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Custom Tours also available *Disney's The Lion King Musical now open in Toronto. Call for details! Official Publication of the American Choral Directors Association Volume Forty-one Number Three
OCTOBER 2000 CHORALJO Carroll Gonzo Ann Easterling EDITOR MANAGING EDITOR
COLUMNS ARTICLES
From the Executive Director ...... 2 ::I~' ~~"~-rll$ M,1$il$l 'I:'I!i ,,;;;:.; M~=' ~~~'w=~,~ "3D M-C;~ I a';.¢~ .,~~i, Sacred Brl' dges 9 I ;ii?i1 ;~l$l'h!-~ ~! ~~~1 :L"J~i;:' >l!~~;;l ...... From the Editor ...... 4 :i"';li::l1 rl~:;t-~ l:t?,? nil;t=illf ::. Wi':'i1 wi,i1 by Joshua Jacobson :W'? l:t~'il! n!\l!tlll:t,if tl ~ii1'r,l >l'!P1;ltl ni'll~ ~1I~:1 Letters to the Editor ...... 4 A Conversation with Student Times ...... 43 William Ferris (1937-2000): Scott Dorsey, editor An Insight into the Man and Research Report ...... 45 Lawrence Schenbeck, editor the Musician...... 17 On the Voice ...... 55 by Lyle Stone Sharon Hansen, editor
Hallelujah! ...... 63 Timothy W. Sharp, editor Reflections on the 23rd Annual Conference of Technology for the Choral Musician ...... 67 CHORUS AMERICA ...... 29 Donald Oglesby, editor by Barbara Tagg AMERICA Compact Disc Reviews ...... 71 RichardJ. Bloesch, editor Book Reviews ...... 75 LITERATURE FORUM Stephen Town, editor
Choral Reviews ...... 79 Orchestral Repertoire for Treble Voices ...... 33 Richard Nance, editor by Barbara Tagg and Jean Ashworth Bartle
Repertoire and Standards Committee Reports ...... 59 SPECIAL Advertisers Index ...... 96 NATIONAL CONVENTION PULL-OUT SECTION Cover by Efrain Guerrera, graphic artist, Austin, Texas. Illustration for Jacobson article is rhe Hebrew "Kadosh" in rhe traditional Tiberiao ekphonerric canrillation noration. Phoros of William Ferris by Lisa Ebrighr.
OCTOBER2000 PAGE 1 AFFILIATED FROM THE ORGANIZATIONS
EXECUTIVE DIRECTOR INDIANA CHORAL DIRECTORS ASSOCIATION Whitacre Awarded 2001 Raymond W. Brock President - Scott Avery 109 East Tyner Memorial Composition Warsaw, Indiana 46580 AST MONTH THIS column focused on the Raymond W Brock Memorial Treasurer - Paula J. Alles 1471 Altmeyer Road Compositions and the Raymond W Brock Memorial Student Composition Jasper, Indiana 47546 Contest. At that time I was privileged to introduce the winner of the 2001 L IOWA student composition contest, Aaron Garber from the University of Tennessee. CHORAL DIRECTORS ASSOCIATION Now I am very pleased to announce that the composer chosen to write the 2001 President - Aimee Beclanann-Collier 766 45th St. Raymond W Brock Memorial Composition, Eric Whitacre, has accepted the com West Des Moines, IA 50265 mission. We are very excited to have Eric join the long line of distinguished compos Treasurer - Bruce A. Norris ers who have contributed to the Brock commissions. His work will be premiered at 404 Maple Street the convention by the Kansas City Chorale, under the baton of Charles Bruffy. Mondamin, Iowa 51557 An accomplished composer, conductor, and clinician, Eric Whitacre is one of the AMERICAN CHORAL DIRECTORS ASSOCIATION OF MINNESOTA bright stars in contemporary concert music. He received his M.M. in composition President - Robert W. Sieving from the Juilliard School of Music, where he studied composition with John 2512 Pine Circle Corigliano. Minnetonka, MN 55305 Regularly commissioned and published, Whitacre has received composition awards Treasurer - Charles Hellie 306 North Elm from ASCAP, the Barlow International Composition Competition, the American Sank Centre, Minnesota 56378 Choral Directors Association, the American Composers Forum, and this spring was MONTANA honored with his first Grammy nomination (contemporary classical crossover), and CHORAL DIRECTORS ASSOCIATION commercially he has worked with such luminaries as Barbara Streisand, Marvin President - Dean Peterson 409 Stephens Avenue Harnlisch, and Bobby McFerrin. Missoula, Montana 59801 Born in 1970, Whitacre has already achieved substantial critical and popular Treasurer - Larry Swingen acclaim. The American Record Guide named his first recording, The Music ofEric 216 Eighth Avenue SW Whitacre, one of the top ten classical albums in 1997, and the Los Angeles Times Sidney, Montana 59270 praised his music as "electric, chilling harmonies; works of unearthly beauty and NEBRASKA CHORAL DIRECTORS ASSOCIATION imagination." ~ter an unaccompanied choral work written in 1995, has Night, President - Sharon M. Smith become one of the most popular choral works of the last decade and is one of the top 2503 Country Club Avenue selling choral publications in the last five years. Omaha, Nebraska 68104 Whitacre has served as principal conductor of the College Light Opera Company, Treasurer - Donald J. Alcorn 416 E. 15th chorus master for the Nevada Symphony Orchestra, and has appeared as guest Grand Island, Nebraska 68801 conductor with numerous professional and educational ensembles, including the San OHIO Francisco Symphony Chorus, the Gregg Smith Singers, and the Miami Children's CHORAL DIRECTORS ASSOCIATION Chorus. Last fall he conducted the first in an annual series of wind symphony President - David M. Bell 2065 Resor Road concerts in Tokyo, where he has been named guest music director of the Hosui Wind Fairfield, Ohio 45014 Symphony. This spring he begins his tenure as the newly appointed composer-in Treasurer - Bob Hartigan residence for the Pacific Chorale. 8770 Landen Drive Maineville, Ohio 45039 (Executive Director, continued on page 62.) STATEMENT OF MEMBERSHIP TEXAS The American Choral Directors Association is a nonprofit professional organization of choral directors CHORAL DIRECTORS ASSOCIATION from schools, colleges, and universities; community, church, and professional choral ensembles; and President - Marsha Carlisle industry and institutional organizations. Choral Journal circulation: 18,000. Annual dues (includes 10318 Royal Coach subscription to the Choral Journa~: Active $55, Industry $100, Institutional $75, Retired $25, and San Antonio, Texas 78239 Student $20. One-year membership begins on date of dues acceptance. Library annual subscription rates: U.S. $25; Canada $35; Foreign Surface $38; Foreign Air $75. Single Copy $3; Back Issues $4. Treasurer - Kelly Moore ACDA is a founding member of the International Federation for Choral Music. 4021 Timberidge Drive ACDA supports and endorses the goals and purposes of CHORUS AMERICA Irving, Texas 75038 in promoting the excellence of choral music throughout the world. WISCONSIN ACDA reserves the right to approve any applications for appearance and to edit all materials proposed for distribution. CHORAL DIRECTORS ASSOCIATION Permission is granted to all ACDA members to reproduce articles from the Choral Journal for noncommercial, educational President - Carl E. Chapman purposes only. Nonmembers wishing to reproduce articles may request permission by writing to ACDA. 2849 Sheldon Drive The Choral Journal is supported in part by a grant from the National Endowment for the Arts, a federal agency. Oshkosh, Wisconsin 54094 Recognizing its position of leadership, ACDA complies with the copyright laws of the United States. Compliance with Treasurer - Janet L. Herrick-Stuczynslci these laws is a condition of participation by clinicians and performing groups at ACDA meetings and conventions. 2225 Wedemeyer Street © 2000 by the American Choral Directors ASSOCiation, 502 SW Thirty-eighth Street, Lawton, Oklahoma 73505. Telephone: Sheboygan, Wisconsin 53081 580/355-8161. All rights reserved. The Choral Journal (US ISSN 0009-5028) is issued monthly except June and July. Printed in the United States of America. ~ Periodicals postage paid at Lawton, Oklahoma, and additional mailing office. POSTMASTER: Send address &!Press changes to Choral Journal, P.O. Box 6310, Lawton, Oklahoma 73506-0310.
Volume Forty-one Number Three
PAGE 2 CHORAL JOURNAL NAT IONAL FROM OFFICERS THE PRESIDENT PRESIDENT Milburn Price School of Music, Samford University Birmingham, Alabama 35229 205/870-2778 (voice); 205/870-2165 (fax) Advocacy: A Continuing Need [email protected] "I MUST STUDY politics and war that my sons may have liberty to study VICE-PRESIDENT James A. Moore mathematics and philosophy. My sons ought to study mathematics and philoso School of MM!~~~i.r i:::: ~5ag;~t University phy, geography, natural history, naval architecture, navigation, commerce, and 903/935-7963 (voice); 903/938-0390 (fax) [email protected] agriculture, in order to give their children a right [italics mine] to study painting,
PRESIDENT-ELECT poetry, music, architecture, statuary, tapestry, and porcelain." So wrote John Adams David Stutzenberger School of Music. University of Tennessee in a letter to Abigail Adams dated May 12, Knoxville, Tennessee 37996 423/974-8608 (voice); 423/974-1941 (fax) 1780. TREASURER Though the idea does not appear in Maxine Asselin 3 Holly Road either the Constitution or the Bill of Rights, Taumon. Massachusetts 02870 508/822-2820 (voice); 508/884-3404(fax) it was the notion of at least one of our [email protected] nation's "founding fathers" that a day should EXECUTNE DIRECTOR Gene Brooks come when the children of this country P.O. Box 6310, Lawton, Oklahoma 73506 580/355-8161 (voicel; 5801248-1465 (fax) would have the right to study music and [email protected] the other arts. Alas, more than two hundred CENTRAL DNISION PRESIDENT Hilary Apfelstadt years later that dream has not yet fully blos School of Music. Ohio Stare Universi[), somed into reality. Coll~~6b~s~13~ioR43~1 0 614/292-9926 (voice); 614/292-1102 (fax) ACDA has joined other arts organiza [email protected] tions in the United States over the past EASTERN DIVISION PRESIDENT Douglas D. Miller decade in efforts to be persuasive advocates Pennsylvania State University 107 Music Building I for the role of the arts in American society. University Park, Pennsylvania 16802 814/865-0432 (voice); 814/865-7140 (fax) Our ACDAAdvocacy Resolution, originally [email protected] developed as a response to the erosion of NORTH CENTRAL DIVISION PRESIDENT Robert G. Youngquist funding for the arts at local, state, and national levels, continues to appear recurringly Washington Senior High School 313 South 4tli in the Choral Journal, as well as in divisional and state newsletters. ACDA members, Washingrn. Iowa 52353 319/653-2143 (voice); 319/653-6751 (fax) in concert with representatives from MENC and its affiliate state organizations, have ryoungqu@washingron:k12.ia.u5 invested time, energy, and resources in the varied tasks of advocacy. NORTHWESTERN DIVISION PRESIDENT Karen Fulmer The recently adopted National Standards for music in K-12 education illustrate at Sum:5~~~ilfo~i§~r~e~hool least one positive result from those efforts, Yet, there remains much to be done! The Sumner. Washingmn 98390 253/891-5000 (voice) [email protected] intention of these standards must still be implemented at local levels, where funding
SOUTHERN DIVISION PRESIDENT exigencies still cause administrators to look at the arts as "first cut possibilities" when Lynne Gadde 18644 Avenue Capri budgets must be reduced, Several factors have kept these efforts from fully achieving Lutz, Florida 33549 813/909-1099 (voice); 813/909-8262 (fax) their goals. One is the lack of necessary persistence, There is an old adage that applies [email protected] here: "Do not become weary in well-doing." Advocacy efforts are time-consuming SOUTHWESTERN DIVISION PRESIDENT Sally Schott and require continuity to achieve desired results. Continuing initiatives, both indi South Houston High School 3820 South Shaver vidually and collectively, are required to make a case for the importance of the South HOllsmn, Texas 77587 713/944-2450 (voice) 713/948-4710 (fax) aesthetic arts in human experience-and particularly in the educational development ds2okntx@aoLcom of children, One of the major disappointments of the past five years has been the WESTERN DIVISION PRESIDENT Ron Kean failure of the robust health of the American economy to have a more positive impact Music Deparrmenr, Bakersfield College 1801 Panorama Drive on governmental support for the arts at all levels. Bakersfield, California 93305 805/395-4547 (voice); 805/395-4078 (fax) Secondly, the increasingly pervasive influence of popular culture has undermined [email protected] the development of a broadly claimed vision for the role of the aesthetic arts in INDUSTRY ASSOCIATE REPRESENTATNE Kent Smith American culture. Even in many school music programs, the music of popular Herirage Festivals P. O. Box 571187 culture, or its derivatives, has supplanted "art music" as the primary fare in the Salt Lake City, Urali 84157 8011263-3445 (voice); 8011265-2314 (fax) musical diet. [email protected] Another difficulty has been a tendency for some arts advocates to be myopic in the PAST PRESIDENT'S COUNCIL Lynn Whitten defense of their own particular area(s) of involvement, to the exclusion of other areas. College of Music, University of Colorado Boulder, Colorado 80309 Though it is humanly natural to be more aware of needs in the areas that consume 303/494-6648 (voice); 303/492-5619 (fax) [email protected] our individual time and interest, we all have a stake in the advancement of all arts
Maurice Casey Colleen J. Kirk programs, Choral directors must be concerned for adequate support for instrumental Harold A. Decker Theron Kirk William B. Harcher Diana}. Leland programs, and we all have a vested interest in appropriate music education experi lohn Haberlen Russell Mathis Morris D. Hayes H. Royce Saltzman ences for children at the elementary level. Charles C. Hirr Hugh Sanders Warner Imig David Thorsen Elwood J. Keister (President, continued on page 69.)
OCTOBER2000 PAGE 3 FROM EDITORIAL BOARD EDITOR THE EDITOR Carroll Gonzo School of Music, University of Texas 25 East Campus Drive Austin. Texas 78712 512/232-5665 (voice); 512/232-5666 (fax) In This Issue [email protected] " SACRED BRIDGES," BY Joshua Jacobson, is an investigative foray into the ASSOCIATE EDITOR origins of church liturgy. Jacobson begins by embracing the hypothesis that "the Nina Gilbert Department of Music early Christians, as a breakaway sect of Jews, modeled many of their liturgical Lafayette College Easton. Pennsylvania 18042 texts, ceremonies, and music after those of the Temple and synagogues ofJudea. " The 610/330-5677 (voice); 610/330-5058 (fax) author traces the evolution of common structural elements in Jewish and Christian [email protected] worship services, such as public cantillation of a lesson from the scriptures, the MANAGING EDITOR Ann Easterling chanting of psalms and hymns, and congregational prayers of supplication and P.O. Box 6310 Lawton, Oklahoma 73506 doxology. By citing past scholarly writings, augmented by confirming music examples, 580/355-8161 (voice); 580/248-1465 (fux) Jacobson makes a case for the sacred bridge connecting liturgical practices between [email protected] EDITORIAL ASSISTANT Jews and Christians for the past two millennia. "Sacred Bridges" is an interactive Susan Gower article, which means the reader can go to
Carroll Gonzo Richard Nance Department of Music. Pacific Lutheran University Tacoma. Washington 98447 [email protected] Donald Oglesby School of Music. University of Miami LETTERS Coral Gables, Florida 33124 [email protected] TO THE EDITOR Robert Provencio California State University-Bakersfield Dear Mr. Gonzo, 9001 Stockdale Highway Bakersfield, California 93311 What a surprise it was at age 79 to find my face on the cover of the August issue of [email protected] the Choral JournalfI'm the third guy from the left in the top row in the photo of the Lawrence Schenbedc Department of Music. Spelman College Fred Waring Pennsylvanians. I have a copy of the original photo, which was taken at Box 316,350 Spelman Lane SW the old Roxy Theater in New York sometime during the month ofAugust 1944. I was Adanta, Georgia 30314 [email protected] a graduate student at Teachers' College, Columbia University, at the time, and my Timothy W. Sharp adviser was Harry Robert Wilson. As a lark, I auditioned for the Fred Waring Department of Music. Rhodes ColJege Nashville. Tennessee 37212 organization and to my surprise, I was accepted. [email protected] I filled in for a few recording dates and was asked to join the chorus for a six-week Stephen Town Department of Music. Northwest Missouri State University stint at the Roxy, where the group was appearing between showing of the film, Maryville. Missouri 64468 Wilson, with Alexander Knox and Geraldine Fitzgerald. We sang four shows a day, [email protected] with five on Saturday and Sunday. COORDINATOR OF STATE NEWSLETTERS It was rather hectic trying to balance my course work at Teachers' College and the Perry White 2726 S. Pickard Ave. time I spent at the Roxy. It was a great experience, and I was fortunate enough to have Norman, Oldahoma 73072 (Lettel; continued on page 91.) [email protected]
PAGE 4 CHORAL JOURNAL NATIONAL Children'S Choirs & High School Choirs R&S CHAIRS
NATIONAL CHAIR Barbara T agg 215 Crouse College/Syracuse University Syracuse) New York 13244 315/443-5750 (voice); 315/488-1155 (fax) [email protected] BOYCHOIR Randall Wolfe Cincinnati Boychoir 4740 Samud Court Mason, Ohio 45040 513/396-7664 (voice) [email protected] CHILDREN'S CHOIRS Rebecca Rottsolk Northwest Girlchoir 728 Twenty-first Avenue Soarde, Washington 98112 206/329-6225 (voice); 206/329-9925 (fax) [email protected]
COLLEGE AND UNIVERSITY CHOIRS William McMillan Department ofMusidUnivcrsity of Texas at El Paso EI Paso, Texas 79968 9151747-6630 (voice) [email protected] Ch ir estiv I COMMUNITY CHOIRS Charles Facer Greenwood Laboratory School Southwest Missouri Stare University 901 South National 1 Springfield, Missouri 65804 June 21-25 2001 417/836-6356 (voice) [email protected] Princetonl New Jersey ETHNIC AND MULTICULTURAL PERSPECTIVES II ~ ~h f " ~~ 1 " ~~ ~ , i ,Fe>'" , Anthony T. Leach Pennsylvania Stare University ·~estblaa; CJom(lu'€t0rs~ University Park, Pennsylvania 16802 J,_ - - - ,: - ,': ' , ", ',> 'I ,,' 814/865-6521 (voice); 814/865-7140 (fax) [email protected] JAZZ AND SHOW CHOIRS Diana R. Spradling \Vestern Michigan University/Sdloal of Music @!James ~itton Kalamazoo, Michigan 49008 616/387-4751 (voice) [email protected] American Boychoir JUNIOR HIGH! MIDDLE SCHOOL CHOIRS NaneyCox Altus Junior High School Ritr;~~o~~o~;~t5~e 580/481-2177 (voice) [email protected] d Voices of Minnesota
MALE CHOIRS Clayton Parr DePaul Universiryl School of Music 804 \X'est Belden Avenue Chicago, Illinois 60614 773/3251039 (voice);773/325-7264 (fax) • Opening concert featuring the American Boychoir [email protected] MUSIC AND WORSHIP Carl L. Starn • Private adjudication of each choir School of Church MusidSBTS 2825 Lexington Road Louisville, Kentucky 40280 • Individual choir performances in Princeton-area 502/897-4709 (voice); 502/897-4066 (fax) csmm@sb[S.edll churches SENIOR HIGH SCHOOL CHOIRS Janice R Bradshaw • Competition (for choirs wishing to compete) 9 Morningside Drive Boonville. Missouri 65233 816/882-7558 (voice); 816/882-3368 (fax) [email protected] • Combined choirs Gala Festival Concert TWO-YEAR COLLEGE CHOIRS Mark Malone Pearl River Community College For further information contact: Station A, 101 US Highway II-N Poplarville, Mississippi 39470 6011795-1180 (voice); 6011795-1275 (fax) [email protected] AD International, Inc. WOMEN'S CHOIRS Monica Hubbard 136 lawrenceville-Pennington Road 1843 North Pepper Drive Altadena, California 91001 lawrenceville, NJ 08648-1413 626/797-5912 (voice); 6261797-0210 (fax) [email protected] YOUTH AND STUDENT ACTMTIES 800-288-3242 Scott W. Dorsey Department ofMusidMollnt Union College Alliance, Ohio 4460 I Fax: 609-896-3450 0 E-mail: [email protected] 330/823-2181 (voice); 330/823-2144 (fax) [email protected] www.aditours.com
OCTOBER2000 PAGE 5
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r;JRu~~sell RObillsOh~;c::~:-;::~:::-t~:~.~._.-:c:,:-:::,.. '--- "- -,-.~:'-~ The. newest additi6~t7)J$~-c.tzltitrl4teI3egin~e~S~rie~®, this jsa ~~a.!:=J1()~~~~_. book for aIi·--sbngwat~fs:;L§:E1~.s. Jlas carefully·· preseniea:::~tep~!?Y':~~~Q.c:Iirections and giiiddlllesJof.Plltting !<;reative music;Uidelis-:,:(jil~p~Qer:::1'J:l(~ll).aterial is presentedilidi--:: If,*~~@P.~~~s!y1.~, allowing the-:i:e~d~tj~~~«?~l??~~_l:l1i they read, I creaifu:g::av'~l}i__ :f;r-a~ti~~approach to a:- romplicafec:l:pro_c:~ss. Don.t miss Choir Days in Verona, Italy with Music Contact International! For four days, April 18 - 22, 2001, Music Contact International and the Choir Association of Northern Italy brings you a wonderful festival and the unique opportunity to sing before an international panel of choral experts in Verona's Theater Nuovo (competition is optional). You'll enjoy Verona's open piazzas lined with 14th century buildings and sing with a local Italian choir in the beautiful Lake Garda region as well as for a local congregation on Sunday morning.
To preview the program for your choir, we'll host a complimentary Orientation Trip to Verona, October 15 - 18, 2000. To join us for this wonderful opportunity to sing and visit Verona, Italy, or to find out about the wide variety of musical tours and services that Music Contact International can make available to you and your choir, call us today at 1.800.624.0166.
Leave Your Next Tour to Us and Leave Nothing to Chance MUS I C CONTACT 119 South Winooski Avenue, Burlington, VT 05401 800.624.0166 fax 802.862.2251 [email protected] www.music-contact.com INTERNATIONAL 1. c
•I Sacred Bridges An- ctus, * San- ctus, Sall- ctus Do c A •• 11 II J minus De- .us Saba-oth. Pleni sunt caeli et ter-ra ~. ~ by Joshua Jacobson . glo- ri- a tu- a. Hosanna in excel-sis. Bene-dictus p! 1111 A 'II. ; ,..I I ~ I Ill·••. • i qui ve- nit In no- mine Domi-ni. Hosanna In
C ...... II excel-sis. "Sanctus" from the Libel' Usualis
Editor's note: This is an interactive article. Each of the author's This is not an entirely new hypothesis. Three hundred years musical examples may be heard by visiting our Web site ago, Arthur Bedford, a Puritan, wrote,
OCTOBER2000 PAGE 9 Charles Burney did not hold plain Burney attributed the base origins of Similar attributions were made by, chant in such high esteem. He wrote, Gregorian chant to the Jews. among others, Fran<;:ois-Joseph Fetis, Hubert Parry, and Hugo Riemann.5 The The value of Gregorian Chant That some part of the sacred music first scholar to go beyond speculation, to corresponds to the low level of of the Apostles and their immediate offer proof of the derivation of Gregorian barbarians, i.e., the First Christians. successors, in Palestine and the chant from ancient Jewish chant, was Pe They had no sense for the fine adjacent countries, may have been ter Wagner. 6 Wagner's methodology in poetry of the Greeks, for they used such as was used by the Hebrews, volved the collection and comparison of for their melodies the prose-texts of particularly in chanting the psalms, the most ancient chants from Jewish and Scripture.3 is probable .... 4 Christian traditions. In this century, mu sicologists and liturgists, less fettered by ______----, dogma and prejudice, have brought us closer to a scientific understanding of the relationship between church and syna gogue. Among those who have been working in this area are Israel Adler, UP WITH A SHOUT: Hanoch Avenary, Edward Birnbaum, Abraham Idelsohn, James W McKinnon, Amnon Shiloah, John A. Smith, Peter The Psalms in Jewish and Christian Wagner, Egon Wellesz, and Eric Werner.7 Religious, Artistic and Intellectual Traditions A comparison of the liturgies of con temporary Judaism and Christianity from historical and theoretical studies to practice and performance would begin with the observation that there are common structural elements, including the public cantillation of a les Jan;uaryJ? ___ ,_~~! 2001 son trom the scriptures, the chanting of : -.. -';" ' .. ;'-.- .. "' ~ :'-, -<,-_ ...... " _.. - :- < .• ;-,' Psalms and hymns, and congregational prayers of supplication and doxology. !; Spbh5~rf/clfby~·· Some sections of the two liturgies are virtually identical. Perhaps the most well The I nstityte:bi Sticred Mu~i9at:Yll~cUrliversity known of the common liturgical texts is . !! , _" , J,_._.' the fourth section of the ordinary of the <:;! )",c,,~,:with,,'"'' . ,. ; mass: Sanctus sanctus sanctus Dominus Yale Scli!oollof:Music·":YaleDivinitY' School Deus sabaoth, pleni sunt coeli et terra gloria Berkeley Divinity School at Yale University tua. This is the Latin translation of the congregational response recited at least ,The JosephSlifka Center forJewish Life.; four times daily in the synagogue liturgy, '\ ,He~rewUnion(:(!lh:;gE(New '(Qrk::" Kadosh kadosh kadosh, hashem tsevaot, '" ,')Qconjunctionytlith,.', ,', melo chol ha'arets kevodo, in English, "Holy, holy, holy is the Lord of Hosts, all "l:d~~I~h ur-~he~ '4r1 a, ~)'hag?~~E;~i_- the earth is full of His glory." The source is Isaiah 6:3. An interfaith, ~~itidfsdpli~ary conference Several events on the Christian litur in celebration of Yale University's Tercentennial gical calendar are closely connected to and its long tradition of theological formation their Jewish ancestors. Easter falls on the and musical performance. first Sunday after the spring full moon, so it will coincide with the Last Supper, which took place on Passover, which falls For further information or to be placed on the mailing list, contact: on the spring full moon. The scheduling Melissa Maier, Conference Coordinator of Christmas on the twenty-fifth night of Yale Institute of Sacred Music December echoes the Jewish holiday of 409 Prospect Street, New Haven, CT 06511 Chanukah, which begins on the twenty Telephone 203-432-5180 fifth night of the lunar month of Kislev. E-mail: [email protected] Several words in the church liturgy Website: www.yale.edu/ism have been adopted directly from the syna gogue. These Hebrew expressions entered the vernacular in transliteration, rather
PAGE 10 CHORAL JOURNAL than translation. They include amen [so The Christians evinced an anxiety be it], hallelujah [praise the Lord], ho For nearly two thousand to separate themselves from the sanna [save us, please], Sabbaoth [hosts, Jews, and their object was, in fact, or armies of angels], and Selah [a rock].8 years zealous religious more especially to be found in a The oldest stratum of music in syna peculiar art of song distinct from gogue and church is that which is associ authorities have that of any other religion. 10 ated with its oldest and most sacred texts-the canonized Bible. Since the attempted to prevent Jews In some writings there are overtones words of the Bible were considered to of anti-Semitism, as well. In the late eigh have been spoken or inspired by God, and Christians from teenth century, the respected music his they were zealously protected from torian Johann Nikolaus Forkel wrote: change. According to some traditions, having any influence on God not only spoke these words, God In short, even under immediate sang them. Hence, the well-known leg each other's liturgical instruction by divinity (Christ) the end of Pope Gregory I receiving the melo culture of that nation (the Jews) dies of the chants that bear his name practices. remained so backward, that it is not directly from the Holy Spirit in the form to be counted among the number of a dove. of cultured nations. II Rabbi Judah Ben-Samuel "The Pious" munities as Yemen and Poland. A more (c. 1150 -1217, Regensberg) wrote: likely explanation is that both derive from For nearly two thousand years zealous a common ancient source-the liturgy religious authorities have attempted to The Bible must be chanted of Jerusalem some two thousand years prevent Jews and Christians from having according to the melodies that were ago-the Psalms as they were sung by the any influence on each other's liturgical revealed to Moses at Mount Sinai. Levites in the Temple, by the common practices. A sixteenth-century codifica As it is written (Exodus 19:19), Jew in the synagogue, by Jesus and his tion of Jewish law and practice (The "God answered [Moses] with a disciples, and by the first Christians. Shulchan Aruch) states: voice." "With a voice" means that Why has there been such a deafening Moses heard the melody directly silence about the Jewish origins of A cantor [in the synagogue] who from God, and Moses used that Gregorian chant? Perhaps the church fa sings melodies that the gentiles use same melody to chant the Scripture thers felt a need to forge an identity for in their worship should be prevented for the Israelites.9 the church that distanced itself from its from doing so, and if he refuses to Jewish roots. The nineteenth-century Aus comply and persists in doing so, he The chanting or "cantillation" of bib trian historian R G. Kiesewetter wrote: is to be removed from his position.1 2 lical texts does in fact sound rather ex otic. In their zeal to protect this music from change, its practitioners through the ages succeeded in preserving the mono phonic texture and much of the freedom of rhythm and the colorful modalities characteristic of the ancient Middle East. Thanks to studies in comparative mu Custom Concert Tours sicology conducted over the last hundred years, we can now point to the specific Experience in over 40 countries on 5 continents! Jewish sources of numerous Catholic You prepare the MUSIC - we'll prepare the WORLD! chants. Figure 1 shows the first two verses of Psalm 114 chanted in the Gregorian Tuscany International Children's Chorus Festival tonus peregrinus. Figure 2 shows those same verses chanted in a North Mrican Jean Ashworth Bartle Jewish tradition. July 2 -10, 2001 The melodies are nearly identical. How do we explain this? Did a Jew go DoreenRao into a church and copy the music? Did a July 1 - 9, 2002 monk sneak into a synagogue and tran Musica Mundi, Inc. scribe the Jewish Psalmody? Neither sce 101 First Street, Suite 454 • Los Altos, CA 94022 nario is likely, especially when we consider Phone 650 9491991 • Fax 650 9491626 1-800-947-1991 that this same chant is sung in syna E-mail: [email protected] http://www.musicamundi,;com gogues in such far-flung and isolated com-
OCTOBER 2000 PAGE 11 On the other side of the coin, many Jewish cantors and composers were fas composition is modeled note-for-note on a Christian theologians found themselves cinated by the music they managed to hear church motet to the Latin version of that embroiled in a battle to purge the church in the world beyond their ghetto walls. same text, composed by Rossi's friend, the from Jewish influences. The fourth-cen Sometime before 1622 the Italian Jewish chapel composer, Lodovico Viadana (Fig tury monk Diodorus of Tarsus (Turkey) composer Salamone Rossi wrote a setting ures 3 and 4). complained that the Church was imitat of Psalm 137, Ai Naharot Bavel [By the There are also instances of non-Jewish ing Jewish songs, and his student, St. Waters of Babylon]. This music, which was composers being attracted to traditional Chrysostom, warned against imitating sung in the synagogue of Mantua, Italy, on Jewish melodies. The eighteenth-century Jewish practice. 13 Tish'a B~v, a fast day that commemorates Venetian church composer, Benedetto Of course, the very presence of these the destruction of the ancient Temple in Marcello, to add a touch of authenticity prohibitions is a sign that laws were Jerusalem, was composed completely in the to his Psalm settings, based his themes needed to curb an existing practice. Jews style of the church lamentations of the same on melodies he heard in the Synagogues and Christians were attracted to each period. It bears no resemblance to the tra of Venice. Like other great artists of his other's music and were crossing the sa ditional synagogue chanting ofRossi's time. time, Marcello felt the need to base his cred bridge. Furthermore, the opening melody ofRossi's creative work on that of the ancients. Although his contemporaries based their ABlJJjnJ J church music on Gregorian chant, ~ Marcello attempted to go further back, In _ ex-i - tu Is-ra-el de A<: -gyp - to do-mus Ja-eob de po-pu-Io bar-ba-ro._ to the roots of Psalm singing in ancient rEi: # ~ Jerusalem. Marcello published his Psalm settings, ~i uucuutu<§J '--" titled Estro poetico-armonico, inl724. Sev Fae-ta est JU-de-a sane-ti - fi-ea - ti - 0 e - jus Is - ra- el pot-es - tas e - jus. _ eral of the arias are based on the Jewish Figure 1. Psalm 114, Gregorian Chant melodies he had collected. To demon strate the exalted lineage of these compo sitions, the composer included his [,# P CIJ eJ ·n cr J WJJtz!#4 transcription of the original chants, with Be-tsetYis-ra-el_ mi-Mitz-ra - yim betYa-a-kov ____ me-am 10 - ez. the Hebrew text and music reading from right to left14 (Figures 5 and 6). During the emancipation movement n 4iJ1Y5W of the late eighteenth and early nine ha-ye-tah Ye-hu-dah_ le-kod-sho__ Yis-ra-el mam-she-Io-tav. __ teenth century, some Rabbis attempted Figure 2. Psalm 114, Jewish synagogue chant to "re-form" the Jewish service, to make it less oriental and more like the service of their Lutheran neighbors. In 1810 the s German Rabbi Israel Jacobson established al na-ha-rot ___ ba - vel the first Reform Temple in Europe. He ------abolished the ancient modes of chanting A Scripture along with the traditional prayer ba - vel modes. In their place he introduced the singing of Protestant chorales with organ T accompaniment, fitted with new texts in aI na-ha-rot ___ na-ha-rot ba - vel German or Hebrew. Figure 7 shows a page from Jacobson's hymnal. The Lutheran hymn, "Wenn ich, 0 Schopfer," al na-ha-rot ______ba - vel has been set with a Hebrew text, "Tsuri Figure 3. Rossi, Al Naharot Bavel im darkecha etbonan," and the music runs from right to left to accommodate -----.. ,.*" the Hebrew text (Figure 7). Basso : I One of the most fascinating cases of Su - per flu - - --- mi - na bridge-crossing comes from eighteenth " I I century England. Meier Leon was born in London in 1755. As a youth, he dis IV U" If& r r liri r I 'ir iff r' i played tremendous musical talents in Jew ~ .. *".- : ish and secular music. At the age of eleven he was appointed "zinger" [cantor's assis Figure 4. Viadana, Super flumina Babylonis tant] in the newly rebuilt Duke's Place
PAGE 12 CHORAL JOURNAL Synagogue at an annual salary of forty that this was a unique Czech folk song. poem by Naftali Herz Imber, called pounds sterling. At the age of twenty, (To hear Figure 14 visit our Web site, Hatikvah [The Hope]l6 (Figure 15). under the pseudonym Michael Leoni, he
Actually, Cantor Leon's "original" hymn tune wasn't all that original. This melody first appears in print in Italy in the early seventeenth century, where it was generally known as "The Dance of Mantua" (Figure 10). This beautiful melody has appeared all over Europe. Figures 11-13 show three more variants: a Jewish liturgical chant from Spain, a Catholic chant from Spain, and a Polish folk song. (To hear Figures 11-13 visit our Web site at
OCTOBER2000 PAGE 13 Whatever happened to Cantor Leon By the late nineteenth century, con felt almost as though I had been from London? Despite the popularity of tact between Jewish and Christian musi brought into a new musical world his tune, the Jewish community in Lon cians became much more common. In when a few authentic Jewish don must have continued to have mis 1881, Max Bruch composed an Adagio melodies were brought to my givings about their operatic clergyman. for cello and orchestra based on Kol Nidre, notice. I was so bewitched by the In 1787, when the Jewish community in a Jewish liturgical melody he had learned mysterious color and exotic charm Kingston, Jamaica, wrote to London ask from his friend, Cantor Abraham Jacob of these melodies that for weeks I ing for a cantor, the British were only too Lichtenstein. In 1914, Maurice Ravel could not get this music out of my happy to send them Meier Leon. Leon wrote an art song titled Kaddisch, based mind. Then my imagination was set set sail and remained at his post in Ja on the synagogue doxology for the High aflameY maica until his death in 1800. We have Holy Days. The composer wrote of this no record of any music from his pen experience: Modest Mussorgsky was also attracted from that period; Jewish calypso and to the Jewish liturgy. In 1866, through reggae would remain doqnant for well I was attracted to the strange and an open window, he overheard a devo over a hundred years. haunting beauty ofJewish music. I tional melody being sung by his Jewish neighbors. 18 This rune, attributed to Rabbi Abraham Ha-Mal'akh (1741-81), would resurface a decade later as the main theme for Mussorgsky's oratorio, Joshua (1877). In fact, the composer was so fond of this Jewish melody he asked that it be inscribed on his tombstone (Figures 16 and 17). These bridge crossings raise interest ing but thorny questions. Can a gentile composer create Jewish music? Can a Jew ish composer create music for the church? In 1971, Leonard Bernstein, a composer with deep Jewish roots, wrote a highly unorthodox Mass for the opening of the Kennedy Center in Washington, D.C. Bernstein brought to the central liturgy of the Catholic faith the same "God Him up - lift your voice, At __ whose su - preme com - mand_ From wrestling" one finds in his Jewish works, such as the Jeremiah and Kaddish sym phonies and the Chichester Psalms. Fur thermore, in at least one movement of this work, Bernstein made a conscious attempt to cross the sacred bridge. Ap r r r r pended to the Latin Sanctus is its Jewish earth we rise, and seek the _ joys His right hand. A - men. equivalent, the Hebrew Kedushah. 19 Judaism and Christianity have been cross-pollinating, off and on, for the past two millennia. Despite dogmatic restric Figure 8. The God ofAbraham Praise (Leoni). tions, deep-seated prejudices, and en forced segregation, there has been a growing understanding of the religion of [~ ~ ., J\ Ii] F J J )l 1lJj] fJ J the "other." In recent years there seems to Yig - dal e - 10 - him khay ve- yish ta bakh, nim - be a deeper respect for differences in cul ture and theology. This mutual apprecia ~I tion is slowly being felt in the world of ['~£)lJF-r ,l3EW II' musical performance. Perhaps someday tsa ve-en_ et __ el me- tsi - yu - to. E - khad ve-en ya- khid ke - even Grout will catch up. ['~u U J J Notes yi khu - do, ne - lam ve-gam en sof_ Ie - akh - du - to. 1 Arthur Bedford, Temple Musick, Or an Essay Figure 9. Leon, Yigdal (as sung in contemporary American synagognes) Concerning the Method of Singing the
PAGE 14 CHORAL JOURNAL Psalms of David in the Temple: Wherein 14 Joshua Jacobson, "Choral Music for 15 Jewish Chronicle, 1873, p. 642, cited in the music ofour cathedrals is vindicated as Chanukah," ChomlJournal31:2 (1990), Abraham Idelsohn, Jewish Music in Its conformable not onfJ to that ofprimitive 22. Historical Development (New York: Holt, Christianity, but also to the practice ofthe Church in all preceding (London: H. J Mortlock, 1706), 61-2, cited in Eric [~~I'B J U IF F F r- D If D r' p Werner, "Musical Traditions and its Fug - gi fug - gi fug - gi da que - sto cie 10 Aspr' e Transmitters between Church and \is ritomello Synagogue," Yuval2 (1971), 17l. Jll qr 2 Bedford, Temple Musick, 236. [4~" J IJ J r IT IF F r- D I 3 Charles Burney, A General HistolJ ofMusic, f U du - ro spie - ra - toe gie - to. Tu ch'il tut - to i pri - gio - ni e Volume 1 (London, 1776), 212, cited in Werner, "Musical Traditions," 172. F F F F IF p 4 Burney, A General History ofMusic, Volume ['~h Err r' If r Et rJ? Ie ghi. Ne per pian - to ti fran gio pie - ghi. Fier _ ti 2, p. 41, cited in Werner, "Musical - Traditions," 173. Figure 10. "The Dance of Mantua," arranged by Giuseppino Del Biabo 5 J. F. Fetis, Histoire ginirale de la Musique, vol. 4 (Paris: Didot, 1874), 8-12; Sir Hubert Parry, Evolution of the A,·t of loJ Music (London: Kegan Paul, Trench, 8010[4&1 €A m IJ illJ J Trubner, 1893), 53; H. Riemann, Kawl _ od ba - lei - vawv pe - ni maw ne - fesh Ye-hu - di Handbuch der Musikgeschichte, Vol. 1, oj Part 2 (Leipzig: Breitkopf & Hartel, ['~ 4] 49 IJ 1923), 33, 56, 82, cited in Werner, ho - mi yaw, Ul - fa - sey _ miz-rawch kaw - di maw "Musical Traditions," 174-176. 6 Peter Wagner, Einfuhrung in die [4& J au J 1;9:g Ij gregorianische Melodien, Vol. 1 (Leipzig: a - yin Ie - Tsi - yon Iso - fi - yaw. Od 10 awv-daw tik-vaw sey - nu, Breitkopf & Hartel, 1911), 17. 7 For the most thorough treatment of this & (F j IJ 1] IJ subject, see Eric Werner, The Sacred [4 J/] IFF I E? 1 J. 01 Bridge: The Interdependence ofLiturgy and ha - tik - Yaw ha - no - shaw - naw, Law - shuv Ie - e - rets a - Music in Synagogue and Church during the First Millenium (New York: Columbia [4~f51) I£)J. 01; £] IJ J III Ij II ~ n ~ University Press, 1959), reprint edition vo sey - nu, law - ir baw_ Daw - vid chaw naw. New York: Da Capo Press, 1979. Figure 15. Hatikvah 8 Bible scholars speculate that "selah" may have been a signal for an instrumental interlude, which then was a signal for all Ie oj • I n J I £1 [] ei J the worshippers in the Temple to [4 r r '---' ~ prostrate themselves. In later Hebrew, a za - mer bi - she - vo-khin Ie - me al "selah" means "forever." 1 9 Judah Ben-Samuel, Sefer Ha-Hasidim, ed. [4 at OJ J I f22~ f r f?j I ]ehudah Wistinetzki and J. Freimann go _____ fis khin de va kha kal __ (Frankfurt am Main: Wahrmann, 1924), 207, §817. 1m lJ lii J t II "--' 10 Eric Werner, "Musical Traditions," 168. ta - pu - khin de nun ka - di - shin I I]. N. Forkel, Allgemaine Geschichte derMusik Figure 16. Rabbi Abraham Ha-Mal'akh, kamer Bishvachin Vol. 1 (Leipzig: Schwickert, 1788), 90. Cited in Werner, "Musical Traditions," Allegro marziale 168. 12 Joseph Karo, Shulchan Aruch, Drach ['~I'I,&:g r r If J oj Chayyim, §53:25 (see also the Vel - en' - yem Ye - go - vy_ Sok - ru - stchit' Iz - ra - il' dol- zeh commentary in Mishnah Berurah). 13 Eric Werner, "The Conflict between oj Hellenism and Judaism in the Music of r IF t1 J )14) dJ F ;g loJ J the Early Christian Church," Hebrew Han-an-ye - yef nye - tchest-i - vykh nye - prye-klon -nykh_ ot- kro-vye-n'yu. Union College Annual 20 (1947),458. Figure 17. The main theme from Mussorgsky'sJoshua.
OCTOBER 2000 PAGE 15 Rinehart and Winston, 1929), reprint ed. Musorgsky: In memoriam (Ann Arbor: Arts Bureau New York: Dover, 1992, 220-22l. UMI Research Series, 1982), 89. for the 16 Originally, "Tikvateynu" (Our Hope). 19. The Sanctus is published by Boosey & Continents 17 A. Vinkovetzky, A. Kovner and S. Leichter Hawkes as a separate choral octavo. For (eds.), Anthology of Yiddish Folksongs an analysis of the Jewish elements in Oerusalem: Magnes Press, 1983), Vol. 1, Bernstein's Mass, see Jack Gottlieb, "A STAMPEDE TO CALGARY for the p.v. Jewish Mass or a Catholic Mitzvah?" .,1. CALGARY INTERNATIONAL 18 Vladimir Stasov, Modest Musorgsky Journal of Synagogue Music 3 (December MUSIC FESTIVAL .~, (Moscow, 1952), 210, cited in Boris 1971),3-7. (for choirs, bands & orchestras) March 14-17 and/or 24-27,2001 Schwartz, "Musorgsky's Interest in • Come one! Come all! Judaica," in Malcolm H. Brown (ed.) , -C]- NIAGARA INTERNATIONAL MUSIC FESTIVAL (for choirs, bands & orchestras) ANNOUNCEMENT July 4-S, 2001, July 3-7, 2002 2001 Guest Conductor: Dr. Martha Shaw
CANTERBURY (UK) A "VETERAN'S HYMN" - FINALL YI INTERNATIONAL CHORAL FESTIVAL FOR VETERANS' DAY-Now you can program a patriotic song dedicated July 11-15,2001 to veterans, including POWs, MIAs, and the memory of those who gave the Guest Conductor: Ronald Corp last full measure! Have veterans and Gold Star Mothers stand KAGGIK and be recognized during the concert! The Hymn, written by brothers In(ernational Gathering of Yo nth Choirs Victor and Wafeek Wah by, debuted at the 1999 National Veterans' Day (15-26 years) February 2002 , in Toronto and Ottawa Celebration on November 11, 1999, at DAR Constitution Hall, Washington, D.C. It featured Irish tenor John McDermott and Miss America, Heather Renee TORONTO INTERNATIONAL CHORAL FESTIVAL French. AprillS-22, 2001 o .:::::::. .... April 3-7, 2002 The Hymn is available in SATB, with optional soprano and tenor solos and u~c ...... Funul. 2001 Guest Conductor: keyboard accompaniment. Full symphonic orchestra and small band Dr. Doreen Rao arrangements are available. UNISONG - Ottawa Enter the new Veteran's Hymn competition! Send a videotape of World Choirs June 2S-July 2, 2001 your performance of the Veteran's Hymn, and you may win two free vacation June 2S-July 2, 2002 nights for two at a Washington, D.C., area hotel (travel not included). To 2001 Guest Conductor: Jean Ashworth-Bartle order, use the slip below. CANADIAN TULIP MUSIC FESTIVAL lAi·· ~. ------Ottawa May IS-21, 2001 VETERAN'S HYMN ORDER FORM May 17-20,2002 (International Choirs, Bands & Orchestras) 2001 Guest Conductor: Linda Beaupre Name______Organization ______CANADIAN YOUm Mailing Address______ORCHESTRA FESTIVAL Ottawa Telephone L-},______FaxL-} ______E-Mail ____ May 2002 Artistic Advisor: John Gomez PLEASE SEND TO ME AT THE ABOVE ADDRESS: INTERNATIONAL YOUTH Qty. Total ORCHESTRA FESTIVAL Veteran's Hymn (SATB, keyboard) __ x$ 1.00 ___ Ottawa Expanded Conductor Score ___ x $10.00 --'-__ July 2001 Artistic Director:·Donald McKellar Symphonic Orchestra Set (Strings=5/5/3/3/3) __ x $25.00 ___ Extra Strings ___ x$ 1.00 ___ INTERNATIONAL SOCIETY Small Band Set (3 tpts/3tbns/bass/keyboard/perc) ___ x $10.00 ___ OF MUSIC EDUCATORS ISME<~ CONFERENCE Synthesized accompaniment audiocassette __ x$ 5.00 ___ @) AUGUST 11-16,2002 Shipping and handling $ 4.00 Bergen, Norway Followed by Scandinavian Capitals Music Festival I am planning to enter the competition by sending a videotape of our performance of the Veteran's Hymn. Please send me a competition entry form. Yes ___ No__ _ CONTACT: LOIS HARPER, BA, M.Ed, ARCT Arts Bureau for the Continents (Send videotape by November 30,2000. Tapes will not be returned.) 350 Sparks Street - Suite 207A Ottawa, Ontario, CANADA, KlR 7S8 Make check payable to: Veteran's Hymn. Mail to: Veteran's Hymn, 1700 17th Phone: 1-800-267-8526 Fax: 1-613-236-2636 Street, NW, Suite 508, Washington, DC 20009. E-mail: [email protected] website: www.abc.ca
PAGE 16 CHORAL JOURNAL A Conversation with William Ferris (1937-2000): An Insight into the Man and the Musician by Lyle Stone
Photo by Lisa Ebright
Editor's note: The following interview was edited for the Choml the St. Felicitas School on Chicago's south side. He was a boy Journal. soprano in the church choir, where di Lasso and Palestrina were a standard part of the repertory. He began composing at William Ferris was leading the William Ferris Chorale in a the age of ten. rehearsal of Verdi's Requiem, Tuesday evening, May 16, 2000, During his high school years, Ferris began organ lessons at St. Thomas the Apostle Church, in Hyde Park, when he with Dr. Arthur C. Becker (student of Charles-Marie Widor, collapsed on the podium, the victim of a massive heart attack. Marcel Dupre, and Paul Dukas). Ferris's ability as a pianist was The chorus had just begun rehearsing the last section, recognized by Herman Shapiro, with whom Ferris studied "Libera me," [Deliver me, 0 Lord] when Ferris fell backward before he entered the School of Music at De Paul University. to the floor. CPR was administered prior to Ferris being While at De Paul, Ferris undertook conducting studies with transported to the University of Chicago Hospital, but he Paul Stassevitch, choral conducting with James B. Welch, and never recovered. Ferris's final moment came while conducting continued his studies with Shapiro and his organ studies with one of his favorite works, surrounded by people he loved and Becker. Ferris added composition studies with Leon Stein, who loved him. Alexander T cherepnin, and Leo Sowerby, as well, noting that William Ferris was one of the outstanding composers/per his five years with Sowerby were extremely valuable to him formers of our time. In his large body of works, he reflected because Sowerby felt that composers who perform "must actu the distinguished history of Chicago's musical life. At the alize the music notation in sound." To Ferris, Sowerby as a Church of Our Savior in Chicago, he was concert organist and teacher was on a par with the legendary Nadia Boulanger. organist/choirmaster; at the American Conservatory of Music Ferris appeared frequently as an organist in recital. During he was professor of composition and director of the chorus. the seven years he was organist at Chicago's Holy Name Ca Ferris also was founder/director of the William Ferris Chorale, thedral (1955-62), he performed monthly vesper recitals. He acclaimed for its concerts of Renaissance and contemporary, moved to Rochester, New York, where he was organist and unaccompanied choral music. choirmaster at Sacred Heart Cathedral (1969-71) under the William Ferris was involved with music-making since child leadership of Bishop Fulton]. Sheen. In Rochester he orga hood: at the age of nine he became a pupil of Sister Thelma at nized and performed in a series of concerts at the Cathedral, beginning in 1967, which also featured Jean Langlais, Andre Lyle Stone is a professor of music at Long Beach (CA) City Marabal, Flor Peeters, David Craighead, and Russell Saunders. College, where he is the director of choirs and teaches music His William Ferris Chorale was founded in Chicago in fundamentals and music of American cultures. He received a 1960, and it specialized in Renaissance and contemporary D.M.A. in conducting from the University of Missouri-Kansas music. Numerous one-composer concerts featured the music City. of Frederick Delius, David Diamond, Leo Sowerby, William Walton, Francis Poulenc, Samuel Barber, and Gian Carlo
OCTOBER 2000 PAGE 17 Menotti. and orchestra, commissioned by Fordham can Guild of Organists Chorus in Chi Public performances of the works of University for the first John F. Kennedy cago in 1970. Finally, Ferris's Bristol Hills, William Ferris include October-Novem memorial concert on November 22, for string orchestra, commissioned by the ber, which was first performed by the 1964, performed at Fordham by the Rochester Chamber Orchestra, was first RochesterPhilharmonic in 1968 with the Welch Chorale and members ofNew York performed in Rochester in 1970 with composer conducting; the Concert Piece Philharmonic with James Welch conduct David Fetler conducting; and at Chicago's for organ and string orchestra, performed ing; and Out o/Egypt, a cantata for tenor St. James Cathedral in March 1983 with in Worchester, Massachusetts, in 1967 and baritone soloists, chorus and organ, William Russo conducting. 1 with the Boston Symphony Orchestra which was awarded the first prize in the Ferris has composed many chamber strings, Berj Zamchocin, organ, and the National Leo Sowerby Memorial compe works, both vocal and instrumental. composer conducting; the De Profundis, tition in 1969. This piece was premiered There are works for the organ and for for chorus, soprano and tenor soloists, by Robert Lodine and a Festival Ameri- pianO, many songs, and a long list of choral works. He has pointed out that his role as a composer was influenced by the pageantry of the church, particularly the high holy days and the weekly experi Choral Classics ence with the congregation. The following interview by Lyle Stone for his doctoral dissertation took place in for Any Occasion the fall of 1999. A listing of Ferris's re corded performances and published com positions may be accessed at our Web site Chantry Choir1oo1~ at
PAGE 18 CHORAL JOURNAL dated December 28; I was a teenager the big one done with orchestra, because when I wrote a little two-part piece, prob I sang in the church and getting an opera done is like building the ably when everyone else was recovering Taj Mahal; it's so expensive. Yes, they're from Christmas. Somehow they put up was drawn to the idea of mature works. Well, now they're about with me [laughter] and really encouraged ten or twelve years old, but they're fully it pretty well. It wasn't something that I the priesthood because developed, contemporary operas. Barber spent all my time in. I was a pretty good was somewhat of an influence. It's a lyri student in high school, too, in other ar every once in a while. cal style. eas besides music. Stone: You mentioned a minute ago Stone: So you were drawn to the they would bring a choir about a date and noticing a note written church early on? about composing a two-part piece. Do Ferris: I was. I sang as a kid in the ofpriests to sing. you remember your first attempt at com church choir at our parish when I was posing? very young and had a terrific music Ferris: Yes, I do have a notion of it. I teacher and nun who taught me music for the Sunday choir while the Met broad don't know if I have any pieces extant because we didn't have a piano at home. casts were on. I got to hear music that I from there, but when I brought my When I was about eight, she started teach never would have heard. That was very archive over to Northwestern, I found a ing me to sing, and I could go over there interesting. At the time I was learning lot of stuff from the early teen years, like for lessons before school. I don't think I Palestrina. I had a vocal score of Aida from twelve or thirteen. I know I started had a piano before I was about twelve, so [laughter]. I love opera and have com fooling around with writing these down I would take my lessons at school from posed two operas myself, The Diva and about the age of ten. I think I was still in her and practiced piano over there in the Little Moon of Alban. One is a one-act grammar school. I knew a young clari morning.. I sang in the church and was comedy, The Diva, and the other a three netist and for some reason I showed her drawn to the idea of the priesthood be act. these pieces, which she played through; I cause every once in a while they would Stone: And are they both contempo was maybe around ten. I think it was have funerals in the Catholic Church, rary operas in style and harmonic struc pretty unskilled, but I kept most of them. and they would bring a choir of priests to ture? Some of it's been lost. This wonderful sing. That was one of my first experi Ferris: Yes, The Diva received a per nun I studied with insisted that I take ences hearing men singing in four parts. formance at Northwestern two years ago, theory. In the regular parish you never heard a really exciting performance with stu Stone: What was her name? anything like that. So I was taken by dent singers and orchestra. I thought it Ferris: Her name was Sister Thelma. I that. They had a terrific musician at that really worked. I had only heard it in a have no idea now what her last name was seminary, Monsignor Meter, who died two-piano version before. I've never heard because we never knew those things. last fall. He studied in Rome as a young man with some very good composers who were two very important priest compos ers in the early part, up to the 1950s. It helped me in a way decide to become a musician because music became very im Simply . .. the best! portant. I became chapel organist there and used to put programs together. I con tinued into that business, particularly re garding singing and choral music at that period anyway. MASTER MUSIC MANAGER Stone: So Father Meter was an influ ence. Easy-to-use computer resources for school and church musicians Ferris: Absolutely, big influence, yes. Because he introduced me to some out Macintosh® and Microsoft® WindowsTM versions include: standing music and opera at a very early age. He was an opera nut, so he would Music Library Recordings Library Membership Files lend me his opera vocal scores. In the Personal Directory Inventory Manager DataDesigner seminary, in those days, we went to school Easily customize any module, or design your own! on Saturday, which is very intriguing con sidering how liberal they are now. It was Call MANAGER SOFTWARE for a FREE demo disk. almost like being in a little monastery, (800) 282-9220 • Monday-Friday • 9-5 Eastern Time only it was day school. On Saturdays he would let me come down and sort music Also available for church musicians ... Hymnlndex™ Worship Planner
OCTOBER 2000 PAGE 19 Stone: She encouraged you to take The Diva went faster because I wrote music theory. Opera is an entirely a scene for a contest that Beverly Sills had Ferris: She did. In fact, she taught me. in New York City Opera for a one-act She would bring me downtown on Sat different thing because it opera. I was selected as one of the three urday, sometimes, and go to some of the finalists; I had to develop the whole one classes that were being given for young has its own musical form act opera for the contest. Unfortunately, people at DePaul University School of I lost to Jan Bach. She's a good friend, a Music. and enormous propensity nice composer, so I'm not too mad at Stone: How old were you? them [laughter]. I did all that pretty rap Ferris: I would say the age of ten. for development ofa few idly because of the possibility of it being We'd go down to Baldwin Hall and play performed in concert. It occupied about Bach inventions for each other and get words and a year of my life. little medals and stars. She really kept us Opera is an entirely different thing on our toes, as I remember. characterizations, which because it has its own musical form and Stone: What inspired you to think enormous propensity for development of about writing an opera? is entirely foreign. a few words and characterizations, which Ferris: I always had a love of the form. is entirely foreign. Cantatas and orato I saw a play on television called Little rios have more dramatic settings; you have Moon ofAlban by James Costigan. Julie one who could actually form it into a characters singing their own music. I have Harris was in this television play. I sat book for me. I can't do that myself, like a dream of doing one more before I watching it, and to my amazement I be Menotti and Wagner. I'm no good at that shuffle off this mortal coil. I just know gan imagining it as a music theater piece. at all. I had to have someone turn it into I'm going to set the time aside and sim I sketched out some ideas. I must have a libretto, but that piece took me a very ply do that, and nothing else, when I spent two years thinking about it and long time. It occupied five, six years of finally get to it. making rudimentary sketches before I my life. I wasn't doing only that. It's just Stone: That's quite a luxury. ever got in touch with a librettist, some- too big, it's a huge thing. Ferris: Well, I know it is, and I don't
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~AGE 20 CHORAL JOURNAL have it right now. [laughter] I have this ent tonalities occurring simultaneously. dream of the luxury that maybe in the 1 often find myself Ferris: It's a kind of a terraced thing of luxury time I'll do it. [laughter] Does different tonal centers almost in a chordal that make sense? looking at the text, not so manner sometimes, and then since I'm Stone: Believe me, it does perfectly. delaying, I'm waiting to get to the C. I Ferris: Oh, that's great. much as to what key or think I'm kind of divergent through E: Stone: Since you mentioned texts and pedal, N, F, and finally down to C on the your closed-end composing and montage what tonal center Pm top of page 3. You know, every downbeat and motets, is there anything you specifi flirts with being tonic. cally look for in selecting a text for a beginning in, but how Stone: It does, every measure shifts composition? tonality. Ferris: Some pieces might be interest 1m going to arrive at an Ferris: That's right. In a certain sense I ing for a number of reasons. Hail Noble think that's what gives the undulating Flesh, which is the earliest of the pieces, is important section in a spirit of a long sense of a tonal progres based on the Ave Veorum Corpus, which is . sion, if you want, a long harmonic mo the regular old Latin text that comes from pzece. tion sort of thing, so the pedals are good the chant. I was going to make a setting signals. But the downbeats of those bars of Ave Veorum in Latin at this time. The give us a nice flavor each time away from Catholic Church was changing the be or "Mary's virgin," I wanted to be in pure that final resolution at "virgin." ginning of the Second Vatican Council C-major. Stone: In this piece you're basically to English. A friend of mine asked if I Stone: And you did. You started out trying to hold off the final chord? might abandon the idea of setting a Latin with a pedal E, in the beginning leading Ferris: That's right. The whole piece, text and set the same text in English. So, us eventually to F on the next page. of course, eventually goes back and ends the English translation was by Robert Ferris: Yes, what I'm doing is heading in C but in a dreamy, added-note man O'Mara, a friend of mine. I had already toward and yet delaying the resolution. ner. selected that text, which I would call a To me it's more tonal-centered, not nec Stone: I also notice you use a plethora Eucharist text. Ordinarily that would be essarily progression core to core. of ninth chords. sung during communion. So I think this Stone: You don't like to use key signa Ferris: I do, yes. is a particularly beautiful English transla tures. Stone: Because you've got C 9 chord tion. Ferris: I don't; sometimes I do-that and other added note chords. It's a very, Stone: It was obvious when I took the was Sowerby's doing. When I first came very nice flavor. poetry and set it out on paper and looked to him, he thought I used too many key Ferris: Well, thank you. I do, I like at the music alongside, that you've taken signatures. It takes a long time to condi those chords. I like seventh chords, I like the poetic structure and applied it to your tion yourself to what's easier to read, and added seconds and even added sixths. I musical setting. I specifically like the way I'm not saying necessarily that one or the once went through a period of using a lot you arrived at the word, "virgin" in the other is easier to read. Today most of my of that scenario also. The idea of an un musical setting, which is followed by a pieces wouldn't look this way exactly. adorned triad doesn't seem to appeal to four-measure interlude before the first Stone: On the first page you have a me as much except in rare cases, you appearance of the full choir. pedal low E leading to F on the next know. Ferris: That, to me, is the most dra page, then you have in the organ part D Stone: I notice you like a lot of con matic moment in the text. minor going on, so you've got two differ- trary motion. Stone: You have the opening state ment in a duet and then bring in the full choir as the text reaches a moment of impact. You use this technique frequently. Let's talk more specifically about your harmonic structure in Hail, Noble Flesh. Does the selection of a particular text have an effect on the harmonic structure The new world-premiere CD recording of of a piece? The A Cappella Si11ger includes all 30 works and a 28-page booklet with complete texts, Ferris: It's a little of each. I often find program notes and updated translations. myself looking at the text, not so much as to what key or what tonal center I'm Order Online http://www.dougfrank.com beginning in, but how I'm going to ar Toll Free Telephone Orders (800) 711-3627 rive at an important section in a piece. 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OCTOBER 2000 PAGE 21 Ferris: Absolutely, whenever I can get Ferris: I think so-their structure and little kid when I didn't really even know that, I try. their melodic line. what it was. I found it to be such an Stone: And a lot of parallel motion. Stone: In talking about parallels, I interesting sound and such an easy way Ferris: And then parallel motion ... I think you mentioned going back to older to enrich beautiful, long vocal lines that I think that comes from when I was a kid music styles, maybe even back to chant, think it just stayed with me. To this day, I singing some chant or Renaissance pieces. because you have parallel fourths and use a lot of chords. I don't use as many I think there's a lot more early music fifths constantly going in opposite direc fifths as I did, but a: lot of chords. influencing this stuff than it looks like on tions. Stone: Are you thinking of a way of the surface because it's kind of dissonant. Ferris: That's right, I'm sure it comes progressing these measures logically or Stone: That's one thing I noticed. Even from the early influences because we used more of a free form? though your pieces are contemporary har to experiment with singing with organ a Ferris: I wouldn't go so far as to say I monically, they're traditional in structure. lot in forths and fifths, even when I was a planned all those tonal centers specifi cally. I think I worked two different cen ters until I felt it gave the freshest and most powerful approach to where I wanted to go. I'm not always intellectual izing to the degree that other composers do. A lot of the stuff I hear in my head and I check things· out. It's the property of sounds that impels me, rather than the names I give to those sounds. Stone: Oooh, I like that. Ferris: I've always written instinctively. It's what I hear, and I have to believe in something I hear. Once I hear material I think is workable, I can move forward. I don't immediately sit down and fill out what that is in chord symbols. Stone: Good, because I know some conductors might want to intellectualize a piece too much. Ferris: I think it can be done too much. As Sowerby used to say "leave it in; it sounds good." Stone: Yes, but you don't know why it sounds good. Ferris: He wouldn't say to me it sounds good because it's the added sixth to the chord in the second bar. He said, "Re member, we write the music we like to hear." Isn't that interesting? We write the music we like to hear. And in a way he's saying because maybe no one else has done it. Isn't that interesting? Although Ha1Mai'i • .JUL¥ 1 6 - 24, 2002 he was a brilliant intellectual teacher, he taught instinctively, very much in your own style, you know. Stone: Even though I'm schooled, I tend to do things out of instinct rather than intellect. Ferris: I have to agree with you. I'm very much like that. Until I find it reaches Pacific Rirn something that feels good or sounds good, MUSIC RESOURCES Wanda Gereben, ExeCutive Director I'm not satisfied, no matter how much Tel: (808) 595-0233 • Fax: (808) 595-5129 they explain it to me. I've done that even Toll Free: 1-800-767-0490, access #02 email: [email protected] with visiting composers. One thing we website: www.musicresources.org were doing with Lee Hoiby once, the
PAGE 22 CHORAL JOURNAL tempo I thought was all wrong. It was Stone: What do you look for in select way too fast. He decided finally that he Ifsomeone hasn't ing a text? agreed with me, and he changed it [laugh Ferris: Like Indian Summer? ter]. Isn't that interesting? When you're specifically guided me or Stone: Any text. When you decide to sitting at your table by yourself writing, pick a text for a setting, what do you look it's very different from the sound ema asked me for something, I for? nating from human beings in front of Ferris: If someone hasn't specifically you. My God, if it's not working. have to be moved to go guided me or asked me for something, In fact, wasn't it Mahler who wrote, beyond what the text does (here again I'm going to talk kind of "Whenever you're having trouble with an instinctively) I have to be moved to go area in a composition, go slower even if beyond what the text does to me. For it's an adagio." Pull back until you can to me. instance, when I read the opening of In hear what's there to begin with and then dian Summer, "these are the days when decide how fast you can go. I agree with birds come back," I immediately felt al that. The instinct has to be valid or it's pieces, hopefully done in church. most a need to "musicalize" that because just a lot of talking. Stone: Exactly, but the one piece, In I felt this Indian Summer, this whole kind Stone: I have a question about com dian Summer, I hesitate to say it's secular of mysterious time we celebrate here in posing sacred pieces versus secular pieces. because it's not a church piece. In that the midwest, when it's neither winter or You've composed only a couple of secular way it is secular, but we're talking about fall, magical and fires are burning, leaves pIeces. the sacrament of life and death. and all this stuff. Ferris: Well, most of my choral music Ferris: I know, particularly [Dick It almost became a picture to me. I is with sacred text. There are a couple of inson's] poetry fascinates me that way. need an impulse greater than just the big ones that are secular. The Snow Carol She's a preacher's daughter, and she's al rhythm and sound of those words. Usu is one movement I find to be a Christmas ways preaching, I think, in a very mysti ally, it's a graphic thing with me. I've work that's not necessarily liturgical or cal and neurotic way, but still an amazing written dozens of songs, art songs, and I sacred. In a sense most of them are sacred poet. just know immediately if the first line
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OCTOBER2000 PAGE 23 clicks something into me and if I can think it scared him and he wrote a lot of this rarefied thing. I have to find a poet read further and find options like that. I tableaus instead of writing real opera like that resonates with me spiritually and think it means the text is capable of be he had done in Vtznessa. personally. I've set a lot of Edna St. ing colored and that it's strong enough in Stone: I think they live with the Vincent Millay in my art songs. I'm very its own aspect that "musicalizing" it won't rhythm of that text more than we do. fond of her. Just recently I set a big cycle make it trivial or hype. Ferris: They were brought up on it, of Georgie Parker's poetry, which years I've never really set Shakespeare. sure. before I never liked. I've learned to really Shakespeare scares me. I think it's very Stone: When they hear it, they don't respect her poetry. It's very different, difficult. I think it was the downfall of hear the complexity. They hear the music much more concise than some of the Samuel Barber in writing Cleopatra. Ifhe in it maybe more than we do. We don't other songs and things I've done. had stayed with Menotti and not hear it every day. In English I would hope that the words Zeferelli, he never would have done it. I Ferris: I think you're right. For us it's would be settable and singable. You have ------"------, to be very careful of that, too. I'm not always successful, but I try, like, "oh frog that cannot cheat the bee." I'm not going to hide that. I'm going to try to make that into a motorized intense thing. I think also (going back to Sowerby, my teacher), I had a word. It was "alba tross" or something. I just put it in one voice and let other people sing ooh and ah, and he got very annoyed at me. He said, you know, if this line bothers you so much that you're going to hide it, maybe you shouldn't set it. I think I finally aban doned that project because I found when ever I couldn't make it work chorally, it would always be a word that was just shot out by someone. Now, someone like Benjamin Britten can do that fabulously, I think, while someone's making sound effects. He re invents things all the time, language or harmonies, no matter what it is from work to work, in an astonishingly bril liant way. To this day I'm never sure ex actly what he's going to do. Stone: I think it's part of his charm. Ferris: I think it is. Oh, my God, yes, I agree. Stone: In Indian Summer you men tioned your remembrances of your sum mers and the changing of the seasons. When you wrote this piece, did you have any intent of the metaphor of life and death, or were you just writing a piece as a remembrance of the summers you had spent? Ferris: I think I started out without any metaphor of life or death. You can almost tell from the urgent quality.and the really bi-tonal driving quality of the piece; it took on a much richer, sort of symbolic form in my mind. Stone: Yes, because you open with a wonderful bi-tonal setting, the major against the minor.
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Ferris: That's right; it's a questioning There was this terrible blizzard one it's hard as heck. piece, a piece of contrast all the way December in Chicago. I was locked up in Stone: Now, in Hail Noble Flesh you've through. Although it's tonal, the modes my studio at school. I couldn't get home. selected the C-major tonality. In Indian are mixed so often between major and I've always loved A Snow Carol and obvi Summer you again juxtapose C major and minor or ambiguous triads together that ously it's been beautifully set. I just de C minor. In A Snow Carol you're basi it's an unsettled piece. It ends on a gigan cided I'd do this as a gift for Fenby. From cally structuring around E major. tic mixed triad. It never really settles in. that came this big Snow Carol piece. All Ferris: That's correct. That really is The flats and the naturals are all the way the pieces are about snow. Actually, the the center, I would say. Some stop with through. The immortal wine is still just a piece was nominated for a Pulitzer Prize; A, but certainly the center is E. vision to come. From the performances unfortunately, I didn't win it. Stone: When you select a text and I've done of it, it makes a pretty spec Stone: Well, when you play all the tonality for this piece, does the text lead tacular close. You must have a wonderful parts together, it's just hard. you towards the tonality? pianist, a big group, and a big grand Ferris: It is, it's a hard piece. It is a Ferris: Well, that's an interesting ques piano. [laughter] carol in the sense of the traditional carol tion, isn't it? I think Indian Summer could Stone: With lots of bright sound in it. where the first verse and the last match in not be in any other key center than it is. I Ferris: Absolutely, and someone who a way, and the other verses begin in kind think that about this, too. I can't say that can cover the piano almost orchestrally. of a colorful way based on material. Ob if it leads me to it, it leads me to it A great big Steinway. viously, the beginning of the second verse, without my making up my mind as to Stone: Let's talk about A Snow Carol. "Our God Heaven cannot hold," is the how it's leading me to it. Ferris: I can give you a little back tune of the first verse augmented in a Stone: Divine intervention. ground on this. This is part of a big work different key. All that is very apparent in Ferris: Well, I don't know. Sometimes called Snow Carol which was written first. the sense of bigger carols lil{e Britten and I wake up in the morning and I go back This was written as an unaccompanied people like that write. It is tough because to what I've been working on, and I can piece while I was still thinking about it's an ongoing, huge bunch of word solve it very clearly. It's as if I'm orches doing a piece with movements to sur paintings and kind of impressionistic, trating or writing something, and you round this that would involve a chamber free-form style, almost like Delius him know what? Something is happening dur- orchestra. I wanted to write an unaccom self, one of my great heroes, too, in a . ing the night, and I don't know anything panied piece and dedicate it to Dr. Fenby. strange way. I love doing his music, but about it. We talk about the unconscious
OCTOBER2000 PAGE 25 mind. I hate to say it because it almost Stone: Right, an over-analysis of a words, aren't we? I don't know that we're sounds romantic beyond practicality. In piece of music that was never the intent intellectually constantly saying, now, the truth, someone said to me once in my of the composer. As you said, "You com next word has to be "glowing," or the choral music and certainly in my songs, pose what you like to hear." next word has to be "lovely." I think it's that when I write about birds there's a Ferris: Exactly, and to me somehow something that fits into a bigger picture. . certain kind of sonority I use. Someone those sonorities fit this text. Words just bring you to that place. When was doing an analysis of some of my Stone: People are looking for some I'm writing instrumental music that has songs. It was a long time ago, and you greater meaning in what you do. I did no words, I feel how difficult it is because know, it's true, but it was never some that because I wanted this kind of chord the words help me so much. I always thing I was conscious of doing. So it here. No, it just sounded good. insist on writing small or medium-sized leads you somewhere in your imagina Ferris: It's almost like conversation, instrumental pieces between works with tion. and we're thrilled when we find the right words, just because technically and craft wise it's very important. Otherwise, I tend to lean on the words. Stone: I always preach to my choir when we have an interpretive piece that SMOKY MOUNTAIN we have an advantage over orchestras. We have the words to help express the MUSIC FESTIVAL emotion. Even though orchestras do ex 2001 press emotion in the dynamic range and 2 or 3 nights in effects they can afford to the audience, GATLINBURG, TENNESSEE we have the words. April 20-21 May 4-5 May 11-12 Ferris: Absolutely, and you have a phi Competition in: losophy. You have an inherent form with Concert Choir. Chamber Choir • Men and Women's Chorus out a doubt. You have the potential for Madrigal Choir. Jazz Choir • Show Choir emotionality that an instrumentalist does Festival Director: Dr. W J Julian not have. I mean, there's an E flat in Director of Bands Emeritus: University of Tennessee, Knoxville front of him. What does that mean? What 1-800-553-1032 (865) 693-5470 can it do for him? The potential is enor (865) 938-0246 (fax) E-mail: [email protected] mous, but you can't get to it as quickly or www.SMMFestival.com (web site) share it as much as you can when there Fax, phone or e-mail festival office for detailed information book. are words. I believe that. TOTAL COST: $115 per person (quad occupancy, 2-nights' package) On the other hand, a great friend of $140 per person (quad occupancy, 3-nights' package) mine, Don Peck, said to me, "When I One complimentary package for director. Additional packages available. begin playing your flute sonata, I always think it's like I'm delivering a monologue In our 19th year, the experienced, permanent staff insures a in a play. The theme of the opening is smooth-running weekend in the heart oj the beautifUL Smoky like to be or not to be." He said, "I go on Mountains. The festival includes either a two or three-night package with accommodations in afirst class Gatlinburg motel (all from there." I thought, how interesting, with pools); adjudication by nationally known judges; trophies to because I tried to make it compelling in a winning groups; and plaques to all participating groups. dramatic way. He was looking for words to help him emotionalize, whereas we Adjudicators will be: have those words. So, there's a wonderful Dr. Charlene Archibeque (San Jose State University), Dr. Charles connection there, the easiest one of all. Ball (University of Tennessee) , Simon Carrington (University of Stone: [laughter] My song is love un Kansas), Dr. James Gallagher (Ohio State University), Dr. David known. Greenlee (Eastern Kentucky University), Mel Ivey (North Texas State Ferris: That's right. When I wrote it, I University), Dr. Craig Jessop (Mormon Tabernacle ChOir), Weston Noble (Luther College), John Ribble (Oak Ridge, Tennessee Schools), . wanted it to be a practical. I love the text, Dr. Charles Smith (Michigan State University), Dr. Robert Stoll it's a wonderful text. It's out of this world. (Indiana University), Dr. David Stutzenberger (University of Tennes I wanted to do something for church see @ Knoxville), Dr. Eric Thorson (Carson-Newman College) and Dr. that would be haunting and yet simple Steve Zegree (Western Michigan University). enough to bring off with some regularity. I wanted to go beyond its just being an Festival Mailing Address: 601 Westborough Rd., Knoxville. TN 37909 expanded sort of hymn-tune piece. So, I went ahead with the chorale form and the use of the oboe as part of the struc ture.
PAGE 26 CHORAL JOURNAL I think of the oboe, if I can use it this duced the string trio. I'm happy to say at that? That's a reinforcing effect of orches way, as being sort of a protagonist that the end of the first movement he said, tration. It has nothing to do with pure draws the text out of the singer. It's al Okay, you can start using double stops linearity. Now he gets Grammy awards most like a troubadour walking in front now. So I think you're absolutely right. for playing the Bartok Concerto for Or of them, not' singing words, but playing At first you have to try everything you chestra where that happens all the time. It his oboe-the pied piper of these words. know-to find yourself. After we went was a funny time; it was a tough time, The oboe introduces material that brings through the Schoenberg period, we were but I'm sort of glad it's over. them to the notes of singing these words, being so beat up we had to intellectualize May I say I'm extremely grateful and I mean toning these words. everything, just to be able to beat on our very really honestly impressed with your Now, this piece is purely tonal and breasts and say, listen to that full organ perceptive manner with this music. I unthematic compared to things we've chord with all that stuff in it. I was com mean, I just don't know what to say. It's looked at. This goes back to my earlier ing up at a time that was very hard for certainly been enlightening and to me framing of chants. There's hardly an acci someone with the kind of inclinations in this morning it just makes me very happy dental. The oboe has the first accidental. composition I had towards form and to to find that you've found so much there. Stone: You have your basic, your prime nality. Theorists would look down their A. noses at anything that wasn't twelve-tone Epilogue Ferris: Right, that's kind of my mode in the 1960s. In fact, I put away compo All of us have found so much in Will in this minor. sitions for years because I thought no one iam Ferris, the musician and the man. Stone: You go from A minor to A in the world would ever take these things major, but you still stay in A. seriously, and it's too bad. Thank heavens NOTES Ferris: That's right, absolutely. I've survived and we've returned to a saner 1 Arrand Parsons, "Program Notes," Chicago Stone: It's easier to hear. It's easier for VIew. Sun Times Oanuary 1993): W 5-7 the singers to get, understand, and sing. I remember Boulez writing he would Ferris: You're right. I wanted to do never play music written after 1900 where -C]- that, and it's because of what need I the cello doubled as the double basses. thought I was fulfilling with it. Things Well, I mean, what kind of nonsense is like The Snow Carol and Indian Summer were meant to be concert pieces, or part of a concert piece. However, Hail Noble Flesh and Love Unknown, the earliest and 2nd Illemadolal Choir the latest of the pieces separated by God knows-about thirty years, to me COlllltitiOI &Flshal are the two simpler pieces. The pieces in between are far more adventuresome, dra 'o'Florida matic, and complex. That happens with Mal 11.. 21, 2001 composers sometimes. Much of my music now seems to be • Increase Enrollment by Entering International Competition simpler. Not everyone would say that, • Exposure to Foreign Choirs and Choral Singers but I think it is. The tirst piece I wrote • Share Extraordinary and Diverse New Choral literature when I studied with Sowerby; I was • Compete Against Choirs for a Ranking or Against a Standard twenty or twenty-one years old. I wrote • Internationally Recognized Choral Adjudicators an enormous organ sonata, with all these • Workshops with Renown Clinicians chords, ten-note chords, full organ, great, • Choir Categories: Mixed-Male-Female-Chamber-Youth-Jazz big piece, a half hour. I mean, I liked the second movement a little bit. • Advisors: Dr. Jerry Jordan, Dr. Lee Kjelson, Dr. John Haberien, and Dr. Royce Salzman I look back, and Sowerby said to me, • Evaluation & Friendship Concerts, Workshops and More!! "Okay, now, you got that out of your system." He was a wonderful, pragmatic
guy. He said, "now what I want you to do A'" TEi YI'\L.'...... ' ,:AI:: .."" . .. ~~. for me, I want you to write a string trio, COllYBllJOH a VJ5llDRI BII!I£AU three instruments, violin, viola, and celio, ,:;lr;t~t~:~l,~'U{-~-¥ggc~B~'~I~~m no double stops. If you can improve your ... Phone: 954-925-9399 harmonic line, which is three notes, we University of Miami Fox: 954-925-7767 can keep working together." Do yoil Toll-Free: 888-820-5630 .Coral Gables know how tough that was? Emoil: festivol@interw!tureuso.org (Miami) Ronda, USA Stone: I can imagine. Ferris: I worked and worked and pro-
OCTOBER 2000 PAGE 27
Reflections on the 23rd
Annual Conference of •
CHORUS AMERICA • • • by Barbara Tagg •
AMERICA
The 2yd Annual Conference of CHORUS AMERICA was held opening night concert was given by the Washington Bach June 7-10, 2000, in Baltimore, Maryland. Founded in 1977, Consort, under the direction of J. Reilly Lewis, at America's CHORUS AMERICA is the national service organization that first Catholic Church, the Basilica of the Assumption. An promotes the highest artistic quality, development, and growth elegant reception followed at Oriole Park at Camden Yards of vocal ensembles, advocates the fair remuneration of profes overlooking the field where the Baltimore Orioles play. sional singers and choruses that provide professional services, One of the musical highlights of the conference occurred and stimulates greater understanding, appreciation, and enjoy the second night. Tom Hall conducted the Baltimore Choral ment of choral music throughout North America. The organi Arts Society Chorus and Orchestra, the Soldiers' Chorus of the zation serves the needs of professional, volunteer, children/ United States Army Field Band (Lt. Col. RobertA. McCormick, youth, and symphony choruses in the areas of artistry, manage director), with soloists James Morris, Marvis Martin, Marietta ment, and governance. Members include singers, conductors, Simpson, John Aler, and child singer Stephanie Barnes, in a administrators, and others who care about choral music and its performance of Mendelssohn's Elijah. The performance in futute in North America. cluded the angelic voices of The Peabody Children's Chorus, The Annual Conference of CHORUS AMERICA occurs during under the competent direction of Doreen Falby. The packed the first week of June annually and has become an important Meyerhoff Symphony Hall gave maestro Hall and performers a event to bring together those who work with choirs in all well-deserved standing ovation that lasted more than eleven capacities. The conference provides an opportunity for board minutes. The Baltimore Sun described the stunning perfor members, administrators, and conductors to learn, share, lis mance as follows: " ... the underlying might of this Elijah came ten, and be inspired. (The next CHORUS AMERICA Conference from the chorus. It displayed exceptional discipline, articulat will be hosted by the Toronto Children's Chorus and the Elmer ing with great finesse at any extreme of tempo or volume, and Iseler Singers in Toronto, Ontario, Canada, June 6-9, 2001, maintained a firm, smooth tonal blend. Theirs was a virtuosic with the Royal York serving as the convention hotel). The site effort." of the Baltimore convention was the Holiday Inn-Inner Har For a change of pace, the following night the CHORUS bor. The host for this year's event was the Baltimore Choral AMERICA Festival Chorus made their debut with approximately Arts Society, under the direction and capable leadership of eighty singers who sang The Star-Spangled Banner for the Balti CHORUS AMERICA president Tom Hall, assisted by Sandra more Orioles baseball game with the Philadelphia Phillies. Smith, Baltimore Choral Arts Society executive director. The Other choral concerts during the conference included "Choral Keynotes" by the Handel Choir of Baltimore, the Soldiers' Barbara Tagg is Artistic Director/Founder of the Syracuse Chorus of the U.S. Army Field Band, the Peabody Children's Children's Chorus and an Affiliate Artist at Syracuse Chorus, the Children's Chorus of Maryland (Betty Bertaux), University where she conducts the S.U. Women's Choir. and the Summit Children's Choir (Arlene Jacobs). Early morning sessions called "Board Buttonholes" were
OCTOBER2000 PAGE 29 held by prominent CHORUS AMERICA Series. Five choruses were recognized by constituencies. Track A was for "Chorus board members to meet with conference CHORUS AMERICA for their Educational 101," Track B for "Administrators and attendees to discuss specific questions and Outreach Projects: the Handel and Haydn Boards," and Track C for '~tistic" mat topics of interest. Following the Button Society (Boston), the Los Angeles Master ters. Experts in music, business, and non holes each day, a morning sing was held. Chorale, the Minnesota Chorale, Ply profit management offered sessions on Albert McNeil (founder! director of the mouth Music Series of Minnesota, and such topics as board development, Albert McNeil Jubilee Singers) began the the Vancouver Chamber Choir (Canada). fundraising, strategic planning, reading first session with a rousing chorus ofJester Keynote Conversations were held each financial statements, contracts, Web site Hairston's Amen. The second morning morning, with Tom Hall hosting a dialog development, marketing, music licensing song leader, legendary composer, and ar with an invited guest. Daily speakers for and copyright, ticket sal€S, publicity, hir ranger Alice Parker began with Wade in this informal public conversation included ing an administrator, defining roles of the Water, holding the sleepy voices to .Robert Sirota, director of the Peabody board and staff, financial planning, work standards of excellence and appropriate Institute; musicologist and author ing with orchestras, preparing for a guest musical style. The final morning sing was Michael Steinberg; and a three-way dia conductor, writing a marketing plan, cri led by the energetic Diana Saez. log with Wayne Brown from the National tiquing brochures, pre-concert talks, edu Various awards were presented Endowment for the Arts and Philip cation outreach, and repertoire. throughout the conference. Three orga Brunelle, artistic director of the Plymouth Specific music sessions focused on the nizations received ASCAP Awards pre Music Series. The informal arm chair con music ofAlice Parker (led by Alice Parker), sented by ASCAP vice president Fran versations were adeptly led by Tom Hall working with orchestras (Duain Wolfe), Richards. The ASCAP Awards for Ad and very well received by the convention and "The Legacy of Robert Shaw" pre venturous Programming were given to: I participants. A brief question and answer sented by Nola Frink, Alice Parker, and Cantori di New York (Mark Shapiro), period concluded the forty-five-minute Jacqueline Pierce. A special track for Kansas City Chorale (Charles Bruffy), and seSSIOns. children's choirs was held on Saturday San Francisco Girls' Chorus (Sharon J. Twenty-two interest sessions were held and included sessions on managing a Paul). An Honorable Mention was given over three days. Three tracks provided children's choir, and repertoire for to Philip Brunelle of Plymouth Music sessions targeted to specific interests and children's choirs. A prc:-convention work-
PAGE 30 CHORAL JOURNAL shop was held, titled "Making the most Professional Choral Art to Paul more. Programs, brochures, season flyers, of the Media." This included a tour of a Salamunovich (Los Angeles Master Cho and recordings from member choruses . television station and strategies for mak rale). The Peggy and Yale Gordon Chari were displayed. First-time attendees and ing the most of publicity in all forms of table Trust received the Michael Korn those who have attended many confer the media. Award for Philanthropic Contribution to ences responded most enthusiastically to In the past two years CHORUS AMERICA the Arts, and Jon Washburn (Vancouver the Baltimore conference. It was the larg has moved its national headquarters from Chamber Choir) received The Louis Botto est conference to date and provided con Philadelphia to Washington, D.C., and Award for Entrepreneurial Spirit. The ductors, singers, choral administrators, undergone staffing changes. Maurice Margaret Hillis Award for Choral Excel and board members an opportunity to Staples was acknowledged during the con lence was presented to the San Francisco share, learn, and grow in the choral art. ference by the board and members of Girls Chorus (Sharon Paul). CHORUS AMERICA for his dedication and The final event of the evening was an -C]- hard work during this transition and audience sing ofAlice Parker's music, lead move. On June 19 Ann Meier Baker was by Donald McCullough, music director appointed executive director of CHORUS of the Master Chorale of Washington. AMERICA. Baker spent four years in the The evening concluded with a moving U.S. Air Force Singing Sergeants, and her performance of the Alice Parker/Robert past professional positions include the Shaw arrangement of Deep River, con American Symphony Orchestra League, ducted by the distinguished honoree, Alice the Music Educators National Confer Parker. ence, and most recently as the founding Over 400 people and twenty-four ex director of the National School Boards hibitors attended the Baltimore confer Foundation. She brings expertise, energy, ence. The only living founding member and new vision to the organization. of CHORUS AMERICA, Gregg Smith, at AABACA S~ $69 Box lunch sessions on two days of the tended. Exhibitors included publishers, 7':U.'-7J,J-7307 \J IV conference provided an opportunity for tour companies, licensing agencies, and Caucus Groups to meet. The first pro vided groups of varying budget sizes to focus on sharing marketing information and advice with peers. The second box USC FLORA L. THORNTON SCHOOL of MUSIC lunch session was divided into constitu ent groups: Professional Choruses, Small Graduate Studies in Choral and Church Music (MM, DMA) Volunteer Choruses (fewer than fIfty sing ers), Large Volunteer Choruses (more than Our magnum opus is you fIfty singers),ChildrenIYouth Choruses, faculty and Symphony Choruses. Animated dia William Dehning, chair; Lynn Bielefelt; David Wilson log in each of the four rooms gave people ensembles Thornton Chamber Choir, Thornton Concert Choir, an opportunity to connect with peers. Men's Chorus, Oriana Choir, UniverSity Chorus On Friday of the conference the CHORUS become a part oj it... AMERICA Annual Meeting and Luncheon International Choral Competition winners; national and international tours; was held. Ron Shapiro, Chairman of Regular performances with Helmuth Rilling and the Los Angeles Philharmonic Shapiro Negotiations Institute, and au and LA Chamber Orchestra; Thornton faculty such as MOTten LauTidsen, thor of The Power o/Nice: How to Negoti composition, James TyleT, early music, and Bl'yan Simms, musicology. ate So Everyone Wins, gave the keynote Scholarships and Graduate Assistantships available address. The Saturday night banquet and final Flora l. Thornton School of Music event of the conference was a tribute to University of Southern California Los Angeles California 90089-2991 Alice Parker, celebrating her seventy-fifth p: 8008722213 fax: 213 740 8995 birthday in 2000. As a surprise gift, her five children, their spouses, and all ten of her grandchildren attended this special www.usc.edu/music tribute. The evening included a live and . silent auction, with Tom Hall in the role of auctioneer. Four significant CHORUS usc AMERICA awards were presented. Albert McNeil presented The Michael Korn Founders Award for Development of the
OCTOBER2000 PAGE 31 HIGH SCHOOL CHILDRENlS CHURCH······ ire . "Tbejl!1est "Finest repe I'to d'CHOI·R·S . er orgaltlZe~ee':/ , CHOIRS.•... "CJJ!trc.bln~IS;~~st prestlg . .C HO IRS conductors .an f" ev I 'ldren s .' rHO event!" . bistoric settIngs. June 23 - 29, 2001 fOl'cl:~irs!" July 30 -Aug 5,2001 June 13 - 20, 2001
Westminster Hall Festival Choir & Orchestra Canterbury Canterbury Cathedral. Cathedral Festival Concert Festival Concert
St Martin-in-the-Fields Dr. Eph Ehly Individual Concerts University of Indianapolis Concerts Missouri Children's Choir Second Annual British-American Fifth Annual International Fourth Annual British-American Church High School Choral Festival Children's Choir Festival (Video Available) . Music' Festiva I (Video Available) Featuring Festival Choir Concerts at York I\1inster LiveiJl the shadow of majestic Canterbury Featuring Festival Choir Concerts at Britain's Cathedral, and Westminster Central Hall in . Cathedral where chonil musicbeganjn597 A.D. most historic locations of the Faith-St. Giles London with orchestra. Individual concerts at Festival Choir Concerts, Services and Workshops; Cathedral, Edinburgh;·Canterbury Cathedral, st. Martin-in-the-Fields, st. Paul's Cathedral, in Canterbury Cathedral and Fiilal Festival Choir Westminster Central Hallwith orchestra, etc. Custoln itineraries can include extensions Concert at Westminster Central Hall with Custom itineraries. can include extensions with. concerts throughout Britain orchestra, Individual choir concel:ts in. . explore your denominational heritage! .providing educational accountability by enhancing Canterbury Cathedrai,St. Palll'sCathedral, ". an~ supp~rting your choral curri(:uium. . st. Martin~in-the~FieldS; etc. Optional extension· C~nduct~d by DAVID FLOOD, .' . to Paris with aconcertatCathedraleNotre~' .' '.' .• . Master of Choristers, Canterbury Cathedral,·. Condu.cted by DR. EPH EHLY; pamede. Paris and a,n'llijor evening com:ert at:. mid MICHAEL HARRIS,. . . Univ. of Missouri, Egli.sedelaJyIadeleine, Pre and pos["fesHval ..• ·•.·.· .Master of the Music, St. GilesCathedral and PHILIP MOORE, ext!,!f)sions with concerts throughoutBriWn,. Master of the Music, York Minster LITERATURE FORUM
Orchestral Repertoire for Treble Voices by Barbara Tagg and Jean Ashworth Bartle
Since the early 1980s the children's choral works for treble choirs and orches two flutes, continuo choir movement has grown rapidly tras, there is an ever growing need for E throughout North America. This is evi significant contemporary composers to denced by the number of community write for this idiom, and publishers to Bach,]. S. based choirs across the continent, the assist in making quality new works avail arr. Stuart Calvert increased number of children's choirs in able. It is hoped that this list will be a Bist Du Bei Mir temples and churches, and the renewed valuable resource for those who wish to Gordon V. Thompson interest in singing as a core part of the increase their repertoire to include ex strings* elementary school music curriculum. The panded instrumentation and provide in E quantity and quality of treble choral lit spiration for composers to write orchestral erature available in recorded and pub works for treble singers. Bach,]. S. lished format have increased as well. As Domine Deus from Mass in G the number of children's choirs has grown, Bach,]. S. Boosey & Hawkes so has the artistic level of young singers. Gloria sie dir Gesungen from Cantata strings Many significant new works that include 140 M instrumental ensembles and orchestras Kalmus have been added to the body of available strings, winds Bach,]. S. treble choral literature for young singers. E For Us a Child is Born Children's choirs across North America Galaxy are collaborating in ever-increasing num Bach,]. S. string orchestra bers with professional musicians. These ccSchafe Konnen Sieher Weiden" M collaborations often feature additional in from the Birthday Cantata strumentation, including more than pi Kalmus ano or organ and solo instruments. They frequently include performances with or chestras and chamber ensembles. Histori cally significant composers, such as Bach, Britten, Debussy, Galuppi, Vaughan Wil liams, and Vivaldi, have written for treble voices and orchestras or chamber en sembles. The repertoire listed below in cludes works from master composers, as well as newer works. The repertoire ranges from smaller instrumental ensembles to full orchestra, and represents varying lev els of musical challenge for treble choirs. Although there are many significant
Barbara Tagg is artistic director! founder of the Syracuse Children's Chorus and an affiliate artist at Syracuse University, where she conducts the S. U. Women's Choir. Jean Ashworth Bartle, C.M., O.Ont., is founder and music director of the Toronto Children's Chorus.
OCTOBER 2000 PAGE 33 Bach,J. S. Bedford, David Boosey & Hawkes Duet and Choral The Rime ofthe Ancient Mariner chamber orchestra from Cantata No. 93 Universal Edition 16237 M Boosey & Hawkes children's orchestra, percussion strings D Blake, Howard M All God's Creatures (song cycle) Berkey; Jackson Faber Music Bach,J. S. Cantate 2000 orchestra Christe Eleison from Mass in B Minor SDG Press M Boosey & Hawkes piano, marimba, percussion strings and continuo M Bolcom, William M Songs ofInnocence and Experience Bernstein, Leonard (selected movements) Bach,J. S. "Gloria Tibi" from his Mass Theodore Presser Jesu, Joy ofMan's Desiring Boosey & Hawkes orchestra E. C. Schirmer orchestra M orchestra M E Brahms, Johannes Bertaux, Betty Ave Maria, op. 12 Bartok, Bela To Music C. F. Peters Six Children's Songs Boosey & Hawkes orchestra Boosey & Hawkes strings M orchestra E M Britten, Benjamin Binkerd, Gordon The Children's Crusade, op. 82 On the Kings Highway Faber Music Ltd. SU MIT TOUR &T EL "THE STANDARD IN EXCELLENCE"
THEME PARK, MUSIC FESTIVAL & CRUISE PERFORMANCE PACKAGES
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PAGE 34 CHORAL JOURNAL two pianos, organ, percussion Cable, Howard Chilcott, Bob D Sing Sea to Sea The Swallow Gordon V. Thompson Oxford University Press Brunner, David full orchestra* orchestra Earthsongs (3 movements) M E Boosey & Hawkes orchestra Campbell, Norman Chilcott, Bob M arr. Howard Cable The Time ofSnow Anne of Green Gables ThisJoy Brunner, David Gordon V. Thompson Gifts Jubilate Deo orchestra* Oxford University Press Boosey & Hawkes M orchestra orchestra E M Carter, Andrew M Bless the Lord (Three Songs) E Brunner, David Oxford University Press Winter Changes orchestra Chilcott, Bob Boosey & Hawkes E Hey! Now orchestra Mid-Winter E Chan, KaNin Farewell! Advent Carla's Poems Oxford University Press Cable, Howard Canadian Music Centre orchestra Coventry Carol wind quartet M Hinshaw D E chamber orchestra M E
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OCTOBER2000 PAGE 35 Copland. Aaron Corp, Ronald Debussy; Claude American Folk Songs: Cornucopia Noel des Enfonts "J Bought a Cat" Oxford University Press Salabert '.t.I.t the River" orchestra full orchestra "Ching-a-Ring Chaw" M M "Little Horses" "Simple Gifts" Coulthard, Jean Debussy, Claude Boosey & Hawkes Three Philosophical Songs Salut Printemps orchestra Hinshaw Editions Choudens/Theodore Presser M strings chamber orchestra M M
Delibes, Leo MesseBreve Roger Dean Publishing Co. THE INSTITUTE OF SACRED MUSIC string orchestra AT YALE UNIVERSITY E Dengler, Lee Christmas Sonnet H. W. GraylWarner Bros. A Cross-Disciplinary piano or string quartet Centerfor E Music, Liturgy and the Evans, Robert Related Arts PieJesu Gordon V. Thompson solo French horn, strings* "Common ground E for musicians and ministers, for scholars andpractitioners" Faure, Gabriel "Pie Jesu" from his Requiem Octavo: Boosey & Hawkes organ and strings PROGRAM IN CHORAL CONDUCTING E
Faculty Faure, Gabriel Marguerite Brooks ~ David Connell Cantique de Jean Racine Hinshaw Degrees Offered through the Yale School of Music low strings, harp M Master of Music ~ Artist Diploma Master of Musical Arts ~ Doctor of Musical Arts Galuppi, Baldassare Dixit Dominus Double Majors may be obtained through the School of Music. Roger Dean Joint Degrees are offered concurrently with Yale Divinity SchooL strings Scholarship awards are based on need and merit. M Prizes in Organ Performance and Choral Conducting are available for qualified applicants. Glick, Srul Irving Psalm Trilogy Psalms 92, 47, and 23 Address inquiries to: Office of Admissions, Yale Institute of Sacred Music earthsongs 409 Prospect Street, New Haven, CT 065II strings PHONE 203-432-5180 FAX 203-432-5296 M E-MAIL [email protected] WEBSITE http://www.yale.edu/ism Hadley; Patrick J Sing ofa Maiden
PAGE 36 CHORAL JOURNAL Chappell string orchestra strings, continuo vocal score: Oxford M M orchestra M Hasse, Johann Adolf Haydn, MichaellWeber "Miserere mei, Deus" from Miserere in Kyrie Hamlish, Marvin DMinor Alliance Music Anatomy for Peace Treble Clef Music Press Publications, Inc. full orchestra strings strings, horns, continuo D M M
Handel, G. F. Haydn, Michael Haydn, MichaellWeber Art Thou Troubled Missa Sancti Leopold "Regina Coeli" from Litanie della Hinshaw Peters Madonna strings strings and continuo Alliance Music Publications, Inc. E M strings, horns, continuo M Handel, G. F. Haydn, Michael "Where' er You Walk" from Semele Missa St. Aloysii Haydn, Michael/Banner E. C. Schirmer Kalmus Edition Vesperae Pro Festo Sancti Innocentium orchestra strings (8 movements) E M Roger Dean Publishers strings, two horns Hanus, Jan Haydn, MichaellWeber M Three Hymns for Communion Dixit Dominus Laurendale Associates Alliance Music Publications, Inc. Holst, Gustav Seven Part-Songs
at Avery Fisher Hall, "World Stage Concerts is doing a great service to music/I" Lincoln Center - Maestro Lukas Foss, Conductor/Composer Monday, May 28, 2001
at 2:30 p.m.
Adolphus Hailstork's,
I Will Lift Up Mine Eyes
and other works.
Dr. William Wyman, Conducting
FOR MORE INFORMATION ON THIS CONCERT AND OUR SPECIAL 5-DAV PACKAGE, PLEASE CONTACT: PROF. E. JON DE REVERE, ARTISTIC DIRECTOR OF WORLD STAGE CONCERTS, AT (800) 336-6850, FAX: (732) 750-4726 OR WSCONCERTS@AOLCOM.
OCTOBER2000 PAGE 37 Novello Warner/CPP Belwin three trumpet, timpani, three percus strings and continuo brass quintet sion, and piano duet M M M
Jager, Robert Mamiya, Michio Mechem, Kirke I Dream ofPeace Children's Field, Composition No.4 Seven Joys ofChristmas Hal Leonard Zen-on Music E. C. Schirmer orchestra orchestra orchestra M D M
Kapilow, Robert Mathias, William Mozart, W. A. Elijah's Angel Lear Songs Ave verum Corpus G. Schirmer Oxford University Press E. C. Schirmer orchestra clarinet, percussion, trumpet, string bass strings baritone, bass-baritone, boy soprano and piano-four hands M M M Mozart, W. A. Kapilow, Robert Mathias, William vesperae de Domenica, K321, vesperae The Polar Express Salvador Mundi Solennes de Confessore G. Schirmer/Hal Leonard Oxford University Press Orchestral: Ed. Kalmus orchestra strings, percussion, piano duet Choral: Oxford baritone M orchestra M M Mathias, William Leavitt, John o aulo nobilis Neukomm, Sigismund Festival Sanctus Oxford University Press Mass in C Boosey & Hawkes string orchestra M oTouracfea Consultants Nufiez, Francisco Three Dominican Folk Songs Perfect harmony. Boosey & Hawkes orchestra M ACFEA Tour Consultan~ (t, o anu tfJe Nufiez, Francisco InternatIonal Cburch 0 1 De Colores Boosey & Hawkes MUSIC FestIva 0 flute, violin, piano, harp As one of the exclusive agents for the International. M Church Music Festival, ACFEA invites your choir to combine participation in a renowned festival with Parry, C. Hubert H. the flexibility of a customized concert tour. The ICMF, Jerusalem presented annually by FestCorps, Inc., takes place June 20-23,2001 in Bern, Switzerland and June 19- Curwen 22, 2002 (tbc) in Coventry, England. Enjoy the orchestra illustrious musical talent of Sir David Willcocks and E Paul Leddington Wright plus the individuality of a concert tour designed exclusively for your choir. It's Pergolesi, G.B. perfect harmony - call ACFEA to add your voice .. Stabat Mater Hinshaw HMB 209 strings and continuo 1-800-886-2055 M ACFEA Tour Consultants Hugh Davies FAX (415) 453-6725 Pinkham, Daniel 1567 Fourth Street E-MAIL [email protected] San Rafael, California 94901 WEB SITE www.acfea.com Cantate Domino Theodore Presser
PAGE 38 CHORAL JOURNAL brass quartet "She's Like the Swallow" Oxford University Press M Gordon V. Thompson orchestra G182 M Porpora, Nicola VG-I025 Magnificat VG-I023 Rutter, John Marks/Belwin Mills VG-I024 The Donkey Carol string orchestra, organ orchestra* Oxford University Press M E orchestra E E Poulenc, Francis E Litanies It La vierge noire du Notre E Rutter, John Dame de Roc Amadour Jesus Child Theodore Presser Runyan, Paul Oxford University Press strings, timpani Songs ofAwakening orchestra M Boosey & Hawkes E orchestra Powell,llnthony M Rutter, John ZLata's Diary (14 movements) Star Carol Oxford University Press Rutter, John Oxford University Press orchestra All things Bright and Beautiful orchestra E Hinshaw HMC 663 E orchestra Purcell, Henry E Rutter, John Sound the Trumpet Shepherd's Pipe Carol Roger Dean Rutter, John Oxford University Press full orchestra Candlelight Carol orchestra M E
Raminsh, Imant TRURO EPISCOPAL CHURCH Cantate Domino Hinshaw FAIRFAX, VIRGINIA strings, solo trumpet, percussion M ULL-TIME Music and Arts Associate for a large, mission-minded chu~ch that delights Fin vibrant, blended, Christ-centered worship. This position supports the Rector, Martyn Minns, and the Director of the Music and Arts, Gary Jaskulski, in all aspects of the Raminsh,Imant Ministry, including planning, directing and accompaniment within a wide variety of Song ofthe Lights musical expressions with a special emphasis on the Anglican tradition. The Royal School of Boosey & Hawkes Church Music Training Scheme is an important component in the Music & Arts Ministry. strings, flute, glockenspiel The successful candidate will possess organ and piano skills, as well as administrative M experience and a heart for leading worship. In addition to taking a full part in our regular worship life, it is hoped that this person will help shape a new initiative in music and the arts instruction and education for the parish and community. This is an exciting time at Truro, Raminsh, Imant as we anticipate adding services to reach the increasingly diverse community around us and Missa Brevis in C minor implementing building plans as a result of our Long-Range Planning Study. These plans Plymouth Music include renovations and additions to the church campus: improvements in acoustics and orchestra the installation and rebuilding of the 85-rank 1915 E. M. Skinner/1955 Aeolian-Skinner M Organ in the Church, and the rebuilding of the Chapel organ. This person will enjoy working within a large, supportive staff team with wonderful opportunities for creative Rautavaara, Einojuhani ministry and living within easy reach of Washington, D.C. Compensation: Salary of$35,000-$40,000, depending on qualifications and experience, Lapsimessu Children's Mass), op. 71 Ct1 plus a generous benefit package. Letters of inquiry with resume and references should be Boosey & Hawkes addressed to: strings Alan Bonsall M Music & Arts Associate Screening Committee Truro Episcopal Church Ridout, Godfrey, arr. 10520 Main Street From Folksongs ofEastern Canada: Fairfax, VA 22030 "Ah! Si Mon Moine VouLait Danser" (703) 273-1300, ext. 220 ''I'll Give My love an Apple" FAX: (703) 591-0737 'J'ai Cueilli'La Belle Rose" E-mail: [email protected]; web site: www.truro.org
OCTOBER. 2000 PAGE 39 Rutter, John Rutter. John Smith, Gregg For the Beauty ofthe Earth Three Opera Choruses for Upper Wlices: Songs ofInnocence Hinshaw HMC 663 T chaikovsky: "Chorus ofPeasant Girls" from Beware ofthe Soldier orchestra (from: Eugene Onegin) 1. 'Infant Joy" E Wagner: "Spinning Chorus" 2. "The grasshopper and Cricket" (from: Flying Dutchman) 3. "The Blossom" ______---, Verdi: "Witches' Chorus" 4. ''Maying'' (from: Macbeth) 5. ''Little Lamb" The Tempowatch Oxford University Press G. Schirmer orchestra woodwinds, or piano four hands M M
you are Sallinen, Aulis Tallis, Thomas conducting, Suita Grammaticale 1, 3, & 5 arr. Kenneth Brown teaching, (2 and 4 strings only) Glory to Thee, My God, This Night listening or composing. Fazer 005726-5 Oxford University Press strings, percussion strings, organ Toll Free 1-888-803-6287 M E [email protected] Schuman, William Thompson, Randall Concert on Old English Rounds 'J.[ Girl's Garden" from Frostiana ~ind ~t ~ast! with www.allthingsmusical.com Theodore Presser E. C. Schirmer The Complete Music viola and orchestra orchestra Education Resource Web Site All Music Products, Services, Events, M Classifieds - on Searchable Databases! Toll Free 1-888-803-6287 Thompson, Randall ;;;;;;;;;;;;;;;;;;;;;;;;::::::::::::::::::::::::::::::::::::::::::;;;;;1 Choose Something Like a Star from Frostiana E. C. Schirmer NEW EDITIONS strings, winds, 4 horns, solo trumpet, harp SANCTUS in d minor (BWV 239) M J.S. Bach, edited by William Hunt SATB, two violins, viola and continuo Thompson, Randall The Place ofthe Blest VENITE, ASCENDAMUS AD MONTEM DOMINI E. C. Schirmer Jacob Handl, edited by Stuart Mcintosh strings, flute, oboe, clarinet, bassoon double SATB choir, a cappella M
CONFIRMA HOC, DEUS Tippett, Michael Jacob Handl, edited by James Rodde Crown of the Year TTBB a cappella Schott strings, winds, mezzo soprano COENANTIBUS AUTEM ILLIS M Juan de Lienas, edited by Kirk C. Aamot SA TB a cappella Vaughan Williams, Ralph Folk Songs ofthe Four Seasons BEATI MORTUI Oxford University Press Felix Mendelssohn, edited by Michael J. Weber orchestra TTBB a cappella M
Vaughan Williams, Ralph Six Choral Songs Oxford University Press orchestra ALLIANCE MUSIC PUBLICATIONS, INC . E . (713)868-9980 FAX (713)802-2988 P.O. Box 131977. Houston, Texas 77219-1977
PAGE 40 CHORAL JOURNAL Watson Henderson, Ruth Weber, Andrew Lloyd Come, Ye Makers ofSongs "Pie Jesu" from his Requiem Gordon V. Thompson Novello/Hal Leonard strings, winds* orchestra M E
Watson Henderson, Ruth Wessman, Hani Creation's Praise Vesi Viisyy Lumen AIle Gordon V. Thompson* [water Under Snow is weary] piano, brass Fazer Musik M flute, strings E Watson Henderson, Ruth Barnyard Carols: ~lUcocks, David ((The Robin" The Glories ofShakespeare: ((The Lamb" "Who is Silvia?" ((The Duck" "Full Fathom Five" ((The Donkey" "Under the Greenwood Tree" ((The Barn Owl" "Fear No More the Heart of the Sun" Gordon V. Thompson "It Was a Lover and His Lass" flute, cello* Oxford University Press flute, viola* orchestra viola, cello* M viola, cello* flute ~lUcocks,Jonathan E The Pied Piper ofHamelin Roger Dean Watson Henderson, Ruth piano, brass, percussion Gloria M Boosey & Hawkes brass, timpani, percussion* ~lUiamson, Malcolm D Little Mass ofSt. Bernadette Josef Weinberger Ltd. Watson Henderson, Ruth strings Lullaby for the Christ Child M Gordon V. Thompson strings, winds* ~lUiamson, Malcolm E Ode to Music Josef Weinberger Ltd. Watson Henderson, Ruth full orchestra The Traveling Musicians E Gordon V. Thompson piano, clarinet, cello* *Orchestral material on hire from: M Jean Marie Barker Counterpoint Watson Henderson, Ruth 500 Alden Road, Unit 25 W"inter Store from voices ofEarth Markham, Ontario, Canada Gordon V. Thompson L3R5H5 strings, flute, piano, percussion* Tel: 905.415.0512 E Fax: 905.415.9232 E-mail: Watson, Henderson Ruth Internet: Songs ofthe Nativity < 1 021 00 [email protected]> Gordon V. Thompson strings, harp* -C]- M
OCTOBER 2000 PAGE 41 ~~ ",= / j' / 1r ./ /J \l.,/ <",", j! l;¥ourt"cwIClren's chorus will experience a once in a lifetime ~:? J/y \l,,=,1l opportunity to perform in a world premiere performance ,J 1::& L.// ~ (~f an original composition as part of The Children in Harmony Festival Choir. Pe1jOrm in individual showcase venues
at both WALT DISNEY WORLD® Resort and the
beautiful St. Luke's United Methodist Church.
Dr. Barbara M. Tagg, , ,Art,istic Director / Conductor
Founder and-Artistic Director of the . ~t~inati()nally prominent Syracuse Children's Choru~ and National R&S >ChiirfdrACDA, Dr. Tagg continues to demonstrate her commitment to excel lence in !cho~alIllusic' education for
Dr. Z. Randall Stroope, Commissioned Composer
Dr. Z. Randall Stroope is widely !mown as a conductor and composer. As the Director of Choral Activities at the University of Nebraska at Omaha he directs the Concert Choir and University Chorus and is the director of the renown Nebraska Children's Chorus. Student Chapters are continually look Handbells Gospel Choir ing for interesting, substantive activities. Madrigal Dinner Medicine Show One of the most common questions is, Middle School Choir Halloween Jazzathon "What are other chapters doing?" Well, Conducting Talent Show look no further! Below is a list of activi Becoming a Successful Teacher Opera Workshop ties gleaned from the 1999-2000 Stu Choral Conducting Competition Madrigal Dinner dent Chapter annual reports. As you can Barbershop Quartet Singing see, there is enormous variety and more Jazz/Show Choir Contest Membership Development than a little ingenuity at work here. Items Pizza Party are listed by category, with the three most . Choral Festivals Offered Recruitment Luncheon popular events under each heading at the High School Honor Choir/Choral Festi top of that list. val Collegiate Honor Choir/Choral Festival Publications Interest Session Topics Jazz/Show Choir Festival Chapter Web site Reading SessionslWarm-ups Gospel Choir Chapter Newsletter Conducting Seminar/Masterclass Young Voices Festival Pre-Convention Hints Hosted State ACDA Fall Symposium Travel First Year Teachers Choral Directors Appreciation Week Division Convention Church Music State Convention/Summer Workshop Jazz/Show Choir Concerts Presented Concerts in nearby cities How to Get a Job Hosted Touring Choir Carnegie Hall Listening Evening Performance for Various Local Groups Maintain Community Choirs Messiah Sing -C]- Commissioning New Choral Works Student Conductors/Graduate Recital Student Teaching Accessible Bach Cantatas Session with Composer Vijay Singh Reviewed articles in the Choral Journal Conducting Handel's Messiah Highs and Lows of the Job Market Small Town Music Programs Choosing Literature Music Advocacy High School Musical Cooperative Activities with MENC Chapter Working with Accompanists Applying for Grants * Educational Tours High School Contest * Jump-Starting a Weak Program Music Festivals Score Preparation * Year-Round Performances Sacred Music in the Public Schools Baroque Performance Practice * We are based in Hawaii Use ofIPA in Rehearsal Alexander Technique For more information Phone: 1-800-366-7486 Workshops Offered E-mail:[email protected] Vocal Health Web Site: www.himusicfest.com Children's Choir Career Day
OCTOBER 2000 PAGE 43 OXFORD UNIVERSITY PRESS
------In these brilliant new arrangements on rental) are breathtaking without of traditional carols Mager demon- being difficult; the keyboard reduc strates a sure feel for choruses of all tions will work in school and smaller levels. The orchestrations (available church settings. Bring a Torch, Jeannette, Isabelle Silent Night SATB and piano SATB and piano 386316-2 $1.50 (tent.) 386322-7 $1.50 (tent.) Unison and piano SSA and piano 386317-0 $1.50 (tent.) 386323-5 $1.50 (tent.)
Ding dongl Merrily on high Joy for Every Age SATB and piano Arcangeli Chamber Chorus 386320-0 $1.75 (tent.) & Orchestra ~~ SSA and piano Stephen Mager, conductor 386321-9 $1.75 (tent.) Compact disc $17.95 386343-X
Antony Baldwin Bob Chilcott Jerry Rubino Behold, the Great Creator Three Israeli Songs Away in a manger (Kirkpatrick) SATB and organ SATB SSAATTBB unaccompanied 386253-0 $1.60 -Mi y'maleil (with piano) 386314-6 $1.50 386186-0 Coventry Carol $1.30 -Mi zeh hidlik (with piano) Lullaby on Christmas Eve SATB and organ 386187-9 $1.30 SATB unaccompanied 386259-X $1.60 -S'vivon (unaccompanied) 386315-4 $1.75 Joy to the World 386188-7 $1.30 Peter Saltzman SATB and organ Philip Ledger Chanuka, 0 Chanuka 386285-9 $1.60 Carol of the Fieldmice SA, piano, and opt. insts. 386067-8 $1.60 o come, 0 come, Emmanuel Upper voices and piano SATB and organ 386313-8 $1.25 Steven Sametz 386286-7 $1.75 Ingram Marshall 1Wo Medieval Lyrics SATB unaccompanied '1Was in the Moon of Wintertime Gaudete, Gaudete 1. There is no rose SATB and organ SATB and organ 386308-1 386287-5 386226-3 $2.25 $1.75 $1.75 2. Gaudete James Bennighof Ofa rose 386309-X $2.00 SSAT unaccompanied All Around ("See a manger") Martha Shaffer TTBB unaccompanied 386231-X $2.00 If ye would hear the angels sing 386330-8 $1.60 Joel Martinson SATB (div.) unaccompanied In the bleak mid-winter (Holst) 386236-0 $1.50 SSAATTBB unaccompanied 386227-1 $2.00
Complimentary inspection copies of any ten titles listed above (CD not included) are available on request. Circle your choices on a copy of this advertisement and send to the Music Department at RESEARCH REpORT Lawrence Schenbeck, editor
Archival Roundtable: each one). Then a librarian told me that addition-and this was in 1992, in the Introduction about ninety percent of the choral octa bibliographic dark ages as far as women ARLIER THIS YEAR I posted a vos there are uncatalogued, and taught composers were concerned-I did a lot of plea on ChoralAcademe asking me how to retrieve whole classes, or boxes background research on American com Echoral scholars who had done in full, of largely uncatalogued pieces with posers who particularly interested me: teresting archival work to consider writ one call slip. Now I always tell the refer Mabel Daniels, Amy Beach, Elinor ing about their experiences for Choral ence staff what I'm working on and what Remick Warren, and Frances McCoHin. Journal readers. About a dozen people my approac.h is, and then I ask whether More recently, for example at the eventually responded. Their stories were they can suggest better ways to find the Eastman School's Sibley Music Library, I fun to read, their insights valuable, and material. It was the music librarians who have done much of my research online, their generosity disarming. As a result of put me onto the old copyright records; to the point that I have not yet visited these individuals' willingness to share, we like the Music-Division, they are housed there. From the OCLC WorldCat and will offer three columns this year devoted in the Madison Building. RUN online databases, I have identified to archival tips, tricks, and warnings. _ I have used various means of investi early music sources on microfilm I would This first installment was compii~d gating an archive before actually visiting like to see, and have e-mailed librarians from three shorter essays that seemed to it. Ida Reed, then music librarian at UNC there, who then arranged for film copies offer a useful introduction to the whole Chapel Hill, guided me to the Library of or photocopies to be sent to me. My edi business of archival work. The second in Congress music shelf list on microfiche. I tions of pieces by Jakob Handl and Or stallment, in December, will feature two spent some months in Chapel Hill tran lando di Lasso are based on copies of conductors whose adventures in Mexican scribing catalogue entries into a database, source materials provided by the staff at archives needed considerably more space. which formed the basis of my research. In Sibley, as is a forthcoming edition ofsome In a third installment, several scholars re cently returned from Europe will discuss their work. 5th Annual Each of these essays is preceded by a brief biographical note. Readers are in vited to contact the authors if they have New York further questions. Mary Lycan Mary Lycan is founding director of Women's Voices Chorus in Chapel
Hill, North Carolina, and the editor of ....", .. . ' . Treble Clef Music Press, specializing in ., ., ...... choral music for sopranos and altos. : :. ~.. : :. ° .2ooi FacUlty' • .: .. ::" Formerly a church organist, she studied we~to:ln"' °Noeble ~ Hogan ~ Iqch~d musicology as an undergraduate at Mos¢S ,.".."", ...... CO' .. a .. Q • ,. ~ .. '" Brown University and at the University • 'l. • ..." • .. .. of Chicago. ~~...... , .... T ...... ' ONL~-o LIMiTED TO ~LVE cHORAi· ...... m'.nTTn" • ~ .... \:I a ... .., • 0 • My general goal has been to identifY '·IW;I'A ... c.i.u"" pro.grain of performances;\AI',·u· .. rc.."n and obtain study copies of historic choral ~cii7h+c. ... "'i ...... • and educational.exc music for women's voices, by women com posers. I began in 1992 at the Library of Congress Music Division. Music librar ians are the best people in the world. I soon learned to stop feeling bad about bothering them. At first I wasted a lot of time at the WORLD P.ROJECTS INTERNATIONAL MUSIC PRODUCTIONS Library of Congress retrieving pieces one Visit us on the Web: www.wpintl.com by one (with a handwritten call slip for
OCTOBER 2000 PAGE 45 Monteverdi canzonette Joan Yakkey and quiet non-musical thought. The Library ing the contents of Brahms's own library I are working on together. of Congress Music Division is closed in of early music, preserved in the Archiv of Organizing things for an actual visit is the evenings, so when I'm in D.C., I the Gesellschaft. This work was carried important. My travel time is limited, so I spend the evenings walking, enjoying a out over a period of several months in fall have learned to prepare as much as I can good dinner, meeting with friends. I re 1975 and spring 1976. I returned twenty in advance. Each of my archival trips is view the day's progress and plan the next years later to examine manuscripts and like a polar expedition that needs to be day's work. I bring a small fan or ambient Handexemplare of Brahms's unaccompa made in a fast dash from the support of a noise maker to mask city sounds, so I can nied choral works for the new critical base camp. For me, that means doing get a good night's sleep. edition. every bit of research I can manage ahead I learned about the existence of this of time, in Chapel Hill, at regionallibrar Virginia Hancock collection from an article, c. 1973, by ies, and on the internet. Virginia Hancock is professor of music Karl and Irene Geiringer in MIA Notes When I actually get to an archive, prac at Reed College in Portland, Oregon, that appeared when the Brahms materials tical things become very important to my where she teaches history and theory were first being made available to schol productivity: having enough pencils and courses and conducts two vocal groups. ars. The only published information about paper, file folders, and a little stapler; She is the author of Brahms's Choral Brahms's collection was an old catalog of money for the photocopy card machine; Compositions and His Library ofEarly his library of music, published by Alfred how call slips work and what the retrieval Music (Ann Arbor, MI: UMI Research Orel in the 1930s and reprinted in Kurt time is; what I may photocopy and how Press, 1983) and articles on Brahms's Hofmann's catalog of Brahms's library of to do that; remembering that copy ma choral music and songs. books. I wrote to the Archiv with specific chines are in heavy demand just before questions about a few pieces of music but closing time. The principal work I've done in ar received very little in the way of helpful I budget time for a short but energiz chives has been at the Gesellschaft der information. Although I had essentially ing lunch break-usually a power bar and Musikfreunde in Vienna, beginning with no help before I went the first time, I a pint of water gulped in a stairwell, plus my dissertation research and more recently recommend using the grapevine and the a chapter of a trashy paperback and some in the summer of 1995. I was investigat- e-mail lists (ChoralAcademe, amslist, etc.) these days. Many people are remarkably happy to offer advice. I wrote well in advance, explaining when I would be there and what I wanted to do, and describing the specific materi als with which I expected to work. At that time there was no problem gaining per mission. I worked in the Archiv every single hour that was allowed. At present it is open three days a week (MWF) for four hours (9-1) per day. It is closed for the months ofJuly and August. Be warned that only a limited number of items can m'",t'Xj;:,'iiih+i:;,h'll,1 JrS:rl-r.. ..YVlanGle Tours be used at anyone time, and the wait for ,}C'Tnrn X/'IJ,\lpc,;tprn E~rope them may be long-enough to use up most of the open hours on any given day. ;t:~UK.;. I South:::' AmeriarwAsia;,' Rules may be interpreted in ways that ~': :' . seem unpredictable to scholars used to Af&litJral focus, in the broadest s~'nse of American libraries. A cuStomi~e. ":<:;t~:ryi:planned around YQl.lr One piece ofadvice I wish I had known before I went the first time: if you are Experien~edip: ':";, .....i9~~Js'-at every. stage, from Ir'd.. 1 ~.s.'. ifi.rrtcji(j working with any handwritten documents An educatiQn~l':p~~P~c~V,~;,\Nith visits tCJ histbricsites&t:llltt:l!'Enl(m(jlrri~rRs; ': in German that are more than fifty to Specialized 9U,Wes>,"-rp§Qations & trave,Lamenities to meet your 0UQiqeL.:,' .. sixty years old, they will probably be in , <,.::'- German script, and it is not exactly easy concep;;1~u~~J;.6~.'::1!O:V)"7 4th St., NY, ~y 1002~,_: ... :i::; to learn! (I did not even know of its exist ence until I got there.) If possible, attend Tel: 800-30()-$~~~':?rt2f~aO-0760 Fax: 212-874-4554',:;" ···"U:'c'[email protected] the two-week summer institute held an . . ',' .. nually at the Moravian Archives in VVV:W"concept-tours.com Bethlehem, Pennsylvania; or obtain one (Resem·ch Report, continued on page 52.)
PAGE 46 CHORAL JOURNAL ;aOOIACDA Notional convention san Antonio, Texas Murch 14-17
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Send fully completed preregistration form with check (Check the applicable categories) or money order (payable to ACDA) to: 2001 ACDA National Convention I@f Postmark deadline for preregistration: January 31, 2001 American Choral Directors Association PREREGISTRATION REGISTRATION AT CONVENTION P. O. Box 6310 o ACDA Member (Active, Life) .. $110.00 0 ACDA Member (Active, Life) ... $135.00 Lawton, Oklahoma 73506·0310 o ACDA Member (Retired) ...... $ 90.00 0 ACDA Member (Retired) ...... $110.00 o ACDA Member (Student) ...... $ 60.00 0 ACDA Member (Student) ...... $ 80.00 :' ,piE'REGIS17~ITlL@NB£~,bUlNE , o Spouse of ACDA Member ..... $110.00 0 Spouse of ACDA Member ..... $135.00 ~ ~ l 1 o Guest of ACDA Member ...... $110.00 0 Guest of ACDA Member ...... $135.00 Postmark by January 31,2001 ...... 0 New-Member Registration ..... $190.00* Total amount enclosed: $ _____ *Includes $55 membership - active only. Call or fax for other membership types. All members pregistering by the posted deadline REGISTRATION FEES ARE NON-REFUNDABLE will have their badges and receipts mailed to Your canceled check is confirmation of registration. them, beginning February 1, 200l. All other members may pick up their badges and receipts at - PHOTOCOPY FOR YOUR RECORDS - the registration desk..
OCTOBER 2000 PAGE 47 San Antonio City Map
NORTH•
PAGE 48 CHORAL JOURNAL OFFICIAL HOUSING REQUEST FORM Mail to: Reservation cutoff date: ACDA Housing American Choral Directors Association PO BOX 2426 2001 National Convention February 6, 2001 San Antonio, TX 78298 San Antonio, Texas OR March 14-17,2001 Fax to: (210) 207-6702
RESERVATION WILL NOT BE PROCESSED IF FORM IS INCOMPLETE. TELEPHONE REQUESTS ARE NOT ACCEPTED. Keep a copy of form for your records. DO NOT MAIL AFTER FAXING. Acknowledgements are mailed or faxed only to the name listed in field #8. Photocopy this form if you need more than one room.
1. SELECT SIX HOTELS: Rooms are assigned first comelfirst served. If choices are not available, a room will be secured at a hotel based on your preference of rate or proximity and availability. USE CODes .Q!!!:!/NOT NUMBERS. See page 50 for codes.
18t I . 2nd 3rd Choice I Choice I ChoIce I (HOTEL COOEl (HOTEL CODE) (HOTEL CODE) 5th 6th c~:ce I I Choice I Choice I (HOTEL CODE) (HOTEL CODE) (HOTEL CODE)
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4. CHECK APPROPRIATE BOX: 0 ONE BED 0 TWO BEDS o SUITE + 1 BEDROOM 0 SUITE + 2 BEDROOMS The housing department will request room type, hotel will confirm if available. 5. TOTAL NUMBER OF PEOPLE IN ROOM: 6. ROOM GUARANTEE: Hotel will send confirmation with rate, policies and room type. All rooms must be guaranteed. Do not send checks to the Houllng Department. Complete credit card information or send check directly to the hotel upon receipt of confirmation Slip.
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OCTOBER2000 PAGE 49 American Choral Directors Association 2001 National Convention San Antonio, Texas - March 14-17,2001
Alphabetical list corresponds to map, page 48
Hotel Name Hotel Room Rates (16.75% tax not included)** Code Single Double Triple Qyadruple
1. Alamo T ravelodge ATL $69 $69 $69 $69
2. Courtyard by Marriott-MS*** CMD $91 $91 $91 $91
3. Fairfield Inn by Marriott-MS*** FAIR $79 $79 $79 $79
4. Gunter Hotel GUN $113 $113 $113 $113
5. Hampton Inn HAM $94 $94 $94 $94
6. Hawthorn Suites Riverwalk HTS $119 $119 $119 $119
7. Holiday Inn Crockett HIC $94 $94 $94 $94
8. Homewood Suite HOM $123 $123 $123 $123
9. Hyatt Regency- (Headquarters) HYR $159 $159 $159 $159
10. La Mansion del Rio LMR $139 $139
11. Menger Hotel MEN $98 $98 $98 $98
12. Radisson Hotel Downtown-MS*** RDMS $99 $99 $99 $99
13. Ramada Emily Morgan EMA $99 $99 $99 $99
14. Red RoofInn RRI $75 $75 $75 $75
15. Residence Inn by Marriott-Alamo Plaza RIAP $135 $135 $135
16. St. Anthony Hotel SAI $128 $128 $128 $128
17. Sumner Suites-Riverwalk SUM $99 $99 $99 $99
18. Woodfield Suites WFS $99 $99 $99 $99
*"'These rates will apply only until the Housing Reservation deadline: February 6, 2001. There is no guarantee after this date. Housing is available only through the Housing Bureau. ***MS indicates Market Square.
PAGE 50 CHORAL JOURNAL CONVENTION AIRLINE INFORMATION Three airlines have been designated as official airlines for the 2001 ACDA National Convention in San Antonio. The three airlines are offering special rates for ACDA members attending the convention. Special restrictions and requirements may apply for discount fares and vary from airline to airline. Please check with the airline or airlines serving your area. Discount fares under these programs may be obtained only by calling the special numbers and using the reservation codes provided below.
Delta Air Lines Southwest Airlines United Airlines
Reservation Phone Number: Reservation Phone Number: Reservation Phone Number: 1-800-241-6760 1-800-433-5368 1-800-521-4041
Reservation Code: Reservation Code: Reservation Code: File No. 163563A A3581 598EW
Dates Available for Travel: Dates Available for Travel: Dates Available for Travel: March 13-20,2001 March 8-23, 2001 March 9-22, 2001
AUTOMOBILE RENTAL INFORMATION Hertz-Official Rental Car Supplier Meeting rates listed below, with free unlimited mileage, are guaranteed March 7-24, 2001, and are subject to car availability. Reservations must be made through the Hertz toll-free meeting reservation numbers, from within the U.S., 800-654-2240, from within Canada, 800-263-0600, or from within Toronto, 416-620-9620. To obtain these special rates, mention that you are attending the American Choral Directors Association Convention (Hertz convention number, CV#02JT0001). ACDARates
Car Class Daily Weekend Weekly Per Day Per day 5-7 days
A Compact 2dr. $35.99 $26.99 $138.99 B Compact 4dr $39.99 $27.99 $157.99 C Midsize 2/4dr $43.99 $28.99 $174.99 o Sporty2dr $45.99 $29.99 $180.99 F Fullsize 4dr $47.99 $30.99 $207.99 G Premium $52.99 $35.99 $222.99 I Luxury $65.99 $73.99 $304.99 L 4-wheel drive $65.99 $73.99 $304.99 TPrem4WDSU $70.99 $78.99 $354.99 N Prem 4WD SU X $75.99 $83.99 $404.99 RMinivan $65.99 $73.99 $304.99
General Information Meeting rates are guaranteed from one week prior through one week after the meeting dates and are subject to car and fleet availability. Government surcharges, taxes, tax reimbursement, title and license fee reimbursement (including applicable California or Hawaii licensing fees) and optional items such as refueling or additional driver fees, are extra. Advance reservations are recommended. Minimum rental age is usually 25. Standard rental conditions and qualifications apply. Normal drop-off fees currently apply for one-way rental of C-F car classes. In the continental U.S., weekend rentals are available for pickup between noon on Thursday and noon on Sunday and must be returned no later than Monday at 11:59 P.M. Weekend rentals have a minimum keep. Weeldy rentals are from five to seven days. Extra day rate for weekly rentals will be charged at 1/4 of the weeldy rate until they equal the weekly rate. At the time of reservation, check with Hertz for details and exceptions.
OCTOBER2000 PAGE 51 (Research Report, continued from page 46.) United States. (I always tried to use the racted other researchers and other institu of the manuals used by Mormons con native language of the person getting the tions, and I received help from them as ducting genealogical research in German letter.) Ultimately, I received enough in well. They sent the names, addresses, and archives. formation that I settled on a Dixit Domi phone numbers of other people who nus in Fby Leonardo Leo (1694-1744). might be helpful. I was so amazed at the Sharon Rae Van Nest I achieved all of my goals. I was suc generous responses. Some people were so Sharon Rae Van Nest is director of cessful in my correspondence, my travels, happy to know I was investigating their choral activities and assistant professor my funding, and in the actual editing of favorite topics that now I have new friends of music at Ferrum College in Ferrum, the work. (I am now trying to get it pub throughout the world. Virginia. She is also music consultant lished.) In addition to finding the infor Regarding financial support: myorigi for the Frank V. de Bellis Collection at mation I needed, I also found out how nal printing costs and correspondence San Francisco State University. She wonderful people are all over the world. I were funded by my employer, the de Bellis holds a D.M.A. from the University of contacted seventy-two archives and re Collection. I received two grants from Missouri-Kansas City. ceived forty-seven responses. I am sure I the University of Missouri-Kansas City to would have had even more responses if e go to England, Germany, and Italy to For my doctoral dissertation, I wanted mail had been available. It was so gratifY examine the other extant scores. One to edit an unpublished, large musical work ing to receive letters and phone cails, faxes, grant required me to submit a report upon for chorus, soloists, and orchestra. I was and handwritten incipits from complete completion of the project. My advice to looking for specific titles. The de Bellis strangers. Help is out there and ail we grant-seekers is to look everywhere for Collection has hundreds of music manu have to do is ask! funding. Thousands of resources are avail scripts, but I wanted to find out if other Many times, even if the institution did able, including governmental grants (na copies existed of unknown works held in not have any of the scores I was looking tional, state, and local), small grants the Collection. I sent out letters, with a for, I was given valuable information any available from local businesses, and more. list of the titles I was researching, to cura way. People looked for un catalogued If you are affiliated with a university or tors, archivists, professors, priests, church items, in treatises, old programs, and old college, look there first. musicians, and others, in Europe and the boxes stored in dusty rooms. They con- A multitude of publications are also available, many times with toll-free num bers or internet addresses. The internet is Cln.u:d1 Music' acfea probably the most important grant Festival" III' Tour Consultants seeker's tool today. In addition to search ing under broad subjects like "grants," one can search simple words, phrases, Perfect harmony. titles, or organizations. Researchers should also take advantage of various music or ganizations' Web sites, such as ACDA's ACFEA Tour Consultan~ ll" site
PAGE 52 CHORAL JOURNAL To find the archives that might have ample, one could enter with only a pencil could at least attempt to speak theirs, and the information I needed, I consulted and paper-no pens, books, purses, or I believe this also helped. many sources. I asked music librarians in briefcases. (I hope those archives now let several university libraries. Librarians are researchers bring in laptop computers.) NOTES a wealth of information. Not only can Some required an official photo ID 1 Vincent H. Ducldes and Michael A. Keller, they point out various references in-house, e.g., a passport-to be held while I was in Music Reference and Research Materials: and help find sources through Interlibrary the library. Some archives would allow An Annotated Bibliography, 4th ed., rev. Loan and on the internet, but they can only one manuscript to be studied at a (New York: Schirmer Books, 1994); help fllld other archives by consulting vari time; others would let me have two or Barbara Penney, ed., Music in British ous library communication networks. I more. Although most of the archives I Libraries: A Directory ofResources, 4th ed. also asked music history professors for visited had very formal rules, some sim (London: Library Association, 1992). help. In addition, I consulted authorita ply informed me that I should only iden 2 e.g., "The Libraries of the Universities of tive SOl,lfces beginning with the New Grove tify myself to the porter and I would be Italy: a Study of their Services and Dictionary. I used Duckles and Penney. 1 I shown the way. The only significant ob Collections," Libri, IX (1959). looked for foreign sources. I consulted stacle I encountered was in Naples, where out-of-date books. I looked up relevant the Conservatory Library was closed to -C]- journal articles. 2 persons not affiliated with the library. Probably the most important research However, for a fee, the staff did fulfill tip I ever received was to immediately orders for reproductions. turn to the bibliography in a book or My interactions with archive staff and article. Look up the pertinent entries. Find administrators varied but were always them. If possible, contact the authors. positive. If the staff was extremely formal, CHORALWEB They are often willing to share facts that I was as well. If they were casual and PUBLISHING INC. had to be left out of their publications. informal, I was the same. Always, I was Either through good fortune, or (more extremely polite and gracious, whether I http:/twww.ChorolWeb.com Toll Free: 877-WEB-MUSIC or 208-882-6760 likely) because I sent out so many inquir was talking face-to-face, by telephone, or ies, I found the two archives where the responding by letter or fax. I thanked Music Through the Internet other Leo F major Dixit Dominus manu them for their assistance while in the Composers Include: scripts are located. I received a letter from archive, and by a follow-up letter in their Eugene Butler, Dave and Jean Perry a librarian in Munster, Germany, with own language. I believe I was treated well Linda Spevacek, Colin Evans contact information about a German everywhere I went because I went over scholar who had written his dissertation board to be polite and gracious myself I Choral, Handbeli, Keyboard, Solo Vocal Music on Leo. It was wonderful news. I then brushed up on my languages so that I contacted him, although it took quite a bit of patience to wait for his reply. (He had been living in Italy for a year.) I found the dissertation, with its important manuscript locations, applied for grant funds, and finally went to England to study them first-hand. Eventually, I did hear from that Leo scholar, and I have corresponded with him ever since. How nice it would have been to have had e mail at that time! We were both in Italy at the same time, yet our paths never crossed, only our letters. I followed specific procedures for ad mission into the archives. I called each archive to find out their requirements. Some had very strict rules and forms to be filled out and approved in advance. Some required a letter of reference, usu ally from a curator or university profes sor. These letters were easy to obtain, and my referees were more than willing to II t\-GIAA), [.,.~'Y\~ ~N'9 ~n'€,M6t4 - M~. supply them. Certain libraries had strict ~GLA... ~'1 l"7N' T \-\~e \tfii)'P-'1/ SD -:r:.~l...-' rules for users of the collection. For ex- B~ 'ioL>(2. G
OCTOBER2000 PAGE 53 1 E S
FEBRUARY~:{ '. 2'~)~lQts, 20() ...... ON THE VOICE Sharon Hansen, editor
ILE CONSULTING medi questing a self-rating of the individual's to talk. An understanding of this arises cally with choral singers, a innate degree 0/ talkativeness-or urge to from basic questions about occupation, W:voice clinician gains advantage talk. A simple but useful way to assess this family communication style, childcare by knowing via personal experience what is to ask the subject the following ques responsibilities, hobbies, rehearsal and a typical rehearsal involves, what is re tion: "On a seven-point scale of innate performance schedule, church and com quired of a section leader, the demands of talkativeness, where 1 represents a taci munity involvement, and so forth. A few a choir tour, the differences between vari turn individual, 4 an averagely talkative minutes ofdiscussion are generally enough ous choral styles, and many other things. person, and 7 an unusually talkative indi to get the picture. Reciprocally, choir directors, while work vidual, where would you place yourself?" In short, vocally busy sixes and sevens ing with the same individuals to make Most people have a fairly realistic are defined as vocal overdoers; both the music, can benefit from knowledge im idea of where they are on this scale. internal urge and the external pull to use ported from the voice clinic. Those of Occasionally, however, the answer seems the voice are high. It is logical that both either profession who are armed with inaccurate based on the questioner's ob should be high, because sixes and sevens knowledge of the other's field may be servations. When this occurs, it can be tend to self-select into an occupationllife better equipped to advise the singer in helpful to get permission to ask a friend circumstance that invites or requires a lot vocal trouble. For the choral director, the or family member to answer the question of voice use. Beyond formal vocal com list ofpractical clinical information is long; too. Caveats: Some persons need help to mitments, the high innate urge to talk however, the following issue is a good distinguish between their innate talkative may find or make informal opportunities place to start: familiarity with the vocal ness and that which is imposed by their to talk or sing any moment of the day. overdoer syndrome (VOS) , 1 as defined job. Others need encouragement to Thus, more detailed questioning will of below. answer an honest seven, because they ten reveal other ways the "overdoer" uses Why VOS? Because VOS correlates assume this to represent obnoxious talk the voice-singing to themselves, using highly with acute and especially chronic ativeness. If this is suspected, "seven-ness" the phone, or even speaking to strangers injuries of the vocal fold mucosa, e.g., should be further defined (e.g., as ex in public. nodules, polyps, epidermoid cysts, vascu troverted, friendly, or even "socially How can the choral director make use lar abnormalities.2 That is, singers with brilliant!") to remove any negative con of the VOS concept? The first way is to these injuries are more likely than not to notation from being a seven. measure one's self against it. Choral direc be vocal overdoers; by contrast, they may The second determinant ofVOS is the tors can be vocal overdoers too! Self-rec or may not have in common allergies, re individual's extrinsic opportunity and need ognition as a vocal overdoer can be flux, asthma, or any other apparent cause of vocal problems. In fact, formal review of a large number of patient charts re vealed that of self-described overdoers who present with voice symptoms, 80% are found to have a vibratory mucosal in jury.3 VOS is by far the strongest discernable commonality between persons with mucosal injury, and is probably not only correlated with, but also a primary cause o/those injuries. How does VOS actually cause mu cosal injury? Here's how: The mucosa is the wet, flexible surface tissue covering the vocal folds. It is the main tissue that participates in vibration of the vocal folds and also the part most commonly injured by that vibration, if it is overdone in vari ous ways (amount, loudness, pressed-ness, etc.) Hence, VOS may often lead to acute or chronic vibratory mucosal injury. How does one establish a diagnosis of VOS? First and most important is by re-
OCTOBER2000 PAGE 55 protective in and of itsel£ by injecting a by your definition. I don't sing as well as I spair. The ranks of those in this situation bit of vocal prudence, even subliminally. It used to, but I thought my vocal limita are large indeed, and help is at hand. But can also help to further the choral director's tions were just my age or from being out first, an exact and comprehensive diagno efforts to be a good vocal role model. ofshape. And anyway, my speaking voice sis is needed. The primary diagnosis is The second is to teach choir members sounds fine. How do I find out ifI have a generally "the vocal overdoer syndrome." about VOS. Given its high correlation mucosal injury? First of all, the speaking But comprehensive evaluation should also with mucosal injury, VOS could be a fea voice is a relatively insensitive indicator specifY the secondary diagnoses. What tured part of any start-of-year discussion of the status of the mucosa. Instead, ap exactly is the mucosal injury? Nodules? of vocal health. Singers who thereby ply singing voice "swelling tests,"4 which An epidermoid cyst? A hemorrhagic recognize VOS in themselves may also detect mucosal injury reliably, albeit with polyp? Capillary ectasia? Are there con experience an almost subconscious self a few false positives. Here is one of the tributing medical issues? From here, an adjustment of behavior. Or, when a di two I use routinely during office evalua individualized plan may be medical, be rector detects ongoing hoarseness in a tions: Ascend by half-steps the first phrase havioral, surgical, or some combina chorister, or is approached because of vo of "happy birthday" sung at very high tion of these. In short, the question is not cal frustrations, questions about VOS frequency (e.g., C5-C6 for women) and so much whether you can get back full would be an excellent place to start sort low intensity. In the context of VOS, a singing voice capabilities, but exactly ing things out. tendency to huskiness, delayed phona what, and how long it will take to get you tory onsets, and air escape, all of which there. Questions About VOS increase as one ascends the scale, should Can you be more specific about these How do you account for the fact that lead the singer to pursue a formal medical medical behavior, and surgical treatment not all vocal overdoers have a mucosal evaluation to confirm or disconfirm sus options as they relate to mucosal injury? injury? It is true that one may know a picions of a mucosal injury. Beware of Medical. These are individualized and singer whose brilliant personality makes subconsciously getting louder, which will mostly optimizing, rather than primary him or her her the life of every party. Yet, often "make" the voice work quite well. treatment measures. But I think immedi he or she continues to sing gloriously to The idea is not to "make it work better," ately of liberal, regular consumption of the top of the range, even at pianissimo. but to see how the voice works at a prede fluids; smoking cessation; treatment of This is because the genesis of nodules and termined pianissimo dynamic. Detection, acid reflux; and treatment as appropriate other vibration-related injuries is, ofcourse, not concealment! Therefore, insist on "boy of other medical conditions such as al multi-factorial. Physical consititution and soprano pianissimo" for best sensitivity of lergy and asthma. manner of voice production are two addi the swelling tests. Behavioral. Logically-again since tional pieces of the puzzle, not to mention What ifI or one ofmy overdoer choir "vos" is the primary diagnosis-behav the fact that there are degrees ofVOS. members fail the swelling tests and am ioral management, administered by a You've made me worried about my later found to have a chronic mucosal voice-qualified speech pathologist, is the mucosa because Pm a major vocal overdoer injury? What would be done? Don't de- primary initial approach. Some examples of suggestions you might receive concern spacing, rather than massing voice use: scheduling breaks into the day; ongoing training of voice production for speech Perform in the oldest theater and singing, so phonation is efficient and in the Americas, exquisite "inexpensive" to the mucosa; attention to auditoriums, and splendid the manner and amount of personal and colonial era cathedrals, before social voice use; perhaps even personal immense, appreciative audiences. amplification when working in large, acoustically unfriendly rehearsal spaces; Ambassador Tours has the unique and finally, daily self-detection of mu experience and knowledge to make cosal status via the "swelling tests." your concert tour in Brazil a reality. Surgical. When the lesion is clearly not amenable to behavioral management alone (e.g., cyst), or when something that Contact us «t» often resolves (e.g., nodules), does not, in Jar JLLrther details: spite of high-quality treatment, vocal fold AMBASSADOR TOURS microsurgery is an excellent option.2,5,6 148 East Michigan Avenue Though anxiety levels surrounding the Kalamazoo, MI 49007 subject are generally high due to preva 1-800-274-7035 lent misinformation, vocal fold microsur E-mail: [email protected] gery is extremely safe and voice-restoring http://www.ambassador-tours.com when performed by a well-trained, proven
PAGE S6 CHORAL JOURNAL THE NATIONAL X LUTHERAN .. CROIlt surgeon. To repeat, the question is rarely 2 R. W. Bastian, Benign vocal fold mucosal if the injured singer can re-achieve an disorders. In C. W. Cummings, et al. excellent singing voice, it is instead ex (ed): Otolaryngology - Head And Neck actly which of these measures, and how Surgery (3 rd Edition), Chapter 111, long, will it take? volume III, 2096-2129, 1998. Mosby, St. Louis. Summary 3 R. W. Bastian, J. Thomas, The vocal Formalization of a concept termed "the overdoer-underdoer continuum. vocal overdoer syndrome" can help the Presented at the Voice Foundation, June choral director recognize the group most 2000, Philadelphia. Submitted to the at risk of chronic vocal fold mucosal inju Journal of Voice. ries. It may be useful to teach this concept 4 R. W. Bastian, A. Keidar, K. Verdolini to choral singers for its preventative value. Marston, Simple vocal tasks for detecting Daily performance of "swelling tests" to vocal fold swellings, Journal of Voice, Jesu, Come detect mucosal swelling is also a valuable 4:172-183,1990. MUSIC FOR THE NATIVITY habit. Clinical evaluation should be 5 R. W. Bastian, Vocal fold microsurgery in sought by anyone who experiences im singers, Journal of Voice, 10:389-404, WE NEED THEE, 0 LORD pairment of tests of mucosal swelling, but 1996. jobann C. Bacb particularly by vocal overdoers. 6 R. W. Bastian, C. Klitzke, 1. Thurman, BENEDICTUS Vocal fold and laryngeal surgery. In 1. E. Paladilbe Thurman and G. Welch (ed.): Bodymind Bibliography HODIE SCIETIS I R. W. Bastian, 1. Thurman, C. Klitzke, and Voice: Foundations Of Voice Hemzan Strategier Limitations to vocal ability from use Education, Book III, Chapter 11, 416- o SAVIOR, COME related injuty or atrophy. In 1. Thurman 427,1997. PW'cell-Sateren and G. Welch (ed.): Bodymind and Voice: JESU, COME Foundations OfVoice Education, Book III, -C]- H. von Herzogenberg 1, Chapter 329-337. HOLY, HOLY, HOLY Felix lVIendelssobn THERE Is No ROSE 'ARequestfor. . Stepben Caracciolo o DAY FULL OF GRACE ChoralJournalArtic1es F. lvlelius Cb7'istiansen The Choral Journaleditorial staff is ,interested ,in receiving articleS of interest to BORN TO DIE the choral ,profession, EXamples of topics include but are no\: lirriited t() the DaVid C. Dickau following:" , HE CAME HERE FOR ME Ronald Nelson ,;Choral Compositions GLORY OF THE FATHER, THE -Choral Composers Egil Hovland ~Choral Conductors PEACE I LEAVE WITH You e' Choral Style and Performance Pr::i.ctice',' irIalter Pelz ~Sight Reading andthe Choral Rehearsal -Historical Periods of Choral Music I KNow THAT My REDEEMER LIVES ·Pedagogy and Choral Conducting jobann M. Bacb eRepertoireandStandards , " AND GOD SHALL -Vocal Pedagogyand,Choral Singing Paul]. Cbristiansen -Choral Rehearsal Techniques·", " " How THEY So SOFTLY REST -.spin-off Articles ofDoct()ral Research , '" .' " , , Healey irlillan ~Interviews of Renowned Choral Conductors and Composers E'EN SO, LORD JESUS ,; Trends and Issues in Choral Music . , Paul Manz -Article Versions of Convention Interest Sessions , -Interactive articles-articles with accompanying recorded examples, Available on compact disc that can be accessed arid heard on the internet and cassette
Guidelines for submitting a manus~riptcarl befoundirlanyissue ofthe THE NATIONAL LUTHERAN CHom Choral Journal Authors wishing llloredetailed instructiollsforpreparing an POBox 6450 article for publication should contact the ChoralJournct.l editor and request a ~eapolls,~ 55406-0450 copyoE the Choral Journal Stylebook or. visit
OCTOBER 2000 PAGE 57 OXFORD UNIVERSITY PRESS
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Complimentary inspection copies of any ten titles listed above (CD not included) are available on request. Circle your choices on a copy of this advertisement and send to the Music Department at
...... _~... -.... -...... ,_ ...... "-.,".-.... -... , .. ,.... '.' ., ...... '" ...... , ... :.... :. ,',':':' .'. ,...... :: :.; O:x.FdR:riu~IV~-RSirt.PRESS'·'· ••.•.• ~ ..•- ... ' ...• ·· .. :...... 1 ..... :~.~~_~~~is~?::fv~1~~,~:f_t~ff,··~..G~e{:f~ ..~,.;_,it •. 2'iL{1:·~L3;.>!:·~Lj REPERTOIRE & STANDARDS COMMITTEE REPORTS
to be accomplished. During the rehearsal, tance to the group, the responsibility for Community Choirs use positive reinforcement to keep singers the choir's success becomes the singers' focused on those items. When the desired and yours. This tells your singers that you A Journey to Nowhere result is achieved, celebrate it (briefly) and respect them and want to include them OW MANY OF us would feel immediately set the bar at a higher level. in your planning and goals. comfortable taking a trip to an Most importallt, do not let the choir re With adults, this is a large part of es H unlmown destination, especially gress or sink back into a prior comfort tablishing your leadership. It is much if the going got rough? If our guide was level. Work to expand their perception of easier to climb up the mountain as a !mowledgeable and trustworthy, we might how the new level feels and sounds. group, helping each other along the way, go along for the adventure. Even then, At the close of rehearsal, set your ex than to sprint up by yourself and try to wouldn't we feel more at ease if we at least pectations for the following rehearsal. pull everybody else up afterward. One !mew the direction we were headed and "Please work on your music at home," key, therefore, to working with adult sing the stops along the way? does not do the trick! "When we meet ers, professional or amateur, is to com Children sometimes enjoy mystery next week, I'd like to be able to work with municate consistently and constantly in trips. Mom and Dad plan a day trip or intensity on the middle section, pages 12- specific, goal-oriented terms. short vacation, secretly pack all the neces 22. Make sure you !mow those notes so we Plan ahead so the goals are measurable sary items and then whisk the family away can work on the balance and dynamics." and attainable. Celebrate those successes for a fun time at a beach or amusement Set a specific goal for each piece you and immediately establish and communi park. Adults, however, may feel kidnapped will be rehearsing. Also, be certain that cate what comes next. You and your sing in a situation like that. They would prefer your section leaders communicate these ers will be delighted in the journey, and to !mow the details, or at least the loca expectations within twenty-four hours to together you will travel much farther to a tion of any journey they undertake. those who were absent. You might also predetermined destination-a musical ad Are your rehearsals with your commu choose to work on certain vowel sounds, venture in which you can all share and nity choir a planned musical journey or a breathing, or some other skill you have grow. mystery trip? On any given rehearsal night determined is necessary for the success of Charles Facer, Chair do your singers !mow where they are go the choir. Be certain to establish these National Committee on CommunilJ Choirs ing, or do they feel as though they are on goals in their minds as well. If they can a journey to nowhere? In other words, do accept these and understand their impor- you set goals that are communicated to your singers? - , Many community choirs spend a great t~oir FEATURING A 2-HOUR PRIVATE Ct.::INIC FOR deal of time setting up mission statements SIMON CARRINGTON and long-range plans. These are extremely RODNEY EICHENBERGER YOUR BAND, CHOIR OR ORCHESTRA WITH A_ ANDRE THOMAS , NATIONALLY KNOWN CONDUCTOR! important to the success of a non-profit , organization, as we have explored in pre • vious articles. Long-range plans for reper toire and audience development have also been explored. In each case we have dis cussed specific goals more attainable than vague generalities. When people under BOBBY ADAMS stand what is expected of them, they be ~e ~n cnhchtSiVe, &a'ltcatiohal (jptiOh JIM CROFT to festivals come more focused and work harder MICHAEL HAITHCOCK ~ to~etitiohsl toward the achievement of the goals. CRAIG KIRCHHOFF With this in mind, map out a long ANTHONY MAIELLO '~.';.. ~"1. •. 4-.. "." . ~:\: .~ range plan that includes specific pieces Jv1,'ttSlcatc. IS SPONSORED By eels and movements or pages to be covered in WWW.MU5ICATE.COM each rehearsal. The plan can be distrib
uted as you pass out new music for the SAN DIEGO SAN ANTONIO NEW YORK ,TORONTO WILLIAMSBURG next concert or at specified intervals .Marc'h '22-'25 .Marc'h '2§-.A:pril1 .A:pri15-8 &.1§-'22 .A:pril '26-'2§ .Ma1J 2i-6 throughout the year. At the beginning of each rehearsal, verbally or on the chalk board remind the singers what goals are
OCTOBER2000 PAGE S9 chapter on "How to Make Them Work" Practical Tips for Purchasing Jazz/Show Choirs in a variety of situations. the Right Sound System 4. Shure's Microphone Techniques for More Thoughts on Music-Studio Recording includes a discus How to Start Sound Reinforcement sion of microphone techniques, their Ifyou have ever been intimidated, frus placement, and a glossary of terms. trated or just plain infuriated by P. A. T THE CENTRAL Division When you go shopping for your jazz systems, maybe the following informa Convention in Cincinnati, Feb group, begin by looking at dynamic mi tion can help. The amount of money you ruary 2000, an interest session on A crophones. They do not require a battery; have limits what you can get. However, Sound Reinforcement was presented by they are larger than condenser micro before you head to the music store with Shure (microphone) representative John phones; they are more rugged; they handle fund-raising dollars in hand, ask yourself Broermann. I was again reminded how high sound levels and they tend to deliver the following questions: quickly the industry changes and how a more natural sound. • How am I going to use this system? important preparation is when we vocal/ Consider cardioid microphones in -Will I use it for my large choir(s) or choral folks are shopping for informa terms of the pick-up pattern if you are only for my small groups, or both? tion and equipment. At the session, using a microphone with a group. They • Do I want one singer assigned to one Broermann provided several publications will pick up sound from the front and the microphone? by Shure that could prove to be helpful. sides of the microphone and not the back. • Do I want more than one singer as These publications are free; call 1-800- This is especially important if you use signed to one microphone? 25-SHURE. monitors. • Do I want to use area mics? 1. Music and Performance contains the When you go shopping for your show • Will the system be used in the audi Shure catalog of products, including a choir's "front end microphones" you will torium only or will I need it for off variety of microphones (wired and wire probably want to consider condenser mi campus performances as well? less) for performance and recording and crophones with a unidirectional (a single • How much area will I generally want monitors and other accessories, such as direction, in front of the mic). Although to fill with sound-the theatre, the windscreens, cables, and mounts. these are only a few terms you will need football field, the Elk's Club, etc. 2. Shure's Microphone Techniques for to know, at least you will have somewhere By answering these questions, you will Music-Sound Reinforcement includes a to start. be more prepared to go shopping for a discussion of microphone characteristics, Tom Dustman, the artistic director system that best fills your needs. Your microphone placement, and a glossary of and member of Beachfront Property, the information will also help the people who terms. L.A.-based vocal group has a few addi sell this equipment to better understand 3. Shure's Selection and Operation of tional thoughts. your needs. They can make informed rec Wireless Microphone Systems includes a ommendations and possibly provide you with better price choices. If you find you don't have enough money, inquire about used equipment or Like a well-balanced choir, try to work out a payment plan. Dealers Witte Travel's team of travel are eager to work with an established or professionals and concert ganization like a school system. Your district's financial history probably ranks organizers work in harmony Harmonize at least as high as most of the local rock to take care of every detail of bands who purchase their equipment from your group's touring and the same dealers. However, if you find performance needs. you don't have enough money, I recom mend waiting until you have raised suffi EmOjJe cient funds to get a quality system that fits your needs. It is worth the wait. without skipping ) Take Your Time a beat! Finally, you need to be the judge of Custom-designed tours for peifonning groups what speakers and microphones sound traveling in Europe best to you. Don't be intimidated by the person selling you this equipment. They Call (800)469-4883 speak "tech talk" and tend to slip into a E-mail: [email protected] foreign language, but hang in there! Take 3250 28th Street S.B. • Grand RApids, MI49512 your time. You know what your students sound like because you work with them
PAGE 60 CHORAL JOURNAL every day. Hold to that knowledge and cians evolve into pragmatists whose pri one determine what to sing until certain as begin listening to equipment that best mary criteria for worship music is deter to why we are singing and for whom? replicates their natural sounds. The sales mined by what can be done in a short Many outstanding texts are available personltechnican, regardless of how help amount of time to meet the demands of in libraries and various retail outlets to ful they might be, should not make the their people, many of whom may have an assist the church music director in this final decisions about the equipment you insatiable appetite for that which is im study. The author appreciated Connie are purchasing. Their reasons for selling mediately digestible and who may also Fortunato's long out-of-print Children's you equipment are different from your hold little regard for things beyond their Music Ministry: A Guide to Philosophy and reasons for buying it. (The higher the personal tastes. Practice (David Cook). In her opening price, the more money they'll make. In Weekly services roll by and our philoso chapter, Fortunato provides an excellent fact, they often get higher commissions phy and theology (or lack of them) are summary of musical function in the for pushing certain brands.) My point is revealed in the music we select. The strains Judeo-Christian tradition. She notes three this: you are the expert on the sound you of practical considerations and personal re basic styles of music cited in the Pauline are looking for, and you may have to quests are a significant stress on the church letters-psalms, hymns, and spiritual listen to a lot of equipment before you conductor. It would be absurd to suggest songs-which provide for three func find something that will make your stu not taking these into consideration. How tions-worship, education, and evan dents sound like a choir and not like a ever, before the criteria of personnel re gelization with three corresponding guitar. sources and personal preferences are audiences. Fortunato also identifies the Assimilate all the information you can. considered, one's philosophy ought to be need for balance among these three min Take your time. You are the one with the clearly articulated and justified from the istries in the musical life of the church. choral director's ears. Everything you have perspective of one's faith. After all, how can However, there is also a clear Biblical ever done involving music has prepared ,--______you to make exactly the right decision. Take your time. Most music stores will let you try out equipment at the store. Take a student with you (maybe one boy and one girl for a more varied sound test) and $trik6 t\p th6 Pe,dnd have each of them sing into a variety of microphones and through a variety of oct Lincoln C6nt6r! speakers; close your eyes and let your ears choose what sounds best to you. Take your High Schools, Middle Schools, College Bands, and Choruses time. You wouldn't let the person selling are grabbing the spotlight at New York's Lincoln Center. you this expensive equipment direct your choir, so don't let them pick your equip Bring your band or chorus to Lincoln Center, and give a concert on the Plaza. ment. To book your free Plaza performance, call David Kincaide Diana Spradling, Chair at Lincoln Center Community Programming (212) 875-5152 National Committee on Jazz and Showchoir
Music and Worship Who Needs a Mission Statement? o ANSWER THE question briefly, every church musician Dedicated to serving choral conductors by providing them with distinctive original repertoire. as T needs a mission statement. Simi well as auxiliary materials and services to facilitate their conducting and teaching endeavors. lar to school and community choir direc The catalog contains sacred and secular works and features the choral works of tors, the primary criteria used by church Rene Clausen • Z. Randall Stroope • Valerie Shields • Andre Thomas • Chester Alwes • musicians in repertoire selection are those Cora and Robert Scholz • and others. of practical concerns. Few can deny the unique intensity and diversity of musical To be added to the Mark Foster Music mailing list. contact ~ 0' requests (or demands) the church musi Shawnee Press, Inc.'l~ cian receives from the congregation, pas tor, and worship and music committee. 49 Waring Drive • Delaware Water Gap. PA 18327 Little wonder that many church musi- 800-962-8485 • Sh OCTOBER2000 PAGE 61 . )..;' /;" .J._.1~/7 Minister of Music ;.~ " r :. J lU. v&u, ,j ~r~' and AreyouanSAIal ' us in planning Worship .Arts . tion, a mission statement for the music our 100th anniv elebration. Call or write: ~.< eadquarters, ministry and the church could be created. 34 Wall Street, Suit NC 28801. REMONT PRESBYTERIAN CHURCH, 5770 Phone: (828) 251-0606 'OiW'ww.sai-national.org FCarlson Dr., Sacramento, CA 95819. One such statement the author adopted Full-time minister of music and worship arts some years ago is simply "GlorifY God, for a 1,200-member congregation with a proclaim God's Word, minister to all history of excellence in music and worship. God's people." Must be experienced in directing large choirs Whatever the mission statement, be for adults, youth, and children, handbell "Professionally tailored ringers, instrumentalists, and other sure it is theologically sound, practical, gowns of lasting beauty." musicians, as well as drama and other and well-informed; it could well be the celebratory arts. Must be effective in most important asset in your ministry. FREE traditional reformed worship and have a Scott Dean, Chair catalog and strong Christian commitment. Com NOl·thwestern Division Committee on fabric samples. pensation commensurate with experience and skills. Send resume and three references Music & Worship LYRIC to the attention of Lou elI a Lourimore at the CHOIR GOWN CO. church address. -C]- P.O. Box 16954-AZ Jacksonville, FL 32245 CALL TOLL FREE (Executive Director, continued from page 2.) 1-800-847-7977 mandate that worship is primary among www.lyricrobes.com these three ministries. The first command Convention Registration ment given is "Worship and love the Lord" Again this month the information and (Deuteronomy). From this central theme forms necessary for registering for the the other ministries emerge, but our first 2001 ACDA National Convention next calling is to worship God and therefore March 14-17 in San Antonio are in sing to the Lord. This defines our first cluded in this issue. If you have not pre audience: God. The question one should registered, let me urge you to do so now. first ask is "what shall we sing to the I urge you to make flight arrangements Lord?" and hotel reservations immediately. As MUSIC At a time when mission statements always, the most convenient flights and have become standard it would be wise most popular hotel rooms fill up fast. We TO U RS INC. for the church musician to develop a per look forward to seeing you in San Anto sonal credo for music in worship. Perhaps mo. with the assistance of the appropriate staff QUALITY and committee within the given situa- Gene Brooks INTERNATIONAL CONCERT TOURS at REASONABLE PRICES Call or write today for our unique personalized service! MARK FOSTER MUSIC TOURS 'n" (800) 869-1406 \\ 13>,6y01Z Eo ~ --r-G LA--- '{DO (/JH~2f:c. 1) I\I IN P.O. Box 2760, Santa Clara MU<;(C.- c-L-~<;6 W91>-'1, t--GT /IN6 1'2-tfv\lt-4P '1D U California 95055-2760 T.rIAI' r:.' M .j V'SI J>.. l-\1\LX ~\'9 - cfl PAGE 62 CHORAL JOURNAL HALLELUJAH! Timothy W Sharp, editor RADUATE SCHOOLS AND performance majors or church music/or narrative, the Second Temple Period, arose theological seminaries provide gan majors. The final objectives of the in the shadow of the first. Certain texts G an excellent source of docu study are to discern what techniques and began to be perceived in this period as mented research for historical studies, cho special skills are required to be a success paradigmatic acts of praise and thanks ral pedagogy, stylistic analysis, and other ful organist! director and to determine giving. Biblical narrative may have been information related to sacred choral mu how best to incorporate the acquisition of reformulated in light of its emergence as a sic. This month's column highlights DMA those skills in the preparation of future paradigmatic text. Certain songs, which and Ph.D. dissertations and doctoral organist! directors. seem to have been inserted at a late stage, projects completed within the last ten may have been added to the narrative years that specifically address sacred cho Sing to the Lord a New Song: The Role precisely to conform it to what was now ral music. Graduate schools and theologi of Songs within Biblical Narrative and regarded as the normative literary pattern. cal seminaries that supervise doctoral Their Resonance in Early Biblical ptojects such as those listed below are Interpretation A Conductor's Analysis of the Messe de encouraged to contact the "Hallelujah!" Steven Phillip Weitzman, Ph.D. Minuit pour Noel, H.9 and Te Deum, column editor to include and highlight Harvard University (1993). H.146, by Marc-Antoine Charpentier" future or past research related specifically This study explores what is proposed Agnes Tan, DMA. to sacred choral music and the church as the curious and poorly understood The School of Church Music music interests of ACDA. characteristic of biblical prose narrative Southwestern Baptist Theological The dissertations below were selected and the frequent presentations of songs Seminary (1999). because of their application to sacred cho imputed to central figures from Israel's The focus of this document is the Messe ral interests. Projects were chosen because past. The dissertation states that the use de Minuit pour Noel, H. 9, and Te Deum, of the broad range of appeal of subject of these songs within the narrative reflects H. 146, by Charpentier. Messe de Minuit matter. Many excellent choral projects the two literary worlds in which the Bible is offered as one of the composer's best were discovered in the preparation of this was composed. The First Temple Period known mass compositions, suggested due column, but several were not included belonged to the much larger universe of to the charm and appeal created by the due to the narrow scope of this study. In Near Eastern literature produced around use of popular noel tunes of the day. The addition, many projects were written 1000-500 BC The second literary world Te Deum owes its popularity to its use by about hymnological subjects but were not reflected by the songs within the biblical Eurovision as an opening prelude to its included in this column. Such projects might be the focus of a future column. Dissertations related to Protestant, Catho lic, Jewish, and Byzantine and Eastern VJSit Canada religions were perused for possible men with tion in the following annotated list. Conducting from the Console: Potential N WAGON LIT ELLISON TOURS Employment and Professional Preparation Specialists in custom for the Organist/Director designed music tours Janet Hamilton Graham, Ph.D. University of Florida (1993). This study is an examination of three aspects of conducting a choir from an "We know organ console. The first portion of the 'l research seeks to determine the extent to Canada best Heather Moffatt Gerald Fagan which selected churches were seeking to Group Manager Music Consultant employ organist!directors. This material B.A., Mus.G. Paed., A.Mus., Lic. W.O.C.M. is used to establish the organist's need for Exeter, Ontario, Canada the ability to conduct from the console. Tel: (519) 235-2470 or 1-800-265-7024 The second part of the study documents Fax: (519) 235-2061 Email: [email protected] the extent to which colleges and universi Website: www.musictours-festivals.com ties offer any conducting or vocal peda gogy coursework specifically for organ OCTOBER 2000 PAGE 63 international broadcast. Following a brief The School of Church Music biography of the French Baroque com The Southern Baptist Theological poser Charpentier, the work offers an in Seminary (1991). troduction of the development of the This dissertation investigated examples Mass and Te Deum in seventeenth-cen of sacred choral literature that could be tury France. Following this, an overview used as part of a piano method that of the twelve Masses and six Te Deums of teaches fundamental music reading and The Richmond Choral Charpentier is provided. Background in keyboard skills. The specific objectives of Society (RCS) is seeking a formation on the settings, publishers of this study are to evaluate a number of Music Director. RCS is an scores, and a discography are included. existing piano methods in relation to vari adult, volunteer mixed chorus General performance practices of the Ba ous texts that discuss the principles of of seventy-five voices from roque era, along with issues related to music reading and .. piano pedagogy, to Richmond, Virginia. Rehearsals score preparation, understanding, and per devise a method that provides guidance are on Monday evenings from formance are offered. The work concludes in the development of fundamental mu September through May. Four with a detailed analysis, including musi sic reading and keyboard skills, and to to five concerts are normally cal examples and charts of the two com select fIfty relatively easy examples of sa scheduled per year. RCS is the positions, specifically addressing rhythmic cred choral literature to which the basic oldest continuing volunteer and melodic material, harmonic language, music reading and keyboard skills could chorus in the Richmond area. and textural characteristics. be applied. The intent of the study is to Repertoire includes sacred and provide beginning piano students with a secular classical music, The Role of Drama and Spirituality in body of pedagogical choral music litera Broadway musicals, and the Music of Leonard Bernstein ture that has functional value in a wor contemporary pop. Philip Larue Copeland, DMA ship setting. The School of Church Music This is a part-time position The Southern Baptist Theological Semi Harold Friedell: His Life and his Music requiring a Bachelor's Degree nary (1998). Neal Campbell, DMA in music or the equivalent plus Although the purpose of this disserta Manhattan School of Music (1996). extensive directing experience. tion is to explore three symphonic works As the organist and choirmaster at St. Other qualifications include by Leonard Bernstein, the scope of the Bartholomew's Church and a faculty advanced training in choral study involves the role of drama and spiri member at Union Theological Seminary conducting and a high level of tuality in the music of Bernstein, which and Juilliard School of Music, Friedell general musicianship, aural has obvious implications for Bernstein's (1905":"58) held some of the most impor skill, score reading, and sacred choral' works. Through dramatic tant positions in the field of church mu conducting technique. Strong analysis of the three Bernstein sympho sic in New York City. As a composer, interpersonal skills and the nies, this work probes the spiritual impli Friedell wrote hymns that are included in ability to work effectively with cations of Bernstein's compositions. The the hymnals of many denominations, and other organization leaders and thesis begins with a basic musical and his religious works are used in churches the chorus itself are also theatrical biography of Bernstein and con throughout the United States. Friedell's required. tinues to explore specific literary and the career brought him in contact with some atrical techniques used in the music. of New York's best-known organists, in The successful applicant will Bernstein's dramatic understanding of cluding David McKinley Williams, his be one who seeks the challenge music is explored through an analysis ac predecessor at St. Bartholomew's, whose of leading an outstanding, cording to the basic elements of drama. resignation is discussed in detail in this critically acclaimed chorus to an Three aspects of Bernstein's dramatic com study. The religious climate of the time even higher level of artistic positional model are examined: the estab was influenced by the Oxford Group at success, lishment of a dramatic atmosphere Calvary, where Friedell also served, led by through music, characterization through the reverends Samuel M. Shoemaker and Applications should include theme, and contrast as a principle of com Frank Buchman. A list ofFriedell's works a resume, copies of recent position. Bernstein's faith history is ex is included in the dissertation. programs directed by the plored, and the role of spirituality is applicant, and three investigated through all the composer's The Shorter Sacred Choral Works of professional references. Send by non-theatrical compositions. Herbert Norman Howells October 15, 2000, to: RCS/ Edgar Ferlazzo, Dl\1A Director Search, P.O. Box A Method for Developing Fundamental The School of Chu~ch Music 4734, Glen Allen, Virginia Reading and Keyboard Skills Used in Southwestern Baptist Theological 23058. Accompanying Sacred Choral Literature Seminary (1997). Benita Brady McFarland, DMA This dissertation begins with a biogra- PAGE 64 CHORAL JOURNAL phy of Howells and follows with a discus Catholic University of America (1995). "early American music." sion of the Anglican Service and a history This project is an investigation of the of the condition of English cathedral mu choral music of John Antes, one of the An Analysis of the Choral Music ofJohn sic following the period of Sir Charles earliest and most significant native-born Singenberger (1848-1924) as it Relates Villers Stanford. This section is followed American composers. Although he ap to the Musical Philosophies of the by a survey of the texts and an analysis of parently did not compose any of the works Caecilian Movement the eighteen Magnificats and Nunc while still living in America, he did write Patrick Gorman, DMA Dimittises, eight Te Deums, one Evening anthems for the Moravian Church settle University of Wisconsin (1994). Service, and one Communion Service by ments in North Carolina and Pennsylva John B. Singenberger, founder and Howells. The analysis includes Howells's nia. An overview of the theology of the president of the American Caecilian Soci style characteristics, speaking specifically Moravian Church, or Unitas Fratrum, ety, played a major role in the develop to the harmony, rhythm, melody, texture, serves as a background for the study of ment ofAmerican Roman Catholic choral dynamics, organ, and word painting in Antes's anthems. The unpublished works music. As teacher, publisher, and editor Howells's Service music. This analysis is were transcribed from Antes's autograph of the Caecilian journals, he was respon followed by a survey of the composer's MSS, located at the Moravian Music sible for disseminating Caecilian philoso fifty-three anthems and motets with a list Foundation and Moravian College. Ex phy throughout the United States. The ing of titles and authors of the texts and cerpts from the MSS are included in the history of the Caecilian movement in the an analysis of the anthems according to document. Each composition is analyzed; U.S. is outlined in the dissertation, enun the specifics listed above. The dissertation the result is a corpus of choral literature ciating the philosophies supported by the concludes with a survey of the eleven modeled on the European masters, as op Society through its journals and writings. hymn tunes written by Howells with posed to the fuging tunes and metrical The choral works of Singenberger are re analysis of each. psalms of contemporaneous New En lated to the theological and musical foun gland. The Moravian church in eigh dations of the Society. A catalog of An Investigation of Leadership Styles, teenth-century America fostered a Singenberger's Masses and their sources is Professional and Musical Background, sophisticated musical culture that was dif included in the study. Role, Duties, and Work Environment of ferent from what may be described as Adult Church Choir Directors in Mid American Protestant Churches Gregory Daniel Zielke, DMA NEW EDITIONS University of Missouri (1996). This dissertation reports on a ques tionnaire sent to eighty-three Protestant SANCTUS in d minor (BWV 239) church choir directors. The questionnaire J.5. Bach, edited by William Hunt gathered their response to their self-per SATB, two violins, viola and continuo ceived leadership style in terms of task! relationship behavior, as measured by the VENITE, ASCENDAMUS AD MONTEM DOMINI Leadership Effectiveness and Adaptabil Jacob Handl, edited by Stuart Mcintosh ity Description-Self Instrument. The re double SATB choir, a cappella search analyzes the effects of choir size, denomination, and choir ability on lead CONFIRMA HOC, DEUS ership style. Two primary leadership styles Jacob Handl, edited by James Rodde were revealed in the study: 43% were TTBB a cappella high task/high relationship, and 38% were high relationshipllow task. Of the respon COENANTIBUS AUTEM IlUS dents, 56% were from mainline denomi Juan de Lienas, edited by Kirk C. Aamot nations: the latter had larger choirs. Most SA TB a cappella participants assessed their choir's musical ability as moderately high or very high. BEATI MORTUI The variables of choir size, denomina Felix Mendelssohn, edited by Michael J. Weber tion, and choir ability had no statistically TTBB a cappella significant relationship to the director's reported leadership style. A Performing Edition and Study of the Unpublished Concerted Anthems of John Antes (1740-1811) ALLIANCE MUSIC PUBLICATIONS, INC. (713)868-9980 FAX (713)802-2988 William Patrick Flannagan, Ph.D. RO. Box 131977· Houston, Texas 77219-1977 OCTOBER 2000 PAGE 65 Assimilating Jewish Music: Sacred monument to post-Romantic choral mu The Relationship between Text and Service, A Survivor from Warsaw, sic, untouched by the Holocaust and re Music in the Choral Works of Robert H. Kaddish sistant to modernism. A manifesto for the Young David Michael Schiller, Ph.D. perseverance of the Jewish people and his Stanley Leroy Roberts, DMA University of Georgia (1996). own aesthetics, Schoenberg's A Survivor The School of Church Music This dissertation states that Bloch, from W'ltrsaw reasserts the classical mod~ The Southern Baptist Theological Schoenberg, and Bernstein were situated ernist aesthetic. Bernstein's postmodern Seminary (1995). on an assimilatory frontier. Block's Kaddish, a product of the post-Holocaust Roberts's project investigates the tex Avodath hakodesh, written in the early sensibility, is concerned with the problem tual/musical relationships in the choral 1930s, embraces the European musical of the individual Jewish identity. music of Robert H. Young and gives spe nationalism of Wagner; his work is a cial attention to Young's work as a com poser, conductor, church musician, and music educator. Much of the information WHAT'S NEW IN SINGING? Gladde Music ;Publications : Reaq the Singing Better Newsletter ------_.------,~ The Choral Music of Bradlev Nelson ~ I in Chapter Two of the work focuses on at www.hearfones.com or, better yet, "0 Little Town OJBethlehem" the religIOUS heritage ofYoung and how it send us your article for our next issue See the score, hear the music! has influenced his choice of texts for mu or call 888-886-9312. Thank you! Website: www.GladdeMusic.com sical setting. The dissertation then ad *LIVE RECORDINGS NOW ONLINE* dresses Young's criteria for text selection and explores those elements that produce significance in poetry. For Great Performances, The work also documents Young's un derstanding of the theological precept of Prepare with CHORALPREp™ Recordings. divine mystery. Several of Young's com ~ " positions are examined through historical Specializing in "These tapes have helped liS start at a beautifully produced higher mllSicallevel, and progress chronology; analysis of text, analysis of study tapes of the rapidly. Fewer sectionals are music, and the marriage of text and mu choral masterworks. needed as Singers are able sic. Roberts concludes his study by exam Featuring lovely woodwind to prepare and review on their own ... Clearly the easiest to use ining seven elements that are crucial in sounds. Offering a separate of the practice tapes I've heard. 1/ interpreting the choral works of Robert highiighted mix for each voice Accurate. Clear. Musical. Dr. David Stevens Young: freedom of tempo, vocal lines and Music Director, Austin Civic Chorus linear construction, suspension, harmonic Please call for a FREE DEMO planing, chant, tone, and phrasing. A cata and more information. "Couldn't have done it without 'ya." 1-800-444-SATB .. .. Anchorage Festival Chorister log of Young's compositions is included in the appendix, with basic description ~ 0 RALPREp Brahms Requiem (1992) TA1 information for each work. If interested in acquiring any of the COR DIN G S ~.t:J dissertations listed in this column, UMI 9107 Hillside Terrace Cove· Austin, Texas 78749· FAX (512) 301-8384 • www.choralprep.com offers softcover paper and hardcover pa per copies of most dissertations for sale. To order, contact UMI at 300 North Zeeb Road, P. O. Box 1346, Ann Arbor, MI 48106-1346. -C]- CANTATE 2000 by Jackson Berkey A New Commission for Treble Voices Four Movements • Latin Texts 2 Marimbas - Piano - Percllssion - Bass - Optional Strings See our catalog on-line at www.berkey.com Distributed exclusively by Masters Music a division of Edwin F. Kalmus (561) 241-6169 mastersmus@aoicom PAGE 66 CHORAL JOURNAL TECHNOLOGY FOR THE CHORAL MUSICIAN Donald Oglesby, editor Sprechen sie ... ? translation OCTOBER 2000 PAGE 67 The Brahms Requiem fares a bit better. Wie lieblich sind deine rely on it to do all your homework! ;-)." First, we should note that there are more Wohnungen, Herr Zebaoth! Meine Some sites with texts of the Brahms sites that give notes, text, and translation. Seele verlanget und sehnet sich nach Requiem, from a Yahoo search: Using the two translation sites, you will den V orhofen des Herrn; mein Leib Colorado Symphony: find the text of Movement N is less diffi und Seele freuen sich in dem PAGE 68 CHORAL JOURNAL where credit is due for translations you use. Copyright holders, please make it easy for directors to contact you to re quest use of your translations. If you wish to grant general permission to reprint your material, please give any notice you want directors to use in programs. Make friends with your Character Map [Windows: Start - Programs - Accesso ries] or Key Caps (Macintosh: under Apple menu] p. S.: One last translation site: Pig Latin Text-to-Speech Translation enter or cut-and-paste text to hear syn thesized Pig Latin renditions-the fun side of a serious Bell Labs project. (President, continued from page 3.) Realizing that most of us experience enough demands on our time in the con text of our paid jobs to fill our daily schedules, it is urgent that we find time to become involved in advocacy efforts on behalf of the arts. The future of those arts in American culture may well de pend on it! Milburn Price OCTOBER 2000 PAGE 69 COMPACT DISC REVIEWS Richard J. Bloesch, editor .... ' ~ .• --C'·--~"-- -- '.' .'•• ''' •• ' ...... ".--'._~ .• "~, _ . ,." ..' : Clement Janequin which, along with those of Claudin de " ,,'-'RECORDING., '. Messes Sermisy, were popularized in the 1530s. Messe eeLa Bataille'~ Messe CTAveugle As early as 1529 Pierre Attaignant had .' CCJMPANIESTI-lJSISSlJE Dieu':' Congregaii Sunt published several of them in a collection, Ensemble Clement Janequin; Dominique and during the 1530s no less than four Visse, director volumes followed on the same press. Judg Recorded 1995, 1999 ing from his selection of often witty texts, Harmonia Mundi; HMC 1901536; our composer was very much a man of [DDD]; 50'10" the world, as well as a man of the Church. After a brief period of service at the and variety of dynamics. There is much HE ENTERPRISE OF the Cen Cathedral in Auch, in 1534 he was ap felicitous detail to enjoy, especially in the tre de Musique Ancienne pointed Maitre de Chapelle at the Cathe earlier Mass, where solo sections are off T (founded by Jean-Pierre Ouvrand dral in Angers, already known as a set against tuttis sections at appropriate in 1991) deserves to be better known composer of musique excellente through places in the text. There is much variety here for its distinguished contribution to out what was then the Kingdom of France. as the composer at times draws closer to research and performance of Renaissance His fame spread abroad to the Low Coun motifs borrowed from his chanson and music in all its variety of forms, espe tries and to Italy. In the 1550s we find then moves some distance away, from cially drawing on a rich heritage of the him in Paris, initially as chantre ordinaire them. To our ears, initially at least, some Centre region of France. La Fondation dU'roi and finally as compositeur ordinaire of the text underlay may seem to be a d' enterprise France Telecom should also du roi, though these may well have been little forced, but with appreciation of be commended for its financial support honorary titles. French pronunciation, one warms to this. of Ensemble Clement Janequin. Let me His first known Mass, the Messe "La Everything seems to work well enough first attempt to address the issue of how Bataille, "was published in Lyon in 1532 for singers and instrumentalists in good the La bataille chanson can be turned into by Jacques Moderne in a sumptuously tune with each other, and the singers em a setting of the Ordinary of the Mass, printed collection of masses by famous ploy appropriate word-painting and a va appropriate for liturgical usage today if authors (Liber decem Missarium a praecLaris riety of texture (Deum de Deo, lumen de our churches would rethink their musical musicis contextus). Already familiar with lurnine, ... qui propter nos homines ... policy in light of the Motu Proprio on the chanson, contemporary instrumental ex Maria virgine being particularly no Sacred Music of Pope Pius X and the ists and singers of that period would have table and with exquisite moments also at Divini Cultus of Pope Pius XL been delighted to discover the composer's et home factus est, crucifIJcus . . . , et Many readers will be familiar with a reworking of earlier motifs as material for resurreit . . . , and et vitam venturi ... in few of Janequin's French chansons (the his new Mass a4. During the sixteenth the Credo). best known and most easily available be and early seventeenth centuries, battle Block chords are found at the Ho ing La Guerre, La Chasse, Le Chant de music had become a common property sanna conclusion of the Sanctus (a need Oiseaux, and Le Cris de Paris). We will for singers, lutenists, performers on a key for some degree of brevity here perhaps, probably be less familiar with the board, and consort ensembles of one kind in view of a more extended setting of the composer's sacred music, all of which is or another in a secular environment. It Benedictus qui venit, which concludes brought together on this disc-just two was the custom for instruments to double with the addition of two extra voice parts). parody masses and a single motet, small voice parts in sacred music, as it is also For its first supplication, the Agnus Dei as this may seem when compared with recorded here with cornetti and sackbuts the oeuvre of other Renaissance compos for this Mass, and with organ at eight ers, that is, if one excludes chansons foot pitch for the later Messe "L'Aveuglt ORGANI~'I' NEEDED spirituelles and some one hundred-fifty or Dieu" (published in Paris in 1554) and so polyphonic arrangements of psalm the motet. EWLY restored, seventy-year-old, tunes from the Genevan Psalter. In a resonant but not over-resonant N 2-manual Frasee Pipe Organ, Having enjoyed the somewhat precari acoustic (the otherwise well-documented located in friendly country church, needs accomplished organist! One adult choir ous patronage of some grand personage booklet, complete with translations from rehearsal and one Sunday service per or other, usually relating to the Church the Latin and a front cover taken from week. Starting salary is $5,500.00. for the greater part of his life, and al Uccello's Bataille de San Romano, does Send resume to: East Woodstock though he trained for the priesthood and not state the recording's location), the per Congregational Church, P. O. Box 156, East Woodstock, C'I' 06244. took Holy Orders as a Cure, Janequin formances are well presented and engi was best recognized for his chansons, neered, with fine intonation, phrasing, OCTOBER 2000 PAGE 71 reverts to four voices. For the second, Space does not readily permit such de- . Latin or the best Coverdale version in the Janequin writes for only three voices tailed commentary on the later Mass set English language, as an example, "Why (nicely sung soli in this performance). ting based on a chanson of two years do the heathen so furiously rage together; For the final supplication we have a more earlier, a setting that is somewhat archaic and why do the people imagine a vain elaborate five-voice texture. Readers ac in style but certainly mellifluous, exhibit thing?" In summary, this is a performance quainted with the Henry Expert edition ing masterful ease, and the motet, dedi and recording not to be missed. of 1947 will quickly realize that this mu cated to the Duke of Ferrara no less, in a Eric Howard Fletcher sic has been subject to downward trans collection published in Italy in 1538 and position from our A major to F major now deposited in the Vatican Library (the same key, incidentally, for all three (Capp. Sisto 239). The music clearly re Christoph Strauss (1575-1621) works on the disc), and some additional lates to strong dramatic text not unlike Missa Maria Concertata ficta have been added. some verses in our Book of Psalms in the Motetten Missa Maria Coneertata a 9; Motets: 0 Rex gloriae; Expeetans expeetavi Dominum; Erip me Domine; Deus laudem meam; Amen dieo vobis; 0 sapientia; Anima mea cessa; Hodie eompleti surit; Exurge domine; Beati omnes; Paratum cor meum Concerto Palatino Recorded January 1999 Harmonia Mundi; HMC 905243; [DDD]; 75'19" ENEROUSLY ISSUED IN the "Documenta" series, this disc is G a co-production between Schola Canto rum Basiliensis and Wesdeutscher Rundfunk, K6ln, the recording having taken place in the spacious acoustic of l'Eglise Evangelique Reformee d'Alsheim, Switzerland. The front cover is based on Hans von Aachen's portrait of Emperor Matthias I, this historically important composer's early patron and constant sup porter. The music is of high quality, and it is strange that more than six hundred Sing, Ye Heavens (COL 126) A celebration of 15 centuries of sacred song! Opening with the solemn and inspiring sound of Gregorian chant, composer years have passed without it being better and conductor John Rutter leads the Cambridge Singers in a wide-ranging documented and performed. It is indica program of hymns, from across time and around the world. This colorful tive of our times that a performance and a and varied panorama of words and music is not just for hymn enthusiasts but well-documented recording should now for all who enjoy the artistry of the Cambridge Singers. Already a have been presented, for at least in his Gramophone Editor's Choice! native Austria and during his lifetime, Strauss's published music received wide Blessed Spirit (COL 127) The journey continues! Produced by John Rutter, spread acclaim. Timothy Brown and the Choir of Clare College, Cambridge follow their On this disc the Mass is framed by critically acclaimed debut on Collegium Records, fllumina, with a stunning motets with Latin psalm texts selected disc of music composed over the centuries to interpret the soul's journey from the two-volume 1613 collection, fol from tIus world into life eternal. Includes songs of mourning and lowing a long family tradition in service remembrance, the longing for heaven and the repose of paradise. Also to the House of Habsburg. In 1617 available: fllmnina (COL 125), "the choir's debut on Collegium ... highly Strauss was appointed director of music recommended." - Classic CD Editor's Choice at court under Matthias I, but for what ever personal or political reason he was not retained in this position by Matthias's successor Emperor Ferdinand II, who, much to the composer's chagrin, chose to appoint Giovanni Priuli in his place. PAGE 72 CHORAL JOURNAL We next hear of Strauss in 1626, as In many of the motets one finds a out Rosenmtiller's Vespro beata Virgine Kapellmeister at the acoustically spacious now-expected contrast between the high (HMC 901611/12), Cavalli's Vespro della Cathedral of St. Stephen, Vienna, and coro de cornetti with a single tenor voice beata Virgine (HMC 905219/20), Schlirz's the sixteen masses and two settings of the (bassetto) and the low coro di tromboni Psalmen Davids (HMC 901653/53), and requiem mass posthumously published in with an alto or another tenor voice (so Biber's Litaniae de Sancto Joseph with 1636 are therefore direct precursors of prano). Muffat's Missa in labore requies it 241 the familiar eighteenth-century Latin The Mass is one of sixteen, with two (HMC 901667). Masses in that celebrated tradition. Requiem settings, published no doubt Eric Howard Fletcher Thus, we have an extremely gifted commemoratively in 1631 shortly after composer belonging to the transitional the composer's death. In all probability period between the older polyphonic style they were intended primarily for the Ca -C]- and the new Gabrielian mix of less thedral where he served as Kapellmeister intense polyphony and polychoral during his last six years. Most are parody ,------______homophony, with all the broader charac masses with self-borrowings from earlier teristics of the early Baroque period motet compositions, and including the • h 1 "- ",' "" , ~ 'MINISmER 0]1 MlJSIC high instruments contrasted with low work presented here, four are marked . ,'.' ~~art ffiiine},' :~: instruments in families (cornetti and concertiata. We find astonishingly effec trombones) with, in this case, two or more tive use of obbligato instruments, with The Garden City Community Church, Garden City, New York, is searching for a part-time parts also sung. It should be noted, how the text set for four voices (SATB) in Minister of Music, averaging 20 hours per week. ever, that all parts are texted, allowing for Coro 1, with four instruments doubling Responsibilities include organist and director of greater choral participation when re in the ripieni, and five voices (STTBB) in adult, children's, and handbell choirs. Salary: $26,500. sources allow, especially on occasions of Coro II using the five obbligato instru Please send resume to: Attn: Music Search great festivity. The use of instruments ments. Committee-Ms. Karen Zalewski, Garden City within the choral texture follows the prac This disc is highly recommended, and Community Church, Stewart Avenue & Whitehall Boulevard, Garden City, NY 11530. tice as set forth by Michael Praetorious in those wishing to investigate other works 516/746-1700. 1618. in the "Documenta" series should seek C/o Tell It on the Mountain! CELEBRATE THE 100TH BIRTHDAY OF JOHN WORI«(1901-2001) There was a time when every choral library included the spiritual arrangements of John Work, made famous by performances of the Fisk Jubilee Singers. Now a whole new generation is discovering them. Are they in your library? Go Tell It on the Mountain (SATB)* #1.1532 This Little Light of Mine (SATB) #1.1384 Lord, I'm Out Here on Your Word (SMTB) #1.1903 *Also available for SAB, #1.1927 and TTBB, #1.1583 E. C. Schirmer Music Co.• Galaxy Music Corp.• Arsis Audio 138 Ipswich St., Boston, MA 02215 [email protected] www.ecspub.com OCTOBER 2000 PAGE 73 Book Reviews Sharon Davis Gratto Department of Music Steven R. Gibson Gettysburg College Highland Presbyterian Church . Gettysburg, PA 17325 III Highland Avenue Fayetteville, NC 28305 Jonathan B. Hall Saint Maty's Episcopal Church Edward Lnndergan 306 S. Prospect Street 13 Ridge Road Park Ridge, IL 60068 New Paltz, NY 12561 Craig Johnson . Stephen Town Department of Music Norrhwest Missouri State University Otterbein College Edited by John Rutter, the highly School of Music Westerville,.OH 43081 acclaimed Collegium Choral Series Maryville, MO 64468 is now in its third year. Choirs Panl Laprade worldwide are singing these fmely Westrninsn:r Choir College CD Reviews Rider University edited works, and our vendors are Eric Fletcher 101 Walnut Lane reordering, time and time again. All Publications Director Princeton, NJ 08540 are available from your choral dealer Anglo-American Music Publishers Altamonte Springs, FL Ronnie Sanders or directly from Collegium USA First Baptist Church Call for complete list of titles. 4601 Bellaine Road Choral Reviews Bellaine, TX 77401 Michael Braz TOP SELLING CHORAL WORKS Department of Music, L.B. 8052 Elizabeth R. Schauer CCS203 0 for a Closer Walk with God Georgia Sourhern University Department of Music (Stanford) $1.30 Statesboro, GA 30460 Adams State College Alamosa, CO 81102 CCS201 All My Hope on God is Founded Elwood H. Brown (Howells) $1.10 15642 Cuttysark Street Doris Sjolnnd Corpus Christi, TX 78414 2403 Senate Way CCS210 Lobet Den Herm, Aile Heiden, Medford, OR 97504 Motet #6 (J.S.Bach) $3.50 John Buehler Baker University . Richard Stanislaw CCS208 Gems of Gregorian Chant P. O. Box 65 220 Zimmer Lane (Ed. Rutter) $1.75 Baldwin City, KS 66006 Waynesburg, PA 15370 CCS204 When Mary thro' the garden Jeffrey Carter David Stein went (Stanford) $1.30 Blue Springs Community College Music Department 1501 NW Jefferson California State University-Hayward CCS215 Heilig (Holy, Holy, Holy) Blue Springs, MO 64015 SATB/SATB (Mendelssohn) $1.30 Hayward, CA 94542 CCS205 Surrexit Christus hodie Richard Coffey TedF. Totorica, Jr. (Scheidt) $1.30 Connecticut Choral Artists Borah High School 90 Main Street 60001 Cassia Street CCS402 Vier Leider aus dem . New Brittain, CT 06051 Boise, ID 83705 Jungbrunnen SSAA (Brahms) $1.75 (On the Texas list) Panl D. Criswell Jed David Watson Lander University Clovis Community College Division of Fine Arts OUTSTANDING CHRISTMAS TITLES 417 Schepps Boulevard Greenwood, SC 29649 Clovis, NM 88101 CCS801 Ding dong! merrily on high (Woodward & Wood) $1.75 (Eight short, Donald Callen Freed Steven Yonng delightful Christmas gems) 46 Fuhr Hall of Music Bridgewater State College Hastings College Bridgewater, MA 02325 CCS802 Three Old English Carols Hastings, NE 68902 (Ed. Rutter) $1.30 Sweet wasthe song; Coventry carol; There is no rose of such Steven R. Gibson First Baptist Church virtue 2600 Rouse Road CCS803 In dulci jubilo (arr. Pearsall) Kinston, NC 28504 $1.30 CCS804 Myn Iyking (R.R.Terry) $1.30 CollegiumusA 800-367-9059 www.collegiumusa.com PAGE 74 CHORAL JOURNAL BOOK REVIEWS Stephen Town, editor Brendan G. Carroll venturous but always tonally grounded, The Last Prodigy: A Biography ofErich began to seem dated in contrast to the . BOOK PUBLISHERS Wolfgang Korngold new movements of atonality, expression THIS ISSUE Portland, Oregon: Amadeus Press, 1997. ism, and serialism. Ironically, his father's 463 pp. $34.95. ISBN: 1-57467-029-8 position was more of a hindrance than a . Amadeus Press .. (Hardcover). [Amadeus Press is an im help to his career, as he was caught up in . . TimberPres~, Inc., agent . , 133 SW Second Avenue; Suite 450 print of Timber Press, Inc.; 133 S. W. controversies not of his own malcing. His ! Portland; Oregon 97204 . . .. Second Avenue, Suite 450, Portland, Or marriage was personally fulfilling but took egon 97204-3527. Telephone 503-227- time away from composing. To support Greenwood Press 88 Post Road West 2878; Fax 503-227-3070] his family, he spent much time and en 'Westporr,Connecticm06881 ergy guest-conducting and arranging HE MUSIC OF Erich Wolfgang Strauss and Offenbach operettas. . Oxford University Press Order Department Korngold has enjoyed a consider Hollywood rescued Korngold both 2001 Evans Road T able revival in recent years. Once personally and professionally. He had be ,Cary, North Cirolina 27513 dismissed as the work of a Hollywood gun to compose for films in 1935; three hack, his songs, chamber, and orchestral years later, he settled in the United States, music are finding an increasingly promi escaping the Nazi taleeover ofAustria by a Choral music constitutes a rather small nent place on concert and recital pro matter of days. Film scoring proved to be portion of Korngold's output; neverthe grams. His film music, as well, has begun an ideal vehicle for Korngold's style. He less, several works may be worth rediscov to receive greater critical attention and was able to create music of symphonic ering. A Passover Psalm, for solo voice, respect; scores such as Captain Blood, An dimensions and formal integrity; and en chorus and orchestra, and Prayer, for tenor, thony Adverse, The Sea Hawk, The Adven joyed a degree of artistic control that later women's chorus, harp and organ, were tures of Robin Hood, jaurez, and Kings film composers can only envy, including composed for a synagogue in Los Angeles Row are considered pioneering works in a voice in the final editing of many of his in 1941. Both are published by Schott. the genre. Brendan G. Carroll, founder films. In the last decade of his life, after Tomo1"1"ow, for mezzo-soprano, women's of the International Korngold Society; has World War II, he returned to concert chorus, and orchestra, was written for the produced the first full-length biography music, often reusing material from film film The Constant Nymph and is pub of this extraordinarily gifted musician. scores. lished by Warner Brothers. Two early The young Korngold was a prodigy on the level of Mozart and Mendelssohn, but it is perhaps even more astonishing that the musical language he mastered at a very early age was the highly complex chromatic idiom oflate-Romantic tonal Shepherd ity. As a child in turn-of-the-century Vienna, his talent was hailed by Mahler, The Shepherd College Department ofMusic offers: Richard Strauss, Puccini, and Bruno • Nationally and interna A facility that in Walter. His early development was fos tionally recognized faculty cludes rehearsal and perfor tered by his father, the leading Viennese • An applied faculty drawn mance halls, computer labs, music critic of the day. He composed a from the fine orchestras and improvisation stations, and a ballet at age eleven and a pair of one-act ensembles in the Washing digital recording studio com operas by age eighteen. At twenty-three, ton-Baltimore area plete with CD-mastering and after the triumphant premiere of his op • Idyllic setting with easy access production capabilities era, Die Tote Stadt, he ranked second only to major cultural centers of New York, • Ample scholarship opportunities Philadelphia, Baltimore, and Washington • Bachelor of degrees in music edu to Strauss as the most-performed Ger Arts • Performance opportunities in en cation, performance, and composition. man-language opera composer in the sembles of the highest merit • 100% placement rate in music ed. 1920s. This, however, was the peale of his For more information contact Dr. Mark McCoy, success. Korngold held steadfastly to his Department of Music, Shepherd College, Shepherdstown, WV 25443 late-Romantic style in the face of new 304/876-5223 • 800/344-5231, ext. 5223 developments. His music, melodically ori www.shepherd.edu/musicweb • [email protected] ented, richly colored, harmonically ad- OCTOBER2000 PAGE 75 works remain in manuscript in the Li This change occurred in the early a number of awards and wider recogni brary of Congress: Der Sturm, for chorus 1860s. Bruckner's early career was ab tion, but also savage criticism as the mu and orchestra, to a text by Heine, and the sorbed with the study of traditional sical press had a conservative view and Kaiserin Zita-Hymne, for solo voice, choir principles such as form, harmony, coun opposed the "new music." His final years and piano. terpoint, and orchestration. His years at were full of illness but a growing interna The biography is thoroughly re St. Florian impacted the remainder of his tional recognition. searched and well-written. The author's life-it became his spiritual home and enthusiasm for his subject is obvious, but had a powerful ally in Michael Arneth, Bruckner, who had entered Vienna does not detract from the narrative. There prior of the monastery. Arneth saw to it as a poor music teacher, left the is enough descriptive analysis of the mu that Bruckner received appointments that capital like a prince and went home sic to whet the reader's appetite. Numer would allow his career and education to to his beloved St. Florian ous and lengthy quoted reminiscences of develop further. Bruckner's early com (Doernberg 1960, 110). He is Korngold's contemporaries give a lively positional output "consists of small reported to have remarked that account of his millieu and personality, scale liturgical works, organ pieces, and a when God called on him to account though sometimes at the expense of nar few unaccompanied male choruses" (pp. for his earthly accomplishments, "I rative continuity. An extensive bibliogra 2-3). will present to Him the score of my phy, discography and work list are Kinder provides a thorough commen Te Deum and He will judge me included. tary for Bruckner's music and relates how mercifully." (Watson 1977,49). (p. Edward Lundergan the compositional changes mirror his lo 127) cation and employment. The book is or Keith William Kinder ganized chronologically within set time The Wind and Wind-Chorus Music of The Wind and Wind-Chorus Music of periods. In each period, each wind work Anton Bruckner relays the musical jour Anton Bruckner is reviewed in the following manner: his ney of one of today's best-known com Westport, Connecticut: Greenwood Press, torical context affecting its creation, mu posers. It is remarkable that from such 2000.160 pp. $55. ISBN: 0-313-30834- sical content, and the success as a musical humble beginnings music of such stature 9 (Hardcover). work. Particular atrention is given to how should arise and also that the simple man each composition relates to Bruckner's who achieved international stature would HE WIND AND Wind-Chorus overall development. Analyses of the com long for his early St. Florian home. Music ofAnton Bruckner is a com positions are augmented by musical ex Conductors will find this volume in T prehensive study that illustrates amples. valuable in their study and preparation how the composer evolved in style. Chapters include the following: "The of Bruckner's music. Since much of First Small Steps of a Master, 1841-45"; Bruckner's output is church-related, Musically, there are two Anton "St. Florian, 1845-55"; "Linz I: The church music directors will also find help Bruckners. The life of this major Sechter Hiatus, 1856-61"; "Linz II: A ful information. The book is well orga nineteenth-century Austrian Watchdog Unchained, 1861-68"; "The nized, readable, and full of pertinent musician is bisected into two almost E-Minor Mass-WAB 27"; "Vienna: A musical examples-a must for students equal parts by a change of TonalAnti-Christ, 1868-96"; and "Strid of the music of Anton Bruckner. compositional style so dramatic and ing Into Eternity." Steven R. Gibson so total that it is unprecedented Bruckner finally secured an appoint among major composers. (p. ix) ment to Vienna after years of attempting Graham Parlett such a move. His years at Vienna boasted A Catalogue of the Works of Sir Arnold Bax Oxford, England: Clarendon/Oxford SING AND CONDUCT AT University Press, 1999. 412 pp. $105. ISBN: 0-19-816586-2 (Cloth). [To or BUTLER UNIVERSITY der, contact the Order Department, Ox ford University Press, 2001 Evans Road, The best blend of the conservatory and academic approaches Cary, NC 27513, or telephone (1-800- to studying music with personal attention devoted to the artists. 451-7556) or fax (1-919-677-1303). For • Henry Leck, Director if Choral Activities • Tim Brimmer more information, see PAGE 76 CHORAL JOURNAL glish Musical Renaissance), Bax belonged sing of a Maiden, for unaccompanied information from the time of their first to a group of twentieth-century British SAATB chorus. These and the cantatas meeting in 1966. The final product re composers who created for chorus with orchestra, St. Patrick's ceived the imprimatur of the Trustees of Breastplate and Walsinghame, belong to the Sir Arnold Bax Trust who provided a a considerable body of valuable the 1920s. The Moming Watch was issued subvention in support of publication. music, which is not important for in the 1930s and some settings of the The information in the Catalogue any historical influence on the canticles with organ in the 1940s. These [development] of modern English works and more are documented by the has been collated from a wide range music, but which is rather a survival author in A Catalogue ofthe Works ofSir of published sources; but many of of the great romantic movement of AmoldBax. the details, such as precise wording the nineteenth century (p. 203). The primary, chronological, section of tides, dating inscriptions, [i.e., titled "Catalogue of Music (1896- dedications, foliation, paper types, For his contributions, Bax received sev 1953)] contains 386 entries, and there and so on, derive from a study of eral significant honors during the 1920s are over 400 separate movements, of Bax's original manuscripts, and 1930s, when his creativity was at its which nearly a fourth employ an orches including unfinished scores and apex, as is revealed by his curriculum vi tra. There are almost fifty chamber works, sketches (p. viii). tae (see pp. 7-19 of the Catalogue). He more than sixty pieces for solo piano, was made a Fellow of the Royal Academy twenty-five choral settings and over 130 These constitute a large corpus of pri of Music in 1927 and was presented with songs. In addition to music, Bax was an mary material held in public institutions the Gold Medal of the Royal Philhar author of literary creations; indeed, he and private collections that has barely been monic Society and the Cobbett Medal wrote four plays, at least thirty short sto investigated by previous researchers, and for Chamber Music in 1931. Subse ries, more than 300 poems, and over sixty most of the information presented here quently, he received the honorary Doctor miscellaneous articles, reviews, and pro has not been disseminated previously. For of Music from Oxford University and gram notes. example, the British Library holds the Durham University in 1934 and 1935, The author of the Catalogue, Graham largest collection of holographs [see respectively, and was knighted at Parlett, who read Classics at the Univer Pamela J. Willetts, ''Autograph Music Buckingham Palace in 1937. Although sity of London and is a curator in the Manuscripts of Sir Arnold Bax," British Bax's compositional pace declined in the Victoria and Albert Museum, has been Museum Quarterly, XXIII (1960-1), pp. 1940s, the honors continued. He was ap immersed in the music of Bax for many 43-45], while Bax's principle publisher, pointed Master of the King's Music in years as a writer, editor, and orchestrator. currently known as Warner Chappell 1942, received an honorary Doctor of In fact, the Catalogue partly derives from Music Ltd., holds the second largest. The Music from the National University of his doctoral treatise [see "The Music of rest are found in private ownership, such Ireland in 1947, and was awarded the Arnold Bax: Documentation and Analy as the families of dedicatees, or in the KCVO in the coronation honors list of sis," Ph.D. thesis (University of London, collections of various institutions for 1953. Inexplicably, the composer's music 1994)], which was vetted by Lionel Pike which they had originally been written, fell into an almost total eclipse after his and Stephen Banfield, two well-respected such as the BBC, or to which they had death, although a reason is intimated in British musicologists. The expanded ver been given, such as Durham and Oxford the 1966 assessment by Frank Howes sion was scrutinized carefully by Stephen Universities. (mentioned above). Lloyd and Lewis Foreman, the official The "Catalogue of Music" is well or Bax's place in the history of British biographer of Sir Arnold Bax, with whom ganized and, for the most part, conve music is based on his seven symphonies the author compared notes and exchanged nient to use. Bax's works are arranged (in fact, during the early 1930s, he was considered a greater composer in this gente than Vaughan Williams), the tone poems (Tintagel is certainly still his most Tour With Your Choir famous work), and a few other large-scale and peifonn ill the Great Cathedrals and Historic Churches. works, such as Winter Legends for piano • Brazil • Great Britain • Europe and orchestra, as well as the best of the • Frauce/Spain • Australia, New Zealaud &: Fiji chamber pieces, such as the Piano Quin Travel with the professionals who have been tet and Viola Sonata. Choral conductors coordinating concert tours for 30 years. know that he penned a small corpus of choral works, the most famous of which is, perhaps, Mater, ora filium, described as EID) a carol for unaccompanied double cho AMBASSADOR TOURS rus. Along with this work, there is the 148 E. Michigan Avenue / Kalamazoo, MI 49007 1-888-830-4448 (toll free) FAX: 616/349-7674 motet, This Worlde's Joie, for unaccompa http://www.ambassador-tours.com nied SATB chorus, and the part song I OCTOBER2000 PAGE 77 chronologically by title and date of logue number in bold. The sections that qualification the following CD record completion; preceding each work is a cata- follow the "Catalogue of Music" are cross ings: EMI CDM 5 65595 2 (Choir of referenced by the number, with the no King's College, Nicholas Cleobury, per table exceptions of the bibliography and forming the carol, motet and part song) EXPERIENCED COUNTERTENORAVAlliABLE discography. it would have been im and CHAN 8625 (Martyn Hill, tenor, ~ for your soloist needs ~ mensely helpful if the entries in these Brighton Festival Chorus, Royal Philhar Baroque works a specialty! Phone: 319-341-5853 sections had been given catalogue num monic Orchestra, Vernon Handley, con E~mail: procountertenor@juno .. com bers (e.g., B1, D1, etc.) which could have ductor, performing Walsinghame). PROFESSIONAL "" J1.FEORfJA13I.JE been cited urider the appropriate entry in 4. An index of poets, i.e., the authors the volume. Such a system would allow of words set to music by Bax, with "Cata the reader to go directly from a "Cata logue of Music" numbers indicated. logue of Music" entry to the specific bib 5. An index of the dedicatees of Bax's liographic or discography number mUSK. contained in those sections. 6. A section containing information . Appendices to the "Catalogue of Mu about Bax's unfulfIlled commissions and sic" include the following: projected works (much ofit deriving from 1. A classified index of music in which unpublished and oral sources). titles are arranged chronologically within 7. A listing ofBax's literary works and the ten categories, i.e., concert works for occasional writings, arranged in six cat orchestra, dramatic and occasional works; egories, i.e., plays, poems, stories, autobi works for solo instruments with orches ography, miscellaneous and occasional Complete choral productions with professional singers highlighting each part! tra, works for instrumental groups, works writings, letters, and alphabetical index for solo instruments, choral works, works of literary titles. Our library features works such as: for solo voice, arrangements by Bax of 8. An index of photographs, pottraits Brahm's German Requiem other composers' works, arrangements of and personalia. Thereafrer, one finds a Requiem by John Rutter The Faure Requiem Bax's works by others, and sketches and bibliography, which contains details of all Vivaldi's Gloria fragments. Inasmuch as compositions are the major writings on Bax to the year Magnificat by John Rutter The Mozart Requiem arranged chronologically by title and date 1998 (however, only five entries with titles Handel's Messiah of completion in the "Catalogue of Mu pertinent to choral music are listed), an Gloria by John Rutter ... and many mote! sic," this appendix is completely neces index of titles and first lines, and a gen "The 51nger5 on your tape5 are wonaerfull Great sary to find quickly a specific work. eral index. phra5lng. Having the 5tuaent5 prepare with your 2. A concordance of all Bax's extant A Catalogue ofthe W0rks ofSir Arnold tape5 enablea me to 5tart at a much higher levell" manuscripts and the repositories, listed Bax, by Graham Parlett, is essential for Dr. Will Kesling World-renowned Choral Conductor alphabetically by the country where they anyone wanting to learn more about the Guest Conductor, Utah All-State Mixed Choir may be found. composer. It should be consulted, along Call for free demo and informalionl 3. A discography consisting of four with Lewis Foreman's Bibliography ofWrit sections, i.e., commercial recordings, re ings on Arnold Bax (1970) and Bax: A I-BOO-290-SING cordings of Bax playing the piano, re Composer and his Times (London: Scholar cordings of Bax speaking, and broadcast Press, 1983; 2nd ed. 1988; now Aldershot: ecmail:[email protected] • fax: (253) 851-0289 www.partpreaominant.Gom programs about Bax. For the choral works Ashgate Publishing Ltd.), as well as Bax's 261739th lOt NW • Gig Harbor WA 98335 . mentioned above, I recommend without candid and pungently written autobiog- r======::::;-l raphy, Farewell my Youth. Those desiring the camaraderie of Bax aficionados may SONG-LEARNING CDs and TAPESTM join The Sir Arnold Bax Society, the ad © 1988 by Hammond Music Service dress of which was not included in this Rehearsal CDs and tapes help choirs learn music 5 times faster! volume. For the Sir Arnold Bax Web site, Perfect for learning any major work quickly & accurately! the author provided two URL addresses, PLUS-CDs & tapes for All-State & Regional Honor Choirs! but neither could be accessed; the reader Each CD or tape has a grand piano playing a specific part in the foreground, is advised to use PAGE 78 CHORAL JOURNAL CHORAL REVIEWS Richard Nance, editor Unison/2-part treble PUBLISHERS THIS ISSUE An Echo Carol Michael Bedford 2-part, keyboard, flute Alliance Music Publications G.I.A. Publications C. F. Peters Corporation P.O. Box 131977 7404 South Mason Avenue 373 Park Avenue, South Choristers Guild, CGA 789, $1.30 Houston, TX 77219 Chicago, IL 60638 New York, NY 10016 Heritage Music Press An Advent Carol written for the fifti Fred Bock Music Company Lorenz Corporation, agent Theodore Presser Company Hal Leonard Corporation, 501 East Third Street Presser Place eth anniversary of the Choristers Guild, agent Dayton, OH 45401 Bryn Mawr, PA 19010 is a delightful addition to the Christmas P.O. Box 13189 literature for children's choirs. The text Milwaukee, WI 53213 Hinshaw Music, Inc. John Rich Music Publishers P.O. Box 470 Hal Leonard Publishing (by the composer) alternates between Choristers Guild Chapel Hill, NC 27514 Corporation, agent Latin and English. The Latin phrase, Lorenz Corporation, agent P.O. Box 13189 "Venite Adoremus Dominum," serves as P.O. Box 802 Hope Publishing Company Milwaukee, WI 53213 Dayton, OH 45401 380 South Main Place a unifYing theme throughout the piece. Carol Stream, IL 60188 Santa Barbara Music The text brings both singer and listener CPP/Belwin, Inc. Music Publishing to the manger and eventually compels us Publishers Hal Leonard Publishing P.O. Box 41003 15800 NW 48th Avenue Corporation Santa Barbara, CA 93140 to "go from the stable to tell of Jesus, the Miami, FL.33014 P.O. Box 13189 world's great light." Milwaukee, WI 53213 Subito Music Publishing The second vocal part acts as an echo Cypress Theodore Presser Company, Xxx Logia agent of the first part, but also is given its own Xxx Concordia Publishing House, ·Presser Phice independent line in this work. The agent Bryn Mawr,PA 19010 tessitura in both parts extends from d to Encore Publications 3558 South Jefferson Avenue 22 Tonbridge Road St. Louis, MO 63118 Swan River Press flF, and although the highest notes are Hildenborough, Kent TNIl P.O. Bo~657 not frequent, this piece would probably 9BS Lorenz Corporation· Kalispell, MT 500-3 be better suited for older children's choirs ENGLAND 501 East Third Street Dayton, OH 45401 . Trinitas or middle school choirs. EuropeancAmerican Music 5536NE Hassalo Although the accompaniment is writ . . Corp. OCP Publications P~rtland, OR 97213 . ten for keyboard, piano or organ would . P.O. Box 850 5536 NE Hassalo ValleyForge,PA 19482 Portlaitd,OR 97213 Walton Music ~orporation work equally well. The flute part is nice . Hal Leonard Corporation, and would require a good high school Harold Flammer Music ... Pavane Publishing agent player. If no flautist is available, the part Shawnee Press; .agent Hal Leonard.J.>ublishing P.O. Box 13189 One Waring Drive Corporation, agent Milwatikee;WI 53213 may be featured on a solo stop on the . Delawar~Gap,PA18327 P;O.Box 13189 organ. Bedford has written a wonderful Milwaukee, WI 53213 piece for the Christmas season. Steven R. Gibson VOCAL RANGES ~?:~~@~~~ 0, My Lovely Child -a- Peter Sacco C Solo or unison, piano Swan River, SWP 128, 80¢ Ashland, Oregon composer Peter Sacco rangement with children's chorus. In the Bleak Midwinter found this text in a collection of ancient In this solo or unison arrangement for Pat Messick poems. He has written a gentle, yet some mezzos, the second half adds the optional Two-part Treble Choir and Keyboard what angular melody to match this En harmony in the lower voice. The piece is Walton (Hal Leonard, agent), W5044, glish translation of a twelfth-century full of expressive elements, ending with a $1.40 Portuguese poem. The piece is only forty diminuendo on the repeated text, "I await nine measures long and, because of de your coming, 0, my lovely child." Tried-and-true traditionalists may be mand, has also been arranged for SSA; it Doris Sjolund tempted to dismiss this piece when search is soon to be published in an SATB ar- ing through a stack of music to find OCTOBER2000 PAGE 79 Christmas repertoire. Most choral musi- annual celebration? Songs ofthe World, Collection #6 cians are familiar with the classic text by Jed David watson Judith Herrington and Sara Glick (arr.) Christina Rossetti and Gustav Holst's Two-part treble voices, piano hymn-tune, "Cranham," with which it is Pavane (Hal Leonard, agent), published usually paired. However, conductors look ALaRu separately: ing for something special for a children's Paul Stuart (an.) 1. Angels We Have Heard On High, choir Christmas music should examine SA, with piano or organ Pl168, $1.35 Pat Messick's setting. Santa Barbara, SBMP 283, $1.30 2. How Far Is It To Bethlehem?, Pl169, With a flowing melody that faintly $1.35 echoes Holst's original, the arranger has Paul Stuart's arrangement of the His 3. Fum, Fum, Fum, PIl70, $1.50 created an effective two-part setting, us panic folk song A La Ru is an excellent ing a minimum amount of compositional sacred Christmas selection for two-part A previous collection of Songs of the material. The first and third sections are women's choir or an experienced children's WOrld was reviewed by this writer some in G major and make extensive use of a ensemble. The verses are sung in unison months ago, and it is a pleasure to note motive that employs mi-re-so-do-ti-la. with a slightly faster, louder, and conta the team of Herrington and Glick is still Singers will get an opportunity to prac gious two-part refrain. The challenge for producing quality arrangements that ex tice fine-tuning these intervals, and effec children is in the three-part, unaccompa cel for their teaching value. Three carols tive presentation will also require a smooth nied middle section, although the tempo are part of the present collection and all, transition between middle and head reg changes to adagio, and the score indicates though musically inventive, retain a tra isters. The middle section in B~ uses only that it could be sung by a trio or small ditional flavor. four notes. However, the tessitura is high, group. A La Ru is an energetic, happy Following a four-measure keyboard in and singers will be required to produce a lullaby and can be accompanied by organ troduction, Angels We Have Heard On clear, centered tone to convey the work's or piano. Because the keyboard part is High begins with a lilting unison phrase ethereal nature. staccato in many places and full of re reminiscent of a Baroque ritornello; its The accompaniment is simple and con peated sixteenth-note patterns that could second appearance is exact, and the third sists exclusively of arpeggiated chords. sound muddy on the organ, the piano is minimally embellished. All the verses Though the basic harmonic progression might be preferable. Near the end of the are in unison, with varied accompani is heard repeatedly, the artful addition of piece, the keyboard part has arpeggiated ment patterns supporting each one. The non-chord tones in just the right places chords creating a momentary guitar ef refrain is in two parts and is especially keeps the listener's interest from flagging. fect. There ,are two verses to tlle piece, appropriate for children's choirs that are The range of the piece is from dt d2• Har and the text is in English and Spanish. beginning to sing independent lines. Part mony in the two-part sections is straight Barbara Harlow's sing-able English trans one has the melody of the familiar re forward and could be managed by most lation matches the original Spanish well. frain, while part two is a descending, se upper elementary school or church choirs A word-by-word translation and bio quential pattern. Both parts share the that have at least some experience with graphical information about the arranger same note at the beginning of every mea part-singing. are provided on the back cover of the sure, so the harmonized part has several The thoughtful, quietly evocative, and octavo. This is a terrific addition to the reference points reinforced by the melody. meditative qualities of this work may give women's repertoire by one of the leading Marked cantabile, the English carol listeners an opportunity to access some of publishers of quality multicultural choral How Far Is It To Bethlehem? features a the deeper regions of their inner selves. literature. lovely chordal accompaniment that flows Isn't that one of the real reasons for this Sharon Davis Gratto beautifully because of the well-placed eighth-note movement in the left hand. The first verse is in unison. The melody presents some intervallic challenges, such Yourlmpresario.com ™ as the descent from do to la, so, and fa, Are you a choral director, always looking for and the jump from fa to reo The second new music to perform? verse is set in two parts, one has the melody throughout and the other is the -or- harmonic part. This piece is primarily in Are you a talented composer who would rather concentrate on step-wise motion. As in the previous carol, creating music, not marketing or distributing it? there are reference points where both parts sing in unison. The moderately high is the place where these two Yourlmpresario.com™ tessitura will give singers practice in pro communities come together. Visit us at: ducing a consistent head tone over an extended period of time. www.yourimpresario.com Fum, Fum, Fum is a Spanish carol with a melody in harmonic minor that seemingly PAGE 80 CHORAL JOURNAL dances off the page, especially when the The range of both parts is not difficult chord clusters, meter and key changes, tambourine part is added. Before the uni and is appropriate for children's voices, drastic dynamic contrasts, a strong cli son first verse is heard, both parts have an with the highest note being d2 and the max section, and a soothing beginning introduction; part two is in the lower regis lowest note d 1. The bass line of the acces and ending section. ter with the melodic movement centered sible piano part is important to help the Ted E Totorica, Jr. around do, and part one emphasizes the singers maintain the style of the piece. A scale steps la-si-la. The introductory mate young choir should find this Christmas rial is expanded to eight measures and serves selection fun to sing, especially if the Love came down at Christmas as an interlude to verse two. It is heard members are able to create the percussive Simon Lole again following verse two, but this time effect that the text and rhythmic figures SSAA. Organ with the addition of a tag ending. The imply. It is also a plus that the piece pro Encore, £1.40 piece helps teach rhythmic precision and vides children with additional opportuni clean articulation. The opportunities to re ties to sing in minor keys. This setting of the Christina Rossetti inforce intervallic training in the minor key Sharon Davis Gratto poem is vaguely reminiscent of the Christ are endless. The piano accompaniment is mas hymn found in many hymnals, but comprised of block chords and the droning is not a direct quote of the familiar set sound of open fifths. While certainly ca ting. The flowing organ part seems to be pable of standing on their own, the three Women's voices more in the style of a piano accompani pieces would make a good set on a holi There is No Rose ment, as almost all the left hand accom day concert program and are highly rec Z. Randall Stroope paniment is in broken chords in groupings ommended. SSA, piano, oboe of four eighth notes. Jed David ~tson Alliance, AMP 0392, $1.80 The opening legato melody begins with unison soprano voices, soon giving way It is hard to resist a piece that opens to a two-part texture with the melody in Shepherds, Leave Your Sheep effortlessly and takes the listener on a the alto. Verse two begins in a lovely four Lloyd Larson placid, soothing journey with a few inter part texture with a pianissimo dynamic Two-part treble, piano esting bumps along the way. Though writ marking, highlighting the text, "Worship Fred Bock (Hal Leonard, agent), ten for oboe, other instruments could be we the Godhead, love incarnate, love di HL08739028, $1.60 substituted to highlight an outstanding vine"; then ends with both parts in uni musician in the group. The reedy sound son. The melody in the third verse is Shepherds, Leave Your Sheep was writ of the oboe is especially appealing, how given to the alto, with an accompanying ten for the Houston Children's Chorus ever. This piece has great audience appeal descant on '~' in the soprano voices. and is included in the group's Christmas with its beautiful phrases and wide range This section moves through some inter Choral Series. The opening melody of emotion. Although there are some esting key changes, and the piece ends sounds at first like a familiar French carol, tricky spots, and the vocal ranges are ex with a solo voice repeating the final line of but moves quickly in a new direction. tended, this piece can be sung by a fine the text, "love for plea and gift and sign. " The piece has a blues feel, with synco children's choir, an advanced secondary The accompaniment embraces the pated rhythms that provide energy in the school girls group, or an adult women's melodic content and harmonies of the first phrase. Both parts are in unison in chorus. The piano accompaniment is not voice parts. The voice ranges are not ex the first verse except for the final two difficult and is well written with some treme and well within the parameters of a measures. As verse two begins, part I con modern harmonies. The piece contains high school or college/universitywomen's tinues the melody, while part II provides harmony and rhythmic emphasis. In the transitional section between verse two and three, there is an optional third part (last 1M http://www.demiq.com ing four measures) that may be added to ~em1 CaD ToD-Free (888)204-4440 parts one and two. In verse three, part II takes the melody for two phrases, while Choral & lnstrumental Sheet Music on the lnternet part I sings a descant. A coda-like section Come see the NEW SITE DESIGN! brings the piece to the close. Modulations New Titles: upward by half steps from C minor at the Holiday Sing-Along - SATB/Orch. or Piano - .Kysar (Secular) Awaiting Yet Wonders Untold - SATB/Piano - Blickenstaff beginning of the piece through a minor Lord's Prayer - SATB/Piano - Blickenstaff 1 ~ , ~ and D minor, help build excitement sug ~ Free Sample Copies and Suscepit Israel - SSA/Piano - Bach ~ ~ : ,MIDI or ReaIAudio@ , gested in the text about the shepherds Obedient Christ - SATB - Kregor , ~Recordings on the Site leaving their sheep to run to Bethlehem Part Study Tapes for Major Works r j £" • ~ "< to see God's son. Anywhere in the world! - Order Today, Rehearse Tomorrow! OCTOBER 2000 PAGE 81 chorus. The piece would also be suitable This excellent edition, by Margaret instrumental ensembles may allow for for a church choir women's ensemble. I Boudreaux, will encourage good choirs to more inventive presentation. This histori recommend this piece for a school con present this fine piece in concert or church cally significant piece is highly recom cert or church service during the Advent setting. A full score and parts for strings, mended to all mixed choirs. Christmas season. organ, continuo, and chorus are also avail John Buehler Elwood H Brown able, enlarging the performing options even further. Vocal ranges are moderate in all parts, and the baritone part may be Come, Sing! Come, Dance! sung successfully by tenors and basses o Christmas Madrigal) Two-part mixed, SAB especially encouraging to choirs with a Linda Spevacek-Avery 110m Himmel Hoch shortage of male voices. Originally in Three-part mixed Michael Praetorius tended for vocal soloists (or very few sing Heritage (Lorenz, agent), 151507H, SSAB, organ ers on each part), the vocal writing is at $1.25 Walton (Hal Leonard, agent), WJMS times florid and larger choral forces will 1022, $1.50 need to sing with light precision to main Come, Sing! Come, Dance! is a fun, tain the buoyant, intimate appeal of the infectious work that would be a good work. Adapting the string parts to other rhythmic training piece for junior or se ______--, nior high school students. Written in a brisk ~ meter, the composer uses a variety of rhythmic patterns that include dotted rhythms and syncopation. She uses re THE CHORAL DIRECTOR'S peated patterns that will make this piece relatively simple to learn. The vocal ranges CANDY STORE are fairly reasonable, with part one rang ing from d1_g2, part two from a-d2, and 1 http://www.dj-records.com part three from g_e • The relatively high tessitura of part three may pose some problems for younger baritones, but also • kin g' sin 9e rs • provides an opportunity for teaching about singing lyrically in the upper range. And other quality choral ensembles There is a brief two-part divisi in part three in the last four measures. This work DJ RECORDS • PO Box 95· McMinnville, OR 97128 is also available for SATB voices (151 1109). Although the word Christmas often implies sacred, the text of this work is decidedly secular and speaks of the hap piness of the holiday with dancing, spar NORTH kling lights, and the hanging of mistletoe, making it useful for public school pro College ofMusic grams. This is an effective madrigal set ting for young singers. Elwood H Brown is pleased to announce the appoi ntment of Good Christians All Rejoice Christopher Gale, (arr.) SAB, keyboard, optional handbells (2 octaves) Dr. Jerry McCoy Lorenz, 1012058L, $1.40 Christopher Gale's arrangement of this as familiar German carol is appropriate for a junior or senior high school choir with limited resources, or perhaps a church Director of Choral Studies youth choir. It would be a delightful con cert or service piece for young singers. PAGE 82 CHORAL JOURNAL After a brief, chime-like introduction, the Richard Robert Rossi has arranged an In Shepherds Rejoice! Lift up Your Eyes, sopranos enter with the first verse melody, other lovely setting of The Coventry Carol Locklair creates interest within the eight followed by verse two with all three voices with a particularly effective soprano solo verses of the text by using voice pairs to moving homophonically. The third verse line that permeates the entire piece. The introduce verses two, four, and six; these is a unison passage, all three parts singing first verse presents the soloist and chorus pairings break the monotony of the stro in unison with a brief tag ending, a series in alternating phrases, singing simply and phic structure. The well-crafted dynam of three-part, dotted half-note chords on expressively. In the second verse, the men ics add nuance and variation to the the last line of the text. The final chord is carry the melody in unison, leading to simplicity of the writing. an optional divisi chord: SSAB(T)B, with the third verse, "Herod, the King," with By contrast, Christ 1t'lzs Born in the Soprano I and Bass notes optional. sudden changes in dynamic, meter, Bethlehem has only one line of text. De This is a very easy piece with no extremes tempo, and articulation, creating a very spite this brevity, the composition takes of range in any of the three parts. The dramatic effect. The soloist's syncopated nearly three minutes. Locklair maintains rhythmic accompaniment and handbell interjections on the text "his men/of a forward momentum in the work by parts are independent from the voice might/in his own sight" are particularly delaying the perfect authentic cadence parts. The handbell part is included at memorable. The fourth verse features the until the last measure. the end of the octavo. soloist singing a descant and the basses The harmonic language is tonal and Elwood H Brown with some limited divisi; the women and accessible, making these works suitable the soloist create a beautiful three-part for any church choir. Vocally, the tessituras treble sonority in the last three measures. lie comfortably, but the sopranos must be The entire setting preserves the stark na able to reach a2 in the first selection. SATB ture of the carol and yet provides enough Steven Young Bring to God the Harvest musical complexity to interest performer Berta and Sonja Poorman and listener. The piece would be appro SATB, keyboard priate for a high school, college, or church CPP/Belwin-Mills, BSC9933, $1.30 choir. The ranges are medium and no piano reduction is provided. Rossi's ar An inspiring anthem for the Thanks rangement would make a worthy addi giving season, Bring to God the Harvest tion to any Christmas or Advent concert < NEW! 1}1'Olll 1VIi.B21 (] incorporates the lovely hymn tune, or servICe. " ,MI.JSI€ EESSONS II " "Come, Ye Thankful People, Come" Craig Johnson " ~liords and Harmony " (George Elvey), into a setting with origi nal text. The "B" section in this AABA MUSIC LESSONS II is the most comprehensive Chords and Harmony software available. It exercises setting features a four-part, traditional Shepherds Rejoice all four skills essential to learning music: harmonization of the hymn with new Dan Locklair -VISual Recognition - Name It! words by Berta Poorman. The text uses SATB ·Written Notation - Write It! the harvest as an analogy for earthly toil Subito (Theodore Presser, agent), pub -Keyboard Skills - Play t! and unity. In the newly composed "A" lished separately: -Ear'll:aining - Hear It! sections, the text is dedicatory, instruct 1. Shepherds Rejoice! Lift up Your Eyes, ing the believers in what to bring to the 492-00057, $1.50 harvest: "your heart, your life, your all." 2. Christ Was Born in Bethlehem, 492- The requisite upward modulation and 00056, $1.25 melodic extension for the last ''A'' section will undoubtedly illicit an enthusiastic re Contemporary American composer sponse from singers and congregations. Dan Locklair may be best known for his This accessible anthem, characterized by organ works, since he received the Ameri moderate ranges, lyrical and memorable can Guild of Organists Composer of the melodies, and a supportive accompani Year award in 1996. But he is no stranger ment, will make a great addition to any to choral music. Locklair draws the texts church (or parochial school) choir's and tunes of these two new unaccompa The award-winning MUSIC LESSONS I is already Thanksgiving repertoire. nied anthems from an old source, The teaching the fundamentals of music to thousands of students from fourth gmde through college. Elizabeth Schauer Sacred Harp (1860). Benjamin Franklin MUSIC LESSONS I (Win & Mac) White, one of the compilers of The Sacred MUSIC LESSONS II (Win & Mac) Harp, wrote the original version of the MiBACJ=(Mac) The Coventry Carol second of these pieces. Locklair remains Lab 5 packs and site licenses aV'.ulable Richard Robert Rossi (arr.) true to the original intent of these works . FREE DEMO . SATB, Soprano solo by writing in a homophonic style empha www.mibac.com/800 645 3945 GIA, G-4726, $1.30 sizing the text. . M[BAG Music Softwat'e OCTOBER2000 PAGE 83 Come. 0 Long-Expected Jesus over-accented in performance; expresses cally driving percussion part (tom) and a Kenneth T. Kosche the elegiac side of Advent. soaring, almost wind-driven descant for SATB, keyboard The vocal ranges are narrow, which is flute or recorder. The piano provides the Logia (Concordia, agent) 98-3553 $1.00 artistically appropriate to the mood of pulsating foundation and impetus in a the piece and helpful to a less experienced contrary and diverse pattern as compared Charles Wesley's beloved Advent text ensemble. Pedagogically, one could use to the flute/recorder, horn, and vocal parts. finds a new setting here, quieter and more this piece effectively to emphasize breath All vocal ranges are accessible. Some introspective than the familiar tune control and shaping of the melodic line. sopranos may have difficulty with the low "Hyfrydol." There are actually two texts As the men sing the first phrase and are "a" they are asked to sing eleven times. with the music: the first is in "modern answered by the women, a sense of bal However, this is a unison pitch with all ized" English, with the more familiar text ance and ensemble can also be developed. altos and tenors joining the sopranos, so in italics below it. Unfortunately, the urge This anthem would be effective in a ser there should be no problem with balance. to fix what isn't broken leads the editor to vice of worship and is well within the There have been quite a few musical a poor alternative to "thee" in the first capacities of a volunteer choir. settings of this famous Shakespearean text; stanza; we are led prematurely to "Cal-va Jonathan B. Hall this one is quite interesting. Repetitive RY." In preparing this anthem, I would rhythmic and harmonic ideas in the cho use the older version of the text. ral and instrumental parts make this work Musically, the piece is well-crafted. Child ofMary, Newly Born especially accessible for high school and Kosche's use of the key of E natural mi Raymond Guaio, SJ community choirs. The diversity of rhyth nor is very nice; there is one accidental in SATB, assembly, keyboard, guitar, solo mic material between the four major tim the whole anthem, the G # in the final E instrument bres of this work make it a good choice major chord. The keyboard accompani OCp, 10875, $1.20 for programming by groups of varying ment would work equally well on organ skill and talent. or piano, though the introduction looks In Child ofMary, Newly Born, we en Paul Criswell more pianistic at first glance. The vocal counter, one of the best known and most line features a dactylic rhythm that, if not gifted of authors, Timothy Dudley-Smith, whose works appear chiefly as hymn or A Modern Medieval Carol anthem texts. Here is an excellent sacred Colin Mawby GMadrigal work for Christmas services or carol ser SATB, organ CJJinner vices whose purpose is to depict the life of Trinitas, 4508, $1.30 by Christ. This anthem, composed in a folk Paul Brandvik song style, sets the stage by describing A Modern Medieval CaroL sacred in cripts author of The Compleet Madrigal Dinner Booke Christ's life and death. concept and with a text from Sandy's Scripts include: Optional guitar chords and a solo in Christmas Carois, 1833 (the medieval twist ALL DIALOGUE: strumental part are provided, although is in the setting, not the words), is viva Greetings, Toasts, Festivities, the piece stands nicely on its own with cious and stirring and should find its way Concert, Farewell . the keyboard accompaniment. Designated into church and stage. The open fifths of Plus: HUMOROUS RENAISSANCE for an assembly (congregation), the piece the organ part and the ruggedness of the MASQUE ends with treble voices (for choir and rhythm set up an effective medieval tone. Plus: audience). With the exception of the last chord, REPERTOIRE SUGGESTIONS Stanza one is marked solo, but would the men sing in two parts, and the Ceremonial music and concert also work well for children's choir. Stanza women's lines are often divided into three TWENTY-TWO different scripts available, two is for. men in two-part imitation. equal voices. The piece is rich with rhyth including scripts appropriate for Stanza three is unaccompanied and in mic and metrical surprise, none over churches and younger performers. four-part harmony. The last stanza, as whelming for those who enjoy rehearsing. New this year: KING OF HEARTS noted, is for women or high voices alone. It is a toe-tapper in the best sense, one Richard Coffey that could launch any holiday service or Call or write for your FREE descriptive brochure.. Join the thousands who have concert with elan and vigor. made these Madrigal Dinner Scripts a Richard Coffey tradition. . Blow, Blow Thou Winter Wind Ellen Foncannon knight-shtick SATB The Prophecy ofZechariah press John Rich (Hal Leonard, agent), Kenneth Lowenberg Box 814 Dept. A JR0046, $1.50 SATB and organ Bemidji, MN 56619-0814 Telephone 218-751-2148 Hope, C5104, $1.40 [email protected] This is a straightforward, energetic www.madrigaldinner.com piece for mixed choir, with a rhythmi- A Division of EXTREMELY. LTD. PAGE 84 CHORAL JOURNAL Lowenberg has selected words from followed by an English elaboration. The peace and serenity. This mood typifies En the Gospel of Luke (a text not often set) harmonization ofsucceeding verses builds natus est Emmanuel an unaccompanied in which the angel's message foretells the on material from the opening, with alter Christmas motet. The modal chords em birth of John the Baptist, the cousin of nating tonic and sub dominant cadences. ployed in the SATB parts provide an el Jesus. Although not specifically Christ Although parts of the work are exposed, egant backdrop for the SA parts that are mas, the text can serve a unique program especially in two-voice passages, the over superimposed above them. matic or liturgical function at the same all texture, diatonic writing, and inces The nature of the strophic Latin text time that it expresses a universal message sant sense of movement make Puer Nobis allows the composer to repeat the initial of faith. a particularly fine opener for a holiday material for two of the three verses. The The music is a combination of plain program. third verse, referring to Christ as the light, song style (marked as male unison, but Michael Britz contains a rather startling harmonic workable as a solo) with contrasting four change: the key changes from D~ to D, part sections (optionally unaccompanied). depicting this light that has come into the The vocal lines are tonal, but display twen En natus est Emmanuel world. tieth-century, Neo-Romantic harmony Dan Locklair The work will present many challenges with untesolved seconds and ninths. The SATB divisi and SA Chorus to any adult choir, due in part to the wide voice leading is carefully planned, and a Subito (Theodore Presser, agent), 492- vocal ranges. The basses must be able to competent church choir can learn the 00061, $1.50 reach EJ>, and the altos must sing a low g. parts. Snatches of canonic imitation paint The sopranos have to sing nearly two the words "go before ... to prepare." One of the principal characteristics of octaves, from b~ to aF. Additionally, de Lines are undemanding, although, at one the music of Dan Locklair, American pending on available performance space, Palnt, the sopranos are given a gentle born composer, is his economy of com the composer suggests that the SA choir upward sixth (to flF) as they sing "tender position; he tends to use repetitive patterns be separated from the larger SATB group. mercies," and then finally reach g2 as those and sonorities. This reserved writing style Steven Young "mercies" "break upon us." The basses often imbues the slower, more reflective, also briefly sing in high tessitura, a d1 at music with an hypnotic feel, creating that same excited "break" moment. The setting is well-designed. The accompaniment is written for or gan (the anthem was written for a 1999 AGO convention) and seems designed to allow an organist/choirmaster to hold a left-handed chord while conducting the chant for the singers. The publication, part of the Bryn Mawr Presbyterian Church Anthem series, reflects dignity and tradi tion. The Indianapolis Symphonic Choir (ISC), a 120-voice auditioned choir, seeks Richard Stanislaw an artistic director to build upon its 63-year tradition of choral excellence. ISC sings a four-concert subScription series and two free outreach concerts and per forms several times annually as guests of tbe Indianapolis Symphony Orchestra PuerNobis and tbe Indianapolis Chamber Orchestra. ISC, along witb its small, professional Richard Hynson (arr.) ensemble, Indianapolis Chambers Singers, also initiates distinctive educational SATB and outreach programs, such as Voices United, a week-long choral arts camp for Hal Leonard, 08742318, $1.40 inner-city, middle-school youtb. The individual able to take on this ambitious schedule must demonstrate exceptional conducting skills (choral and instrumental), Richard Hynson has set the festive Puer ,vide Imowledge of choral repertoire, artistic vision, organizational wizardry, inspi nobis nascitur ["Unto us a boy is born"] as rational leadership and a strong commitment to developing new audiences. DMA a choral fanfare. Although brief (under or equivalent experience preferred. The artistic director will work in partnership two minutes in duration), the work is witb tbe executive director to guide tbe organization to tbe highest level of energetic, driven by an underlying eighth Indianapolis arts organizations, to secure national recognition for tbe choir and to expand our reach to diverse audiences. Compensation is competitive. Submit note pulsation within its predominantly ~ meter. Homophonic in nature, Hynson's resume and cover letter by November 30 to I N D I A NAP 0 LIS setting evokes a sense of plainsong enliv Artistic Director Search Committee, Indianap-~r*,e ened by a tasteful chromatic pallet. Divisi olis Symphonic Choir, 4600 Sunset Avenue, cJ ~ occurs in the soprano and bass, but the Indianapolis, IN 46208. C HOI R ranges are comfortable. Each of the three Visit www.members.iquest.netl-ischoir/ to view job description. verses grows from a single Latin phrase, OCTOBER2000 PAGE 85 Let All Mortal Flesh Keep Silence the various four parts, some in parts, some ningly elegant addition to the Christmas 17th-Century French Folk Song quasi-canonic. The organ part merely sup repertoire. The English text is by Edwin Donald McCullough (arr.) ports the bells and voice parts with a Fissinger (first verse) and George K. Evans Si\TB,organ,handbells sketchy accompaniment. The handbells (verses two and three). Hinshaw, HMC-1774, $1.75 are basically a separate musical entity add The plangent sounds of the oboe are ing color and intensity. The part for the an indispensable ingredient, with the in This is an excellent arrangement of handbells is on the last two pages of the strument playing first a prelude, then a this noted French folk tune for the i\d octavo. bridging section, and finally a simple ob vent season! Every section of the choir On the introductory page of the an bligato descant during the final verse. The gets an opportunity to sing the melody, them, performing options are given for oboe part is printed in the score and also and after the melody has been presented processional with spatial placement of the on a separate page of the octavo. by all the voices, a quasi-canonic "alle choir members. There is also a notation One reason Warland's setting is so luia" is introduced in the tenor, moving for omission of some of the anthem if it is charming lies in the textural palette. So back and forth between tenor and so too long for the needs of Sunday morn pranos sing the first verse, immediately prano. Following an interlude of five mea ing worship. challenged to negotiate the octave leaps sures, the men in unison (basses in Mthough the piece is designed for a found in the melody. Tenors and basses octaves) start the next verse, followed by church, an enterprising high school choir sing the second verse alone, sometimes the women in two parts with the sopra or college/university choir could prepare singing in unison, sometimes with inter nos taking the melody. This same format this piece perhaps for an opening to a vals between the parts ranging up to a introduces the rest of the verse, with a winter concert. The ranges in all the parts tenth. In just a few measures, Warland twelve-measure interlude for the organ, are not extreme, except the final page varies the texture as much as two-part and bells becoming a bit more rhythmic. where all parts lie rather high, especially writing will allow. The choral parts enter with the soprano for sopranos and tenors. I highly recom The final verse provides an alternative and tenor singing the melody in aug mend this piece. to the clarion soprano unison of the first, mented notation and the altos and basses Elwood H Brown as basses and tenors sing in rich, warm in a more rhythmic pattern on "alleluia." four-part harmony while sopranos and The section ends with four-part singing. altos sing mostly in unison. The tenor Three measures of interlude introduce What is this fragrance? line, moving in thirds and usually in con another short section in four parts on Dale Warland (arr.) trary motion to the melody, contrasts "alleluia." i\ new melody appears in the Si\TB divisi, oboe nicely with the longer phrases and note bells introducing the last verse sung in Hal Leonard, 08595511, $1.40 values in the bass part. The masterstroke unison by the men with the women above is added by the oboe: as the melody as in unison and two-part on one of the J\n old French carol, familiar to this cends, the oboe moves into its lower reg previous "alleluia" motifs. The piece closes reviewer through a John Rutter holiday ister, adding color to the texture while with a series of outbursts on "alleluia" in recording, is the basis of Warland's stun- remaining independent of the melody. J\s a Christmas anthem in English, this work is certainly appropriate for church choirs and for any other ensemble where sopranos can sing a fl. Basses are called on for an optional low D and certainly must have a solid low F. This carol radi ates peace and tranquility, and deserves wide performance. Central Presbyterian Church of Des Moines eagerly awaits enthusiastic candidates for Jeffrey Carter its Minister of Music position. Overall responsibility for directing, coordinating, and expanding all phases of music ministry. Central's 152-year music tradition has focused Come, Dearest Jesus on classical church music. Simon Preston, Marilyn Mason, Fredrick Swann and others Walter Ehret (arr.) have performed at our exceptional Aeolian-Skinner organ. We now seek a spiritually Si\TB, Keyboard gifted and strong leader to expand our music offering, addressing the variety of music Theodore Presser, 312-41782, $1.40 tastes among Central's 830 members. Will direct adult and youth choirs. Must possess skills to interface and coordinate with other programs. Must be enthusiastic about working with all ages and skill levels. Bachelor or advanced degree in sacred music, In recent years, church choir directors choral conducting required, plus experience directing a church music program. have been facing a growing problem as they plan music for Christmas Eve ser Compensation: $30,000 to $40,000 (dependent upon qualifications) plus benefits. vices. With families spread throughout the country and the world, it is not un Send resume to: William Purdy, Chair, Search Committee, Central Presbyterian Church, 3829 Grand Avenue, Des Moines, IA 50312. Phone 515/279-3658. E-mail: [email protected] common to have a significant portion of the choir out of town by December 24th. PAGE 86 CHORAL JOURNAL What do you do when forty percent of form the piece, it would be well worth Here the full chorus sings parts of the text your singers are away for one of the major considering. with the soloist. In the third verse a chorus celebrations of the Christian year? Elwood H Brown ofangels visits the manger, singing a lullaby. Finding quality literature that can be This is followed again by the refrain. performed well with reduced, and often Somewhat low vocal ranges in the cho 2 unbalanced, forces can be a challenge. It Carol ofthe Stable Dog rus (The highest note for soprano 1 is d , is with this thought in mind that Walter Corlynn Hanney but they seldom sing above al. The alto Ehret's arrangement of a lovely Slovac SSATB and medium voice solo section never rises above dl, and basses carol, Come, Dearest Jesus, appears as a Cypress, CP1037,$1.40 must sing d.) may suggest that a male welcome gift. Although technical de voice (baritone) sing the solo part (range 2 mands are modest and voicing is flexible, This wonderful, brief piece features a noted in treble clef from a to d ) to avoid this well-crafted lullaby exhibits a grace medium-range vocal solo with a choral singing in the same octave as the soprano ful simplicity that communicates peace, accompaniment, mostly sung on the syl section writing. quiet joy, and hope. lable "doo." The poignant text tells the This lovely, simple piece, another ex Verse one begins in unison and breaks story of a humble dog, lying at the feet of ample of the careful choral writing found into four parts. The unison second verse Mary in the stable as she watches over the in the Cypress catalog, is recommended may be sung by a soloist, section, or full infant Jesus. Mary asks the dog why he to the mature, sensitive adult choir. choir, and an optional soprano descant looks so sad, and he replies, "I have noth John Buehler may be added, should you have some ing to give a king. Nothing that shines, lyrical voices that are capable of vocal nothing to bring, here at the feet of God." delicacy. The third verse is in four parts. In the second verse, Mary tells the dog The Linden Tree The easily playable accompaniment is that she is afraid "in this foreign land." Bryan Kelly chordal and includes both arpeggiated and The dog tells her he will protect her and SATB block forms. keep her safe from harm. A refrain fol Encore, £1.75 Jed David -watson lows: (available at www.encorepublications.co.ilk) And all through the night he stayed Bryan Kelly has crafted an excellent What Child Is This? by her side. And he kept them safe new setting of the old English Christmas 16th-Century English Tune with his heart of gold, and he kept carol text, The Linden Tree. Scored for Donald McCullough (arr.) them warm in the winter's cold, unaccompanied, four-part choir and so SATB, piano and the gift he gave was his faithful prano solo, this piece was originally writ Hinshaw, HMC-1775, $1.50 soul there at the feet of God. ten for the choir of Derby Cathedral. At times, there is seven-part divisi, but more A highly arpeggiated, flowing piano accompaniment supports this piece with limited duplication of the voice parts. An enterprising director might try to obtain the services of a harpist who could adapt the piano accompaniment for harp, mak ing a very colorful, expressive, and warm background for this traditional tune. With the melody often in the alto II and tenor parts (tenor in the alto range and vice versa), the tenor gets a little high from ECEPTIONS at ACDA National Conventions afford friends and time to time. There are rhythmic accom colleagues wonderful opportunities to renew acquaintances and share panying passages on hums, "00," and ab Rideas about choral music. Receptions at the 2001 national conven breviated text in all voices, depending on tion in San Antonio will take place at the convention center. If you are which part has the melody. interested in hosting a reception, contact information may be obtained by The final verse starts as a duet in the contacting William McMillan, 2001 ACDA National Convention Program tenor (melody) and bass, with altos and Chair, Department of Music, University of Texas-El Paso, El Paso, TX sopranos singing rhythmic counter-melo 79968. Telephone: 915/747-6630. Fax: 915/747-5023. e-mail: dies on "ah." Toward the end of the last [email protected], or Twyla Brunson, 2001 ACDA National Convention verse, the sopranos sing high !fs, glFs and Hospitality Chair, [email protected] or [email protected]. Information a2s. This arrangement is somewhat diffi about receptions must be received by the National Program Chair by No cult and requires a choir of above-average vember 1, 2000, to be listed in the program booklet. musical ability and adequate voicing ca pabilities. If one has the resources to per- OCTOBER2000 PAGE 87 often the soprano and tenor parts move dynamic) and agogic devices in the melody. ing the contrapuntal interplay so crucial in octaves at the same time as the alto and A jubilant Latin text, focusing on the to this work; a piano reduction is neither bass. The beautiful, lyric soprano solo line, miracle of human form given to God's son, available nor practical, yet the parts can which encompasses a rather wide range, finds its musical counterpart in the rhyth be effectively performed by a small group is not difficult. The harmonic language is mic buoyancy ofNelhybel's setting. of talented high school players. Instru traditional, with a few dissonant touches Nelhybel departs from the traditional mental ritornelli themselves articulate the for good effect. Kelly's work is highly rec notion of estampie in his use of counter arrival of major structural downbeats at ommended for excellent church choirs, point and meter. Duple units (on the text the start of vocal entries. advanced high school choirs and univer "allelu"), presented within sections in The verses of Estampie Natalis are set sity groups. triple meter, often imitate each other ca to strongly metric dorian melodies, each David Stein nonically one pulse apart, essentially dis ofwhich might be considered to be loosely rupting notions of both duple and triple based upon a series of identical motives, to create an extended series of single-beat simply shifted in order from one verse to Estampie Natalis pulses. This canonic process returns at another. Nelhybel's contrapuntal settings Vaclav Nelhybel regular intervals in the work, thereby cre of these verses create a conservative palate SATB, SAT soli, piccolo, violin/viola, ating a choral refrain that effectively sus of dorian-derived harmonies, leading to cello, percussion (2) pends the strong downbeat of the estampie simple alternations of major/minor chords European American, EA271-10 $1.50 dance until the voices converge metrically throughout the work. Fifths and fourths to a structural downbeat at the refrain's dominate other sections of this work. Vaclav Nelhybel's spirited Estampie end. (This reviewer has found that asking Choirs unfamiliar with modally derived Natalis is an exciting contribution to the the choir to precede each "allelu" with a harmony will easily adapt to the new Christmas repertory. In its nod to the lift assists in clarifying and balancing the sounds in this work, particularly since medieval estampie, [todance] we find metric game of the refrain.) Nelhybel's counterpoint is so well-writ strong, accentuated pulses, modal melo For similar reasons, instrumental per ten. Coupled with the angularity of the dies, and several instances ofhemiola, cre formers should be chosen for their ability instrumental parts, the choral parts of ated through accent (both linguistic and to effect clarity of line, thereby showcas- Estampie Natalis recall passages from Hanssler Classic Named "Label ofthe Year," Presents All 1,126 Bach Worl PAGE 88 CHORAL JOURNAL Orff's Carmina Burana more directly than elements for a final section in D major. will be an asset in learning and perform any relationship to the medieval estampie. This piece is appealing for two rea ing the piece. Estampie Natalis bears the practical ad sons. First, the tessitura is limited to one This is the first piece I have reviewed vantage of being extremely versatile-a octave (tenors and basses d to d1; sopra by Ellen Foncannon, and I look forward 1 2 good church choir, a fine high school nos and altos d to d ) and will be useful to seeing more of her material. chorus, a community chorus, or profes for a middle-school choir in the begin Steven R. Gibson sional ensemble can effectively perform ning stages of part-singing. (It is also avail this work. Sensitive conductors of less able for two-part voices, JR00067.) trained singers will wish to address proper Second, the energy and rhythm of the Rocking vocal technique regarding those phrases opening statement, contrasted with fa Stuart McIntosh (arr.) that frequent the passaggio, but conserva miliar hymn tunes, is quite unexpected. SATB tive demands on such elements as vocal Angel's Carol has a contagious drive that Alliance, AMP 0336, $1.40 range (A-g2) assure a minimum of vocal and rehearsal difficulties. Although it is {,~( ~l' '~I ~ '" ":. I "~! j, '"I :"l~\ t "~ , I~"!~' ~ scored for SATB choir with soloists, this ;"EOO~~me:@rganisEZ~s~isEab:t E)ir,~cE~r 'c)f Music M~~~i~s ,', vocal estampiecan be performed byaquar c, ~_ ~ '11:' .~ 1 ~], OCTOBER2000 PAGE 89 Stuart McIntosh's arrangement of this divisi), and vocal lines are mostly dia Morley R. Halsmith's On a Night of well-known Czechoslovakian carol com tonic, with simple skips and intelligent Wonder is an anthem for a December municates a sense of gentle motion by voice leading. The result is a singable, worship service. This work is carefully means of a rhythmic ostinato (two six enjoyable treatment of this tender lullaby. crafted, without harmonic gimmicks or teenths/ eighth) extending throughout the Michael Braz novelties that can sometimes confUse or piece. His harmonization is refreshing, distract a congregation from the text. providing new life to a familiar work while Halsmith's use of harmonic and melodic mostly avoiding commercial lapses. Cho On a Night ofWonder variations radiates a glorious message of ral requirements are fairly straightforward Music by Morley R. Halsmith hope in words and music. The tessitura is (tenor 1 to gl, bass to H with an exposed SATB, piano accessible to any choir and the texture is final statement on G, alto and soprano Harold Flammer, A 7396, $1.40 almost all homophonic. The piece begins softly with a simple, elegant melody that holds the piece to gether. There are several carefully crafted key changes that compel the listener to hear every word. Slowly, deliberately, the piece continues to build to a grand cli max. On the final bars, the work boldly declares, "When He comes in power, evil's rule will fall. On that day of wonder, we'll crown Him Lord of all; Christ is Lord of all," finishing on an exquisite crescendo. Halsmith's accompaniment is not for a beginning pianist, but is accessible to pro fessional players. This piece is filled with such charm and grace that the choir will want to sing it again and again. Ronnie Sanders Extended Works and Collections Touched by a Child, Touched by a King John Purifoy SATB, organ or piano Lorenz, 65/1916L, $6.95 This Christmas cantata with narrator utilizes quotes from some familiar Christ mas carols and hymns, and some original material by the composer. An SAB edi tion, performance CD, accompaniment CD, CD/Score combination, and orches tration are available from the publisher. Touched by a Child, Touched by a King requires no vocal solos and has some lim ited congregational participation. The keyboard accompaniment is an equal combination of melodic-harmonic lines separate from the choral parts and dupli cation of choral parts in other places. Sev eral of the choruses composed by Purifoy could be performed individually during the Advent-Christmas season. This re viewer especially liked Rejoice, Rejoice, All Peop~a quote on In dulci jubilo, and the PAGE 90 CHORAL JOURNAL " EXPEruENC~D COlJN1'Ell:'FENORAVAlMBEE " ) ,,1' '" :::: for your soloist needs ::::: Baroque works a specialty! chorus Run, Shepherds, Run.La somewhat ranges go to F for bass, b2 for soprano, Phone: 319-341-5853 percussive, rhythmically exciting piece. The and f for alto, and it ends with a slightly E-mail: [email protected] " j ~ - j closing chorus, Angels' Song, quotes the more demanding imitative section. Cov PROFESSIONAL '" iAFEORDABliE " , ~ »1 ; j ~ , ~ "gloria' from the French noel Angels, we entry Carol begins in ~, and has ~, ~, &' ~, 1, Have Heard on High, and is a fitting ar and ~ meter, shifting throughout, with rangement for the close of the cantata. some chromatic usage, requiring advanced I would recommend this cantata for rhythmic proficiency. church choirs that might have limited Donald Callen Freed resources, yet a compliment of four parts (the SAB arrangement could also be used). -C]- However, more advanced choirs might not find it to be an adequate challenge. (Letters, continued from page 4.) The Kod6ly Envoy, published quar Elwood H. Brown worked with Robert Shaw, with the War terly, is the official publication of the ing group and in a small choral group Organization of American Kodiily Educators. Annual salary for the po that recorded an album of Christmas sition of editor is $7,000.00. Five Christmas Carols hymns and carols on two RCA Victor 78 Candidates for the position of edi Peter Schubert, arr. rpm records. Shaw offered me a job in a tor must meet the following qualifica- SATB new Broadway show he was working on, tions: • Degree in music or music education C. called The Seven Lively Arts, but I decided F. Peters 67927, $7.95 • Familiarity with OAKE and the 1. Uns ist geborn em Kindelein (Schein) that teaching was my real metier and Kodiily concept (German and English) went back to my teaching job in High • Graduate music studies and Kodiily 2. Stille Nacht [Silent Night] (German Point, North Carolina. My experience certification are desirable but not and English) with Fred Waring and Robert Shaw had required 3. Noel nouvelet (French and English) a great influence on my work with cho • Writing and editing skills • Typing and computer skills 4. Les anges dans nos campagnes [Angels, ruses over the years. • Familiarity with desktop publishing We Have Heard on High] (French I have been retired for some time, but software and English) we attended the ACDA National Con • Access to facilities and equipment to 5. Coventry Carol (English) vention in Chicago last year and plan to support position be in San Antonio in 2001. For further information contact: Schubert is professor of theory at OAKE Search Committee McGill University (Canada) and conduc Sincerely, 5200 La Bahia Road tor of the Orpheus Singers. He has Emile H. Serposs Austin, TX 78745 brought refreshing new arrangements of Professor Emeritus (512) 441-7422 [email protected] traditional carols, with metric changes and Conservatory of Music shifts. Harmonically and rhythmically Brooklyn College they are for the more advanced choir. Uns r------ist geborn em Kindelein features a soprano soloist or section with an underlying SATB "allelujah" accompaniment, which can also be played by a consort (prefer ably sackbuts and cornetts), all in chang ing meter. Silent Night is in ~with contrasts between major, minor, quartal, and adventuresome harmonies, coupled with shifting pitch levels of the melody. The third (last) verse is in canonic/imita tive form, and the setting captures a mys tical quality. Noel nouvelet combines an eighth-note "Noel" motif with "Patapan" (in French) and the traditional melody. These three elements are transferred be tween sections, climaxing in quintal har f I mony and ending with the alto section ,I alone. Angels, "We Have Heard on High is relatively traditional, spiced with major II A\,.l- 11\1? TIM'f? IN 11\:t7 Gt.-B.E- C.[...()B N-l."V t\£ seventh chords; its double chorus "Gloria \)D6$N'-r ~veN. ~NDW M'I f-ol/' OCTOBER 2000 PAGE 91 Montreal and Toronto, Canada MUSIC Baltimore New York Philadelphia Chicago .-.-STRO Dallas Atlanta New Orleans PLEASE Orlando ColO'l'ado Springs 2001 Festivals BOm;::.=;::~::; France, England, Austria, Gel'many Choirs, Btl/nds, Orebestrlls PI'oved! • Designed by Music Educators for Music Educators so that the music comes first! • Music Maestro Please has enjoyed an over 70% repeat rate for over 25 years • Consistently voted the "best" by conductors and adjudicators Improved! • One call can take your group to a premier venue right next door, or to Europe. Music Maestro Please provides complete travel planning and assistance • Choral and Instrumental groups can perform in.great cultural centers Divisions: Elementary, Junior High, Middle School, and High School Music Maestro Please, Inc. -f-\--I"'~Hf----' T.M. 800-228-1668 www.mmpfestivals.com 2006 Swede Road, Norristown, PA 19401 • 800-228-1668 or 610-272-3970, Fax: 610-272-3998 • E-Mail: [email protected] SAN ANTONIO SPOTLIGHT The San Antonio rium to its former stately elegance and of the main level is 8,000 square feet, Municipal Auditorium and beauty. which can be used for banquets, exhibits, The famous San Antonio Riverwalk entertainment, or an additional 1, 126 the Conference Center runs adjacent to the Municipal Audito ater style seats. Total seating capacity of HE SAN ANTONIO Municipal rium. Within wallcing distance are some the auditorium is 4,904. Auditorium is one of three con of San Antonio's most famous attractions, Focus of the main level is a 45-foot by T cert venues for the 2001 ACDA including the Alamo, as well as approxi 75-foot stage, with a 37.5-foot-high National Convention (the other two are mately 1,000 hotel rooms. proscenium arch. The stage is complete the Scottish Rite Temple and the Lila The renovated auditorium has state with a full complement of curtains, theat Cockrell Theater inside the Henry of-the-art equipment, helping every event ricallighting, and dressing rooms. Gonzalez Convention Center). scheduled there to run smoothly. Com The auditorium's lobby holds approxi Opulence and attention to architec puterized lighting, a full complement of mately 1,000 people for receptions. Also tural detail are features of one of San audio equipment, a projection room, on the main level are the east and west Antonio's alternate meeting sites. Built in sound control booth, live broadcast room, wings, each 2,000 square feet, which can 1926as a memorial to World War I veter and teleconferencing facilities have been be closed for small meetings, receptions, ans, the Municipal Auditorium has been installed. Every effort has been made to and banquets. Each wing seats 100 the extensively renovated and modernized while provide the most sophisticated and tech ater style and fifty banquet style. retaining the grandeur of yesteryear. nologically up-to-date equipment; how The lower level of the auditorium has Located in downtown San Antonio, ever, esthetics and historical preservation been redesigned to yield 23,000 square the auditorium faithfully served the ciry were not forgotten. Solid oak doors and feet of meeting and exhibit space. The for more than fifty years before a fire chairs, velour seat cushions, brass railings, center section has 8,000 square feet of completely gutted the interior. Because of hand-pressed tiles in entry areas, and an space, seating 500 theater style and 400 the city's nationally renowned historic tique lighting fIXtures add to the by-gone banquet style. preservation efforts, the building was not era charm and grace. razed. Instead, four years' time and $13 The main level of the auditorium has -C]- million were spent restoring the audito- 3,778 permanent seats. The center floor OCTOBER2000 PAGE 93 SAN ANTONIO SPOTLIGHT Ars N ova University Choir as part of the cultural program of the HE ARS NOVA University Olympic Games in Seoul in 1988. Choir was founded in 1959, and In Brazil the Ars Nova has performed T in 1964 it joined the Federal Uni in important events and received awards versity of Minas Gerais (FUMG), Brazil, from seventeen states, such as first prize as an integral part of its cultural activities. in the International Choir Festival in Since 1962, the Ars Nova has been di Porto Alegre, RS, in 1994. rected and conducted by Carlos Alberto The choir has recorded four albums. Pinto Fonseca, one of Brazil's most re Two LPs were recorded in the late 1960s nowned conductors. and 1970s, including Brazilian compos This the Brazilian choral group has ers, such as Francisco Mignone and Heitor received awards in Brazil and abroad. The Villa Lobos and Brazilian folk music. choir has traveled over twenty times to More recently, the group produced two Europe, Asia, and America to participate compact discs, Masters ofMinas Colonial in international festivals and contests. It Music, Vol. 1, and Antology, which con received such awards as first prize in the tains the program awarded with the Grand Latin American Chorus Festival in Prix in Greece. Tucuman, Argentina, in 1970; first prizes The Ars Nova, which celebrated its in Spain and in Switzerland in 1985; third fortieth anniversary in 1999, is widely prize in Germany in 1991; first prize in recognized as one of the most important the Folklore category in Arezzo, Italy, in and stable artistic groups in Brazil. 1994; and first prize and Grand Prix in As a music teacher, he has given classes Athens, Greece, in 1998. Carlos Alberto Pinto Fonseca in regular courses of choral direction at The Ars Nova has also participated in ARLOS ALBERTO PINTO several schools in the State ofMinas Gerais several non-competitive festivals. In 1969 Fonseca has been the head con and during festivals and seminars through it was chosen to represent Brazil in the C ductor of the Ars Nova Univer out Brazil and Latin America. He was the Lincoln Center University Chorus Festi sity Choir of the Federal University of founder/director of the University Sym val in New York when it had the opportu Minas Gerais since 1962. He graduated phonic Orchestra of FUMG and has nity to perform in several universities and with a degree in choral conducting from worked as invited or resident conductor communities in the northeastern U.S. It the Federal University of Bahia, Brazil, in for symphonic orchestras in Minas Gerais also performed in the U.S. Bicentennial 1960. His formal education as choral and and other states. in 1975; the Manila-Phillipines Interna orchestral director includes classes with As a choral director, Fonseca has re tional in 1979; the International Festival Wolfgang Sawallisch (K6ln, Germany), ceived several awards in Brazil and invita in Athens in 1981; the Musica Chorale's Edouard Lindemberg (Paris, France), tions from other countries to participate International Symposium in Wien, Aus Sergiu Celibidache and Franco Ferrari in events such as the Lincoln Center In tria, in 1987; and the music festival held (Siena, Italy). ternational Festival of Choirs (New York, 1974). In the U.S. he was invited by the State Department to participate in many music festivals and to present his choral work, An Afro-Brazilian Mass, in Wash ington, D.C., in 1989. He is the founder of the State Federation of Choirs, Brazil ian Federation of Choirs, and director of training of the Interamerican Association of Directors of Choirs. In 2000 he joined the Honor Committee of the '~erica Cantat" in Venezuela. -CJ- PAGE 94 CHORAL JOURNAL SAN ANTONIO SPOTLIGHT The Swingle Singers participated in the world premiere of the and Cleo Laine), an award recognizing HE SWINGLE SINGERS today opera Outis, by Berio, at Teatro alIa Scala, artists whose work transcends tradition continue a tradition begun in with a repeat production there in 1999 ally accepted musical boundaries. T Paris more than thirty-five years and an all-new production at Le Chatelet ago. Since 1963, when Ward Swingle in Paris a month later. The group pre -CJ- founded the group with a repertoire of miered a new opera by Corghi, based on "swung" Baroque music, the ensemble has Handel's Rinaldo. Projects with ballet broadened its repertoire while retaining companies have included Ravels LEnfant its unique appeal and original sound. et les Sortilegeswith Les Ballets de Monte The current members of the Swingle Carlo and the Netherlands Dance The Kapellmeister Choir Stools Singers are Ann De Renais, first soprano; atre, and a Rossini tribute (Adieu a I1talie) Custom Designed &: Built Joanna Forbes, second soprano and musi throughout Europe. cal director; Andrew Gray, first tenor; Ri In 1999 the Swingle Singers teamed Choir Stools chard Eteson, second tenor; Sarah with the British pop group Pulp to record Simmonds, first alto; Jeremy Sadler, first the theme song for a new British televi bass; Wendy Nieper, second alto; and sion series, Randal and Hopkirk, Deceased Patrick Ardagh-Walter, second bass. In It also recorded some jingles for British unaccompanied concerts, these talented Radio Station Classic FM. young vocalists combine organ fugues, The group has won five U.S. Grarnmy Kapellmeister Enterprises, Inc. orchestral overtures, big band favorites, Awards and was awarded the All Music 59932 Tamarack Dr.• 5t. Helens, Oregon 97051- (503) 397-4773 piano pieces, avant garde compositions Award (established by Johnny Dankworth and original arrangements of pop classics, music themes, and folk tunes. Whether ~ ,~E1FiEE {srni~~~ -i;;:)-*Ec~R' ' the venue is a jazz club, church, opera GMadrigaJ ~ " " c t 1 ~, "! r<. ' \~ _ c:: ~ '- "' house, or concert hall, the group's show cninner E.R. MOORE has something for everyone. Over the by years the ensemble has performed all over Paul Brandvik cripts author of the world, with regular tours throughout The Compleet Madrigal Dinner Booke Europe, Asia, and North and South Scripts include: America. ALL DIALOGUE: The Swingle Singers also appear regu Greetings, Toasts, Festivities, Concert, Farewell larly with some of the world's leading Plus: symphony orchestras, including the Lon HUMOROUS RENAISSANCE don Symphony, The Royal Philharmonic MASQUE Orchestra, and The Boston Pops Orches Plus: tra. Performances of Luciano Berio's REPERTOIRE SUGGESTIONS Ceremonial music and concert Sinfonia (written for the Swingle Singers and the New York Philharmonic Orches TWENTY-TWO different scripts available, tra) have brought about regular collabo including scripts appropriate for churches and younger performers. rations with major orchestras and New this year: conductors, such as the Chicago Sym KING OF HEARTS phony Orchestra under the direction of Call or write for your FREE descriptive Pierre Boulez. brochure. Join the thousands who have In 1990 the group premiered made these Madrigal Dinner Scripts a Blimunda, a new opera by Azio Corghi, tradition. with La Scala Opera Company, Milan, knig ht-,shtick winning critical acclaim throughout Eu press rope. It has since performed the opera in Lisbon and Turin, and in February 1995 Box 814 Dept. A Bemidji, MN 56619-0814 in Rome it gave the world premiere of Telephone 218-751-2148 Corghi's unaccompanied suite, I Sogni di [email protected] www.madrigaldinner.com Blimunda. In October 1996 the ensemble A Division of EXTREMELY. LTD. OCTOBER 2000 PAGE 95 ADVERTISERS INDEX ".\VJHEREAS. the human spirit is elevated to a broader understanding of itself through study OCTOBER2000 W and performance in the aesthetic arts, and AABACA ...... 31 ACFEA Tour Consultants ...... 38. 52 ACIS Performance Tours ...... 28 AD International ...... 5 "'\VJHEREAS, serious cutbacks in funding and support have steadily eroded state institutions Alliance Music Publications ...... 40. 65 W and their programs throughout our country, Ambassador Tours ...... 56, 77 Arts Bureau for the Continents ...... 16 Augsburg Fortress Publishers ...... 18 E IT RESOLVED that all citizens of the United States actively voice their affirmative and British-European Specialty Tours ...... 32 Burler University ...... 76 Bcollective support for necessary funding at the local, state, and national levels of education CCIS. Inc.lMusicate ...... 59 and government, to ensure the survival of arts programs for this and future generations. Central Presbyterian Church., Des Moines. IA ...... 86 ChoralPrep Recordings ...... :...... 66 ChoraiWeb Publishing. Inc...... 53 Collegium Records ...... 72.74. 88 Concept Tours ...... 46 DemiQMusic. Inc...... 81 BOOK and MUSIC PUBLISHERS and DJ Records ...... 82 COMPACT DISC DISTRIBUTORS Douglas Frank Chorale. Inc...... 21 East Woodstock (CT) Congregational Church ...... 71 Send books, octavos, and discs for review to: ECS Publishing ...... 73 E. R. Moore Company ...... 95 Choral Journal Ellison Tours ...... 63 P.O. Box 6310 Field Studies International ...... C4 Fred Waring's America ...... 68 Lawton, Oklahoma 73506 Fremont Presbyterian Church. Sacramento. CA ...... 62 Telephone: 580/355-8161 Friendship Ambassadors ...... 25 Friendship Missionary Baptist Church. Charlotte. NC ...... 89 Garden City (NY) Community Church ...... 73 CHORAL REVIEWERS Gladde Music Publications ...... 66 ACDA members wishing to review choral music should contact: Hammond Music Service ...... 78 Hawaii Music Festivals ...... 43 Richard Nance Herirage Festivals ...... 6. C3 Indiana State University ...... 24 2509 14th Street Place, SE Indianapolis Symphonic Choir ...... 85 Puyallup, Washington 98374 Interculrure Foundation ...... 27 Intropa Tours ...... 41 [email protected] Jabez Van Cleef ...... 68 Kapellmeister Enterprises. Inc ...... 68. 95 Keynote ArtS Associates ...... 42. 54. 70 BOOK REVIEWERS Knight-Shtick Press ...... 84. 95 Lincoln Center for the Performing Arts ...... 61 ACDA members wishing to review books about choral music should contact: Lorenz Corporation ...... 20 Stephen Town . Lyric Choir Gown Company ...... 62 Manager Software ...... 19 Department of Music Mark Foster Music Tours ...... 62 Mibac Music Software ...... 83 Northwest Missouri State University Morton Music ...... :...... 67 Maryville, Missouri 64468 Music Contact International ...... 8 Music. Maesrro. Please ...... 92 Telephone: 816/562-1795 Musica Mundi. Inc ...... 11 National Lutheran Choir ...... 57 NEXTEP ...... 66 COMPACT DISC REVIEWERS North American Music Festival ...... C2 OAKE ...... 91 ACDA members wishing to review compact discs should contact: Oklahoma City University ...... 55 Oxford University Press. Inc...... 44. 58 Richard J. Bloesch Pacific Rim Music Resources ...... 22 School of Music Part Predominant Recordings ...... 78 Regency Cap and Gown ...... 67 University ofIowa Richmond Choral Society ...... 64 Iowa City, Iowa 52242 SDG Records ...... 66 Shaler. David ...... 78. 91 Telephone: 319/335-1603 Shawnee Press. Inc ...... 61 Shephed College ...... 75 Sigma Alpha Iota ...... 62 Smoky Mountain Music Festival ...... 26 CHORAL JOURNAL State Accents ...... 33 SUBMISSION INFORMATION Summit Tours and Travel ...... 34 Articles submitted for publication in the Choral Journal should meet established Tempowatch Company ...... 40 Texas Tech University ...... 23 specifications. Although the length of articles varies considerably, submissions generally Tour Resource Consultants ...... 90 consist of ten to twenry ryped, double-spaced pages. Referenced material should be Truro Episcopal Church. Fairfax. VA ...... 39 indicated by superscript and end notes. All submissions must include six copies, accompa University of Norrh Texas ...... 82 University of Southern California ...... 31 nying artwork if available, and a one- to two-sentence professional identification of the Wahby&Wahby ...... 16 author. For complete writer's guidelines or to submit articles, write to: Managing Editor; Warner Bros. Publications. Inc...... 7 ChoralJournal; P. O. Box 6310; Lawton, OK 73506-0310. Westminster Choir College ...... 69 Wirte Travel ...... 60 World Projects International ...... 45 World Stage Concerts & Tours ...... 37 ChoralJournallayout and production: Susan Gower Yale University ...... 10. 36 Young Musician's Society ...... 30 Yourlmpresario.com ...... 80 PAGE 96 CHORAL JOURNAL / American Choral Directors Association ,I ~" P.O. Box 6310 Lawton, Oklahoma 73506-0310 U,.." 'Iilililiiliilliiililiilililrliiliiiliilhliiliilliil 5....;DI6IT 38655 All TO 15962 ACDA************************* 1,2000/11 ' D 01 00/001 PHILIP L COPELAND 0134 103 WOODLAND HILLS DR OXFORD MS 38655 9738 012567 CARNEGIE:HALL 2001 CONCERT SERIES SUNDAY OHIO/MICHIGAN YOUTH SATURDAY NATIONAL CHILDREN'S CHOIR FEBRUARY 18 CHORALE APRIL 7 Henry Leek-Conductor 8:00PM 'Moses Hogan-Conductor 8:00 PM NATIONAL YOUTH CHOIR FLORIDA YOUTH CHORALE Moses Hogan-Conductor Rodney Eiehenberger- Conductor SUNDAY ALABAMA/MISSISSIPPI/ FRIDAY NATIONAL INVITATIONAL BAND MARCH 4 TENNESSEE YOUTH CHORALE APRIL 13 FESTIVAL I 8:30 PM Rodney Eiehenberger 8:00 PM Frank Battisti, Craig Conductor ($599.00) Kirchhoff, H. Robert GEORGIA YOUTH CHORALE Reynolds-Adjudicators John Ratledge-Conductor SUNDAY SOUTHEAST MIDDLE SCHOOL SATURDAY NATIONAL INVITATIONAL BAND MARCH 11 SINGERS APRIL 14 FESTIVAL II 8:00 PM (A very Fisher Hall-Lincoln ($599.00) Frank Battisti, Craig Center) Kirchhoff, H. Robert Martha Shaw-Conductor Reynolds-Adjudicators SUNDAY NATIONAL CHILDREN'S CHOIR SUNDAY SOUTHERN BAND FESTIVAL MARCH 25 Lynne Gackle-Conductor APRIL 29 8:00 PM NATIONAL YOUTH CHOIR 8:30 PM Anton Armstrong-Conductor ($695.00) SUNDAY NATIONAL CHILDREN'S CHOIR APRIL 1 Henry Leek-Conductor 8:00 PM NATIONAL YOUTH CHOIR Eph Ehly-Conductor Many other dates are also available. Your choir may join your own or another state for performances. Please call for more information and additional dates. *Prices for some programs may differ due to program co~teut. YOUTH UHORALE AT UARNEGIE HALL $699.00 per person, except where otherwise noted Commemorative T-shirt Orientation Session upon arrival Commemorative Plaque for your School Three nights hotel accommodations in quad rooms Certificate of Achievement for each student All hotel taxes, both city and state Guest Conductor for your performance Hotel baggage handling upon arrival and departure (I bag per Rehearsal Hall expenses and rental person) Carnegie Hall rental and promotional fees Attend a Broadway Show Accompanist fee Admission to the Observation Deck of the Empire State Bus transportation on performance day, where necessary Building Field Studies Escort to accompany group on sightseeing Admission to the Statue of Liberty/Ellis Island National activities Parks Audio Cassette of your performance (one tape per school) One chaperone free for each 20 paying We will happily help you with meals, transportation and other exciting New York activities, ' -," to make your planning very simple. .J