-886-9312 stanza dispenses with the flower meta­ Visit our Website and see why others are listening phor; however, it retains the text "in time

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VOLUME FORTY-TWO 26 NUMBER TEN MAY 2002 CHORAL JOURNAL

Figure 5. in time of G Major; however, the horizontal nature of the choral phrases suggests an alternate approach to analysis. The insistent B sus­ .~ 10 ~SrB ~@B ~ tained in the antiphonal organ through­ in time of daf fo - dils (who know out the first and third sections, combined with the repetition of B in the voices, establish it as the tonal center by means of assertion. In fact, B is the only pitch presented by the instruments within the first eight measures. Structurally, the B serves as an axis on which the chordal in time of ro ses (who maze)

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VOLUME FORTY-TWO 27 NUMBER TEN CHORAL JOURNAL MAY 2002

DIRECTOR OF MUSIC/ORGANIST Table 1. Chordal movement on B Axis, in time of Part·time position for 350· member church. Choral and bell A A choir direction, weekly worship F# F# F# service, appreciation for variety D D D D of musical styles. New Allen Renaissance organ. Send resume B Axis - - - - - B ------B ------(B) ------B ------B - - - - - B Axis and references to Carolyn G Kramer, Linden Heights United E Methodist Church, 9914 Harford c= =Roadf=ea[k.viILe,=MD~2.:I,_2_3~oJ:_ =1======I"e.~· B' .1'>' E' B' "'·~==I=== fax to 410/668.6485 G maJor- -llllhor-JYmaJor= =mmor= =mmor'7- (B in instruments) B minor?

oscillations move. (Table 1) Sametz combines his love of line with The work begins with the instrumen­ his desire to express an intangible sense of Finest Fabrics Including Permanent Press and Wash & tal presentation of B, the axis. Voices en­ stillness effectively in the second part of Wear. Superior Quality. Free Color Catalog and Fabric Swatches on ter on G major and travel on this axis, as this piece. Here he writes a canon that Request. Guaranteed Satisfaction. the piece unfolds, through the chords travels among the treble voices of three Toll Free 1·800-826-8612 shown in Table 1. As the piece develops, choirs. This is the only instance through­ these phrases, or blocks of sound, appear out the work where all the instruments HEGENCY in the different choirs creating variations are silent, leaving the· unaccompanied _"41:;a~'ct·iV.'f@6t._ P.O. Box 8988·CJ of texture and compelling aural and spa­ treble voices to aptly express the text of Jacksonville, Florida 32211 tial effects. stanza four. This is the stanza of transi-

VOLUME FORTY-TWO 28 NUMBER TEN MAY 200,2 CHORAL JOURNAL

tion; the flower metaphor is abandoned the voices, continues here, as does the use ing and experience to the text. Especially and the poet speaks of "all sweet things ofB as an axis. effective is the repetition of the text "for­ beyond." The horizontal structure of this This limited harmonic palate and re­ getting me remember me," shared among portion of the composition supersedes any petitive phrase structure walk the line be­ the choirs in part three, as in figure 7 vertical discussion of harmony. The tween stillness and contrast; however, they . In live performance, when the

[@] Figure 7. in time of -:/",. SAl v ,-,u r t r:::::=:u ~ I ~ t ~'-'U r ~ f:::::=:fj ~ I ~ t ~'-'U r Pf:~ __ re - mem - ber me for-get - ting ~ re - mem - ber me for-get - ting;;;;;--;--- re-mem-ber me __ r"""'l I J:------.r"1 I: r"""'l I J:------..r-, I: r""'1 : h ~ ~ h ~ ~ I~ i:---=-- TBI : t- '-'W 1 ~ I ~ V V ~W 1 ~ I L.-J V V ~UTVl' __ re - mem - her me for - get - ling me re - mem - ber me for-get - ting me re- mem-ber me __

"A ~ lIP 1 r"""'ll 1""""1 I. SA2 - v 1 I-JI U'-'U r= Porn - u~r for - get-ting me re - mem - ber me ---J lIP I I j"j",J-1 lIP I jj"L-=-_ J I : TB2 , I I I -- re - ~em - b':'""me re - ~em - b~me re - '"'''' 1""""'1 1 I P CCI v '-'CJ' r~r p ~ ~v~'r ~ ~ U~;v' __ to be __ for - get - ting m~ re - mem - ber me_

A" lIP I r"""'ll 1"""'"'11 1 CC2 - f.t! 1 UI for - get-ting me ge~R:r c~r --.;;- 'A" --:;--- .. "'~ ~ ,.-.., Vn.l - t!

A" ~ -;;; Vn.2 - - oJ '--' - - - -{2. $L' t;"'~' It: !: ~. t: t:-- " ... ~~~. ffi ~ It; t:' Vn.3 v A -:::-- .....--. "" .---:- Vn.4 . - ,oJ JTJ ~~,.. ~# " ... ~ '" "I I /!-11'-

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VOLUME FORTY-TWO 29 NUMBER TEN CHORAL JOURNAL MAY 2002

'choirs are separated, this traveling state­ tween movement and stillness. This elusive search for stillness through ment is like a memory returning again There is very little compositionally music is a recurring theme for Sametz. and again from different places in the in terms of notes and contrast. The He finds power in stillness. He frequently mind. Text, meaning, and music have layering of sounds and texture and travels to the East to explore the intro­ been closely wed with great skill and care. the balance of structure over eight spective, meditative aspects of the East- When asked about that line between or nine minutes provide a sense of ern culture. It is through this exploration stillness and contrast with regard to in entering, dwelling in, and coming and, ultimately, the discovery of our in- time oj Sametz responded: through an experience that, I hope, ner selves that has the power to lead to a reflects the life journey of the po­ sense of peace. Music and this search for I think in time o/finds that line be- etry.15 stillness are closely related for Sametz. In creating and recreating music, he believes F======~==~====~~~~~~~~~~~~~~~====~~~~l=~=rn~e-have~e-opporrfinity~o=sen~e~~ur~n~-======ner lives. 16 Sametz speaks about the power of music:

It ties in to Dryden's line about music as the "Soul of the World." As soon as you try to talle about it, ·;·····Thursclay;··Jmie.·20;~·suMay,···June·23,· 2002·· though, it evaporates: describing the ,.;.: , ..,,-'. "'" experience is wholly different from ·Lemn.the basicSofbtJildingand··iu~porting; •. having the experience. Which is ... a successful choir. You'll comeawaY~ilipraCticali.r probably why I learned about mu­ re~I,-iVor1dsolutions yo~ can use Iightaway : - .. sic by malcing it. Malcing music is .to increa?e funding aswellas volunteet::md an exploration of the spirit. The .i:oil1mullitY suPpo~::.;; .. power of sound leads us inward. I think what we discover there is a

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VOLUME FORTY-TWO 30 NUMBER TEN MAY 2002 CHORAL JOURNAL

song unique to each of us. The The 2002 Phil Mattson glory of choral music is that we can combine our song, our unique song, Vocal Jazz/Choral Workshops with that 6f those around us. The SAN MARIN HIGH SCHOOL combination, the joining of spirits, Novato, CA, June 16 - 21 is unique in our art. We get to be (Marin Cotmty, North of San Francisco) human and we experience human­ SOUTHWESTERN COMMUNITY COLLEGE ity. How could one possibly not Creston, lA, June 24 - 28 want to spend one's life doing

that? I? The workshop's primary goal is to give participants a Significant performance experience in choral and vocal jazz music. The curriculum includes classes and seminars in rehearsal techniques, literature and performance practice, harmonic understanding, ear training, improvisation, solo jazz singing, the rhythm section, and sound NOTES reinforcement. The workshop will also consider the Significance of music and the arts, and discuss issues of Concern to the music educator. 1 W.J. Fenza, "Zoellner Throng Loves Faculty includes: Phil Mattson, VoicesIowa, Michele Weir, Emily Gates, Jason Smith, Rita Scholz. Sametz" Songs of Love," The Morning For more information, write the School For Music Vocations, Southwestern Community College, Creston, IA 50801, call (641) 782-1319, ore-mail: [email protected] Call, May 8, 2001, "Arts and Entertain­ ment," D4. 2 Steven Sametz, interview by the author, Bethlehem, Pennsylvania, August 13 and For Great Performances, 14,200!. Prepare with CHORALPREp™ Recordings. 3 Ibid. 4 Ibid. Specializing in "These tapes have helped us start at a 5 Ibid. beautifully produced higher musical level, and progress rapidly. Fewer sectionals are 6 Ibid. study tapes of the choral masterworks. needed as singers are able 7 Ibid. to prepare and review on their Featuring lovely woodwind 8 Ibid. own ... Clearly the easiest to use sounds. Offering a separate " of the practice tapes I've heard." 9 Ibid. highlighted mix for each voice part. .'.' .. Dr. David Stevens 10 Steven Sametz, jOh llama de amor viva!­ Accurate. Clear. Musical. Music Director, Austin Civic Chorus A Mystical Vision of St. John of the Cross Please call for a FREE DEMO (Bethlehem: Steven Sametz, 1987), pref­ and more information. "Couldn't have done it without 'ya." ace. . Anchorage Festival Chorister .1-800-444-SATB B hR' (1992) 11 Ibid. Qm HORALPREP'" ra ms eqUlem 12 Sametz, interview. 13 This version of in time ofcan be heard on RECORDINGS the Grammy winning Chanticleer record­ 9107 Hillside Terrace Cove' Austin, Texas 78749' FAX (512) 301-8384' www.choralprep.com ing Colors of Love. (Teldec Classic - 3984-24570-2) 14 E E Cummings, Complete Poems 1904- MOM DAY, JULY 22 - FRIDAY, JULY 26, 2002 1962, ed. George J. Firmage (New York: Historic St. Michaels, Maryland Liveright Publishing Corporation, 1991), 688. 15 Sametz, interview. 16 Ibid. 17 Ibid. -CJ- Music Manager Software 4.0TM Cross-platform ... Mac or Windows Get information and demos at For additional information and an application visil: our website at www.musicmanager.com WWW.AMU.Jl.e..J"e...e.&MI\, or call today f -l)tW--1fj 2.. -,j6-Y,j Toll Free (800) 282-9220 also available for church musicians ... Worship Manager'"

VOLUME FORTY-TWO 31 NUMBER TEN CHORAL JOURNAL MAY 2002

Works of Steven Sametz

Chorus and Orchestra The Demon King (1996) SATB, Indian ensemble, narrator, Nevermore Will the Wind (Dedicated American Songs - Sacred and Pro- puppet to the victims of Sept. 11) (2002) fane (2002) Text: Traditional Sanskrit SSAT-SATB, horn, cup gongs SATB, baritone solo, orchestra Manuscript Text: Hilda Doolittle, Latin Requiem =='D:;~t;~J~ellix-.-OJ:i.s~~J1J~~r~!;J;<:Uim=~~..Qg.fer,tJo'Qiqgs~(l-9931 ..=~~=~-: _____~~_1y'J:~~,-"s~ =._======~~=='I=== Manuscript SATB, soprano, chamber ensemble Manuscript

Text: Native American, compiled by ==___ •___ =_=_=_ Steven Sametz centfois plus ombre... (1987) Seven movements Nunc Dimittis (He Gives UsIoy) SSAA, orchestra 1. Old Ghost (1997) Text: Robert Desnos 2. At Blue Nightfall (Datur SATB, tenor, baritone, strings, harp, Manuscript Song) percussion, organ 3. My Morning Star Text: Luke 2:25-32, William' Blake 4. Sleepy Bird Lullabye Manuscript muji no ma.kotoba (Scripture with- 5. Lullabye of the Cannibal out words) (1991) Giants SATB, soprano solo, orchestra 6. Now Sleep the Old Ones Processional,Sanctus (1997) Text: Hakuin Ekalm 7. Skyloom SATB/SATB, brass quintet, percussion, Manuscript Manuscript organ Manuscript

in time 0/(1995) Echoes (1988) SATB, SATB soli, 2 SSA children's SATB/SATB, water glasses, harp, per­ The Return (1997) choirs cussion SA, soprano, oboe, violin, cello, harp, Orchestra, organ Text: Gerard Manley Hopkins piano, percussion Text: e.e. cummings Manuscript Text: Gordon Edwards Oxford University Press (Rental) Manu~cript

in time 0/(1995) Carmina amoris (2001) SATB/SATB/SSNSSA, 4 violins, Sanctus (1997) SATB, soprano, tenor, orchestra harp, antiphonal organ, organ SATB/SATB, SSA solos, 3 violins, Text: compiled by Steven Sametz Text: e.e. cummings cello, bass, organ, percussion Six Movements Oxford University Press Manuscript 1. Quo fugis, amabo? Choral Score 386310-3 2. Tarantella (Veni, Children's Choral Score 386326-X dilectissime) Full Score/Parts (Rental) Choir and Organ 3. Planctus 4. Letter One - Philomela del nacimiento (1987) 5. Letter Two - Ego per te Laudare (1999) Unison soprano choir, harmonium, 6. Finale: Invehar in Venerem SATB, string quartet, piano optional harp and violin Oxford University Press (Rental) (opt. SATB off-stage choir) Text: Saint John of the Cross Text: Constance Carrier Oxford University Press (386538-6) Manuscript Works for Chorus and Small Instrumental Magnificat (1996) Ensembles The Maji (1995) SSAATTBB, organ SATB, brass quintet Text: Lul{e 1: 47-55 Alleluia Canon (1993) Text: Steven Sametz Oxford University Press (386307:-3) SATB, organ, brass (harp, optional) Manuscript Manuscript

VOLUME FORTY-TWO 32 NUMBER TEN MAY 2002 CHORAL JOURNAL

Works of Steven Sametz c~ntinued

i Unless the L01'li Build the House (2000) in time of(1997) Two Medieval Lyrics (1995) SATB, treble choir, treble solo, SAAATTTTBBB There Is No Rose of Such Virtue handbells Text: e.e. cummings SSAATTBB, soprano Text: Psalm 31: 1-2; 22-24 and Psalm Oxford University Press (Rental) Text: 15'h century 127: 1,3-4 Oxford University Press (386308-0 Manuscript Love Was Born Here in a Child (1982) U na~companied Choir SSAAATTB Gaudete Text: Deborah Sacaralcis SSAATTBB Manuscript The Crocodile (1986) Text: Jistebnice, 1420, and Piae TB Cantiones, 1582 Text: Lewis Carroll Oxford University Press (386309-X) Noel! (1995) Manuscript TTBB Text: Medieval Carol, adapted by Two poems ofJoh1l Igo (1985). Steven Sametz Dudaryku-A Ukrainian Village SATB (#2 with harp) Alliance Music Publications (AMP-0089) Scene (2001) Text: John Igo SATB-SATB 1. Will I Love You? Text: Ukrainian folle texts 2. I Was Drowning in Grass Seal (1994) Manuscript Manuscript SATB, baritone Text: Jeremy Driscoll Manuscript Everyone Sang (2001) When He Shall Die (1999) SATB SATB Text: Siegfried Sassoon Text: William Shalcespeare jO llama de amor viva! Manuscript Oxford University Press (386183-6) A Mystical Vision ofSaint John ofthe Cross (1987) Two versions: SATBB and ATBBB Five Sandburg Settings (1989) While Listening to the Singing ofthe Text: Saint John of the Cross; tradi- SAT.B Sanctus in St. James Cathedral(1999) tional villancico, Liber usualis Text: Carl Sandburg SATB Manuscript Five Movements Text: Barbara Sigmund, from An 1. Vaudeville Dancer Unfinished Life 2. Baby Face Manuscript On the Death ofa Friend (1997) 3. Joy Two Versions: TTBB, baritone, and 4. The Junk Man SATB, baritone 5. Alorie and Not Alone y berenjenes con queso (''and eggplants Text: H.S. Holland Manuscript with cheese'') (1995) Manuscript (projected) SATB Oxford University Press Text: Spanish Renaissance (Baltasar del Gabriel! A Tennessee Christmas Can- Alcazar) tata (1987) Manuscript Peace on Earth (2000) SATB, soprano SATB Text: Deborah Salcaralcis Text: Edward Gordon Manuscript You Stepped Out ofHeaven (1990) Oxford University Press (386537-8) SATB Text: Steven Sametz I Have Had Singing (1993) Manuscript The Simple Heart (2000) SSAATTBB SATB Text: Ronald Blythe . Text: Odes of Solomon Hinshaw Music Company (HMG 1330) Manuscript

VOLUME FORTY-TWO NUMBER TEN 33 CHORAL JOURNAL MAY 2002

Works of Steven Sametz continued -

Arrangements Kein Feuer, Keine Kohle kann brennen Los Pastores (The Shepherds) (1993) so heiss (1999) SATB The Guiding Light (I 999) SATB Text: Chicano Christmas songs SATB with Orchestra Text: German folk song Oxford University Press (386545-9) Text: Traditional Thai Oxford University Press (386181-X) -- Manuscript Shenandoah (2001) ~=,=·====-=-==-=~==-====~===-==,==-==-==-----.Ne-=SedirIJjel1zo-=(J)on't=Sit=-Xher,'e=c====SA:.kB. --. - The Heroine Triumphant-Medley Djemo) (2001) Text: American folk song of1890's Melodies (2000) Text: Bosnian folk song Oxford University Press (projected) SATB Oxford University Press (projected) -- Text: 1890's parlor songs Oxford University Press (386184-4) La Vtllanella (1999) Ngam Sang Duan (Shining Moon) SATB (2000) Text: Italian folk song Irish Lullaby for the Christ Child SATB Oxford University Press (386182-8) (1995) Text: Thai folk song SSAA, soprano solo, optional harp Oxford University Press (386312-X) Text: Gaelic poem Wondrous Love (2000) Alliance Music Publications (AMP-0088) SSAB, handbells, optional harp, Pai duli (2000) optional congregation SATB Southern American folk song' Kas Tie Tadi (1995) Text: Russian Folksong Oxford University Press (386306.,5) __ SATB Oxford University Press (386242-5) Text: Latvian folk song Alliance Music Publications (AMP-0087)

Choral Discography

I Have Had Singing With A Poet's Eye Reincarnations Chanticleer Chanticleer The Princeton Singers Joseph Jennings, Conductor Joseph Jennings, Conductor Steven Sametz,conductor Chanticleer CR 8810 CR8804 Ethereal Recordings, ER-121 Contact: Chanticleer Contact: The Princeton Singers Web: Wondrous Love Telephone: 1-800-950-1177 Chanticleer What Wondrous Love Is This_ Joseph Jennings, Conductor Lehigh University Choral Arts Out Of This World Teldec 16676-2 Steven Sametz, conductor Chanticleer Contact: Joseph Jennings, Conductor Colors ofLove Teldec 4509-96515-2 Chanticleer Old New Borrowed blues Joseph Jennings, Music Director The Princeton Singers Reflections Teldec 3984-24570-2 Steven Sametz, conductor Chanticleer Contact: The Princeton Singers Joseph Jennings, Conductor Christmas with the Princeton Singers Web site: -­ Teldec 0630-18443-2 The Princeton Singers Telephone: (609) 924-4180 Steven Sametz, conductor Sing we Christmas Contact: The Princeton Singers Chanticleer Web site: Joseph Jennings, Conductor Telephone: (609) 924-4180 Teldec 4509-94563-2

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