· ...... ANrONIN DVORAK'S AN INTRODUCTION by Thomas Sheets

This article coincides with the expressive manner. The harmonic had been performed in centennial of the Requiem's language reflects the Czecho­ previously, it was apparently the premiere, October 9, 1891. slovakian composer's well­ performance of his Stabat documented nationalistic style, but a Mater in March of 1883, ,conducted HE REALM OF NINE­ look beneath the surface reveals the by Joseph Barnby, which galvanized teenth-century musical influence of Wagner, whom Dvorak the interest of the English musical settings of the Roman had revered since his youth. establishment. Catholic liturgy Missa pro The composer's music, well-known Dvorak made his first visit to dejunctis includes a broad in his own country and central England in March of 1884. It was, range of in Dvorak's own words, a compositions by great success, and he many prominent correctly predicted that it composers. Considered in would result in a long­ terms of musical grandeur, lasting musical relationship: this genre is clearly dominated by the Verdi "As soon as I appeared, I Requiem; however, there was received by the are several other settings audience, which consisted which deserve attention. of 12,000 people, with Among the lesser-known stormy applause. From works of this repertoire - item to item the general which includes compositions enthusiasm grew, and at by Donizetti, Bruckner, the end the applause was Liszt, and Schumann - is a so great that I had monumental work by repeatedly to thank the Antonin Dvorak, his audience. At the same time Requiem, opus 89. the and the Dvorak's Requiem is an overwhelmed me with the expansive work, similar in most cordial ovations. In scope to the Verdi Messa da short, it went off as well as Requiem or the Grande I could possibly have messe des morts by Berlioz. wished. From all this I Scored for chorus, four have gained the conviction soloists, and large orchestra, that a new, and with it was composed during God's will, happier period 1890 to fulfill a commission is now beginning for me issued by the Birmingham here in England, a period Festival. The choral writing which, I hope, will in includes a broad variety of general bring good fruits voicings and textures, and for Czech art. The English presents the text in a highly are a good, cordial and music-loving nation, and it Sheets is Associate Conductor of the Master Europe, did not become familiar to is well-known that if they are fond Chorale of Orange County, in Costa Mesa, English audiences until the last of anyone they remain loyal to him. California, and Director of Music at quarter of the nineteenth century. May God grant that this should Anaheim United Methodist Church. Although a few of Dvorak's works happen in my case, too."!

October 1991 Page 17 Britain's ensuing fascination with new composition soon received which informed his choice of the text Dvorak and his music soon resulted performances not only in Europe but or musical style of this work. The in several commissions and also in the United States, Australia, absence of specific information about conducting appearances on 'behalf of and Canada. This type of interest the genesis of the Requiem is the Birmingham, Leeds, and Three and acclaim was typically given to counterbalanced by some well­ festivals (for further each of Dvorak's new choral works established knowledge of the discussion of this, see "The Choral during this period, so it is not composer's compositional habits and Music of Antonin Dvorak" on pages surprising that despite his declination religious values. It is known that 7-14) . of their previous request, the Dvorak was a deeply religious man, The Birmingham Festival was the Birmingham Festival once again a Catholic whose faith was elemental most prestigious of the many music approached the composer, this time and unswerving. He received the festivals in England, and Dvorak was to request a new work for their 1891 orthodox training of a church repeatedly commissioned by its festival. Dvorak accepted the directors to write choral works for commission in late 1889, and began this triennial event. The result of sketching the Requiem on New Dvorak's first commission from Year's Day, 1890. The sketch was Birmingham was his cantata The completed on July 11, and the full Dvorak's final revisions Spectre's Bride, which received its score occupied the composer from were not included in print English premiere on August 27, August 2 until October 31. Dvorak 1885. While Dvorak was still in and Henry Littleton of Novello and until the publication of Birmingham, the secretary of the Company did not come to terms festival, R. Harding Milward, asked readily on the matter of the the Dvorak Complete if the composer would accept a publication of the Requiem, and Works Edition in 1961. commission for" a great " when the vocal score was published which would be premiered at the in late 1891 it did not possess next festival. 2 Promising to give the Dvorak's final revisions. These matter some thought, Dvorak later changes were not included in print declined the invitation due to the until the publication of the Dvorak organist at the Organ School many other compositional and Complete Works Edition in 1961.3 between the ages of 16 and 18, and conducting responsibilities which Dvorak's exact reasons for was a practicing church musician were before him. (It is interesting to composing a mass for the dead are until he was almost 40.4 In addition, note that during the same visit to not known. Although his motivations Dvorak was known to be a Birmingham, Dvorak was given a for composing many of his other thoughtful and reflective person German translation of Cardinal works are documented in letters and throughout his life; consequently, a Newman's The Dream of Gerontius.) in conversations recorded by some of musical setting of a text which Dvorak's choral works continued his early biographers, Dvorak left no dimensionalizes the matter of the to bring him accolades, and each insight into the thoughts or feelings ultimate relevance of life would have been attractive to the devout composer. Another consideration is that with the exception of the early 1880s - the period in which he was fulfilling responsibilities associated with English musical institutions - choral and vocal compositions employing liturgical texts or religious subjects occupied Dvorak consistently throughout his mature period.

1877 1878 Hymnus ad Laudes in F esto Sanctae Trinitatis 1879 Psalm 149 1886 1887 Mass in D 1890 Requiem Mass 1892 Te Deum 1894 Biblical Songs

Finally, Dvorak's choice of both text and musical style for his Requiem was unquestionably influenced by the formidable musical programming

Page 18 CHORAL JOLJRNAl which was the standard fare of the score-are extant, and are the Novello vocal score, and does not Birmingham Festival. property of the composer's heirs. include the revisions. The premiere of the Requiem took These scores were loaned to the place at the Birmingham Festival on distinguished editors of the The process of motivic and October 9, 1891, and was conducted Supraphon study score, ~haired by structural unification in Dvorak's by the composer. The performance, Dvorak scholar Otakar Sourek, and Requiem is largely dependent on the which occupied much of the are the basis for Supraphon's use of material presented by the Saturday morning on which it was exceptionally detailed 1961 strings in the first 11 measures of the given, received mixed reviews. 5 publication of the work. An work. The wide range of musical Frequent mention is made of expression found in this composition Dvorak's limited conducting ability, in no way suggests a limited palette which apparently caused a near. of motivic source material; however, catastrophe in the Pie Jesu. In a complete analysis of the RequiemS general, as the following excerpts "The general impression has resulted in the discovery that from the Manchester Guardian amongst the musicians nearly every measure of the vocal indicate, the composition itself seems and! or orchestral writing is derived to have been admired, but the present was that the from three motives contained in the performance left a great deal to be Requiem is one of the opening passage of the work. desired. The continuing presence of the noblest conceptions of initial four- note theme, found in Dvorak's "Requiem Mass" is modern times." measures 1 and 2, has been noted in perhaps the most valuable of several books and articles, and given the permanent results of the Manchester Guardian a variety of names-among them present Festival .... The new leitmotif, motto, initial theme, chief "Requiem" is so lucid in design motive, and even idee fixe. and construction-in spite of Unfortunately, these names generally the peculiarities of style with imply that this theme alone is used which we in England are even exhaustive description of the yet not really familiar - that autograph full score is included, as the musician at least has no well as an account of the previously difficulty in appreciating the neglected discrepancies between the Vocal Music of James Adler composer's intention from a autograph vocal score and the A WINTER TRIPTYCH first reading of the work. . . . original Novello vocal score (1892, (SATB//Harp or Piano) Then, as truth must be told, edition number 8148).7 Plymouth: PXW-I06 Dvorak is the very worst Editions of the full score, vocal (TTBB/Horn/Harp or Piano) conductor I have seen. He score, and orchestral parts are Plymouth: PXW-300 seems absolutely incapable of currently available from several CAROLS OF SPLENDOUR affording the slightest assistance sources. The most accurate of these (SATB/Keyboard or Full Orchestra) to either band or chorus. . . . is printed in Czechoslovakia by Rodgers & Hammerstein Concert library The general impression Supraphon and distributed by Artia. The full score, vocal scores, and FESTIVE CHORAL AMEN amongst the musicians present (SATB/Keyboard) was that the "Requiem" is one orchestral parts are listed in the Artia Music 70: M70-570 of the noblest conceptions of catalog under the general heading modern times. It is, however, a AP 344; each vocal part is published INVITATORY AND HOLIDAY musical poem, almost too ideal as a separate score, and must be (SATB/Keyboard/Opt. ) for actual performance. The specified by name. The vocal parts Music 70: M70-647 ordinary material of a choir are are also available in another format, RAGTIME FANTASY expected to perform passages AP 344A, which is a piano/vocal ("Maple-Leaf Rag" adapt. for SATB/Piano) nearly impossible, even when score. The miniature full score is AP Music 70: M70-591 they have been trained as 344B. Novello also offers both scores SING UNTO THE LORD A NEW SONG carefully as the splendid chorus and parts: the vocal score, number (SATB/Keyboard) assembled for this Festival.6 1087-33, may be purchased, and the Music 70: M70-569 full score and parts are available on Several European performances soon a rental basis. According to Clark SONGS OF INNOCENCE (TTBB/Piano or 12 instruments) followed, and the composer himself McAlister, senior music editor for Arista: AM-121 conducted the American premiere of Edwin F. Kalmus, the full score the work in Boston on November 30, offered by Kalmus, edition number HERBIE AND CARNIE: A DINOSAGA 1892, during his first extended visit A 2595, is a reprint of the original (50 minute Children's pOpera for 2 Children, Soprano, Mezzo, Baritone, and Bass with to this country. Novello full score, and includes the Fl., CI., A. Sax/Bass/Perc./Piano-Conduclor) Two primary sources of the composer's final revisions; the vocal Rodgers & Hammerstein Theatre library work-an autograph of the full score score offered by Kalmus, edition and an autograph of the vocal number 6163, is a reprint of the James Adler Is a member of ACDA and Chorus America

October 1991 Page 19 to provide unity in the work. In fact, Example 1 Dvorak has taken the four-note motive, identified in Example 1 as motive x, and restated it twice in the - first 11 bars. Both statements represent' a further development of the initial motive, and each is pp -==:::::== infused with a new motivic concept .------Z-----,1 which the composer uses repeatedly in the Requiem; these subsequent 1 l motives are called y and z, I3do \U t9t!JIWU8l w L!3 * respectively. Although it is not pp ~======: f fZ-::::::::=- pp known if motive x is based on any = -- pre-existing model, its similarity to Example 2 the first measure of the second K yrie in Bach's B-minor MaBS is readily apparent (see Example 2). Another j comparison can be made by noting Ky-ri- e e - - lei son, e--lei---son the similarity between the beginning of motive x and the musical theme B-A-C-H; when the latter theme is - stated in retrograde, the similarity is Itl~4J) even more striking (see Example 3). Interestingly, Dvorak used the motive at the opening of his overture Example 3 , opus 93. Also, Dvorak's student and son-in-law, Josef Suk, used the motive in his symphonic poem Asrael.9 H-C-A -B Dvorak used motive x as the basis for a variety of musical expressions in the Requiem. In its most frequently used variation, either the second or third note of the four-note theme is altered, resulting in a diatonic thirteenth movements using a the model. The greatest expansion of version of the original motive. An developmental process. Briefly motive x is found in the tenth example of this can be seen in the stated, the first note of motive x is movement, where the first note solo part of the first slightly augmented in each occupies five measures. This process movement, measures 61-64. succeeding movement listed above; culminates in the Agnus Dei, when Subsequent to its initial statement, by the fifth movement, the emphasis the extended opening note is the composer also applied this on the first note is strengthened to followed by the rest of motive x for motive to the beginning of the the point that it is heard alone, the first time since the fourth second, fourth, fifth, tenth, and without the notes which follow it in movement. The drawing-out of motive x is more than an interesting p ______Specialists in compositional device: a well­ informed interpretation of the Requiem will convey the increasing 3r~e. reierl!Y'Jce COf,t:5 an. refues-t/ pathos of the statements of the motif through a rhythmic and dynamic SELECTED SACRED NEW ISSUES musIc comPanl design which fully expresses their increasing gravity. What Does The Lord Require? arr: J. Hakes SATB and organ MF2054 Motive y is found most often in its Deep River arr: R. Clausen SATB a cappella MF2064 original form, and is present in some God of Love God of Peace arr: H. Hopson SAB and keyboard MF2065 way in every movement of the Light Looked Down M. Price SATB and keyboard MF20n The Word was made Flesh J. McCray SATB, S solo.celesta/pno MF2067 Requiem. Its most conspicuous usage Agnus Dei K. Isaacs SATB a cappella MF2073 is in the fourth movement, Burst into Music R. Caviani SATB and keyboard MF2074 mirum, in which the orchestral My Soul's Been Anchored ... , arr: G. Jones SATB and sop solo MF2076 Festival Alleluia K. Isaacs SATB and Keyboard MF2077 writing is based entirely on motive y; Come,Let Us Sing A Song .... Z. Stroope SATB and organ MF2078 it is also the thematic basis for For details and ordering, please write, phone 800-359-1386, or FAX 217-398-2791 several extended choral passages, MARK FOSTER MUSIC COMPANY, Champaign, Illinois, 61824-4012 notably measures 50 through 80, of the final movement. Motive z is

Page 20 CHORAL JOURNAL heard less frequently than the other , 16 , 16 double play for only three two, and as such creates a significant basses. The impression of such measures in the entire work; these impact. Its primary use is in the a mighty body was indeed three measures, marked lantana, are closing bars of the first, eighth, and enchanting. It is quite found at the beginning of the Tuba thirteenth movements; these indescribable. 10 mirum and can be cued in the tenor movements form the structural trombone parts. The composer has framework of the composition Dvorak's Requiem is scored for indicated the use of organ in three through their parallel formal! motivic piccolo, two flutes, two , cor places in the work; however, as in designs. anglais, two , bass , the Brahms Ein deutsches Requiem, two , , four inclusion of organ in a performance horns, four trumpets, two tenor of this work is optional. , bass trombone, tuba, The sound of the woodwind , tam-tam, harp, organ, and section is notably rich, due primarily A complete analy~ of the strings. The composer's orchestration to the inclusion of the in Requiem has resulted in of this work is consistently dense, every movement, and brass rarely departing in any movement instruments play an especially the discovery that nearly from the use of all the primary prominent role, undoubtedly due in every measure of the vocal instruments, which can be defined as part to the number of singers Dvorak those used in the first movement of knew he would have in the Festival andlor orchestral writing the work. The lightest scoring is chorus. The horns are found in every reserved for the Pie Jesu, in which movement and present motive x is derived from three the trumpets and trombones are more often than any other motives contained in the omitted. The opposite extreme is instrument, and the trumpets are found in the Tuba mirum where all omitted only in the second, fifth, opening passage of the the instruments are employed. The and twelfth movements. A solo work. only appearances of the piccolo and is found in the Recordare, and solos contrabassoon are also found in that for violin and are contained in movement. The third and fourth the Hostias.

Dvorak's motivation for employing consistently thick choral textures and dense orchestration in his Requiem was probably influenced by his previous experiences as a conductor Malvern at the Birmingham, Leeds, and Three Choirs festivals. When he International went to the Birmingham Festival for Choral Festival the first time in 1884, he made his English conducting debut in a July 16-26, 1992 performance of his Stabat Mater. Although he was awed by the size of both the chorus and the orchestra which the Festival directors put at • John Rutter conducting his Requiem his disposal, he was stimulated by • Simon Halsey conducting Elgar's Give unto the sound he heard. the Lord and Bernstein's Chichester Psalms On Monday, there was the first • Gala Concert in Elgar Hall rehearsal with the choir in the Albert Hall, an enormous • The English Symphony Orchestra building in which there is easily • Concert and clinic by the King's Singers room for as many as 12,000 people. . . . On the next day • Shakespeare play in Stratford-upon-Avon there was a rehearsal with the orchestra, and in the evening o 3 nights in London and 6 nights in Malvern with the soloists. But I must • Optional custom concert tour extensions indicate shortly what is the size of the orchestra and choir. 800 678-9897 (Seattle) 800 222-6995 (New ) Please do not be afraid! There are 250 sopranos, 160 altos, 120 Second Ave. South 12 East 86th St., Suite 200 180 , and 250 basses; 16 Edmonds, W A 98020 New York, NY 10028

October 1991 Page 21 Dvorak's Requiem does not adhere with some license. In the first S A T B strictly to the text of the Missa pro movement, for instance, the Upper: b-flat2 ff al e-flatl dejunctis, and certain textual tripartite "Kyrie eleisonlChriste Lower: b-sharp g BE-flat omissions render the work eleisonlKyrie eleison" is not rendered liturgically unacceptable. The strictly, and the movement ends with While the chorus, solo quartet, sections of the requiem mass which a statement of "Christe eleison." An and orchestra clearly have separate are included in Dvorak's work are unusual reworking of another text functions, the composer has provided listed below. Sections preceded by can be found in the Tuba mirum. alternating roles for them in terms of capital letters indicate the major The text employed in measures 43-49 texture and the application of divisions of the Roman Catholic begins with the first word of that thematic material. As in Wagner's Missa pro dejunctis, and Arabic section, "Tuba," omits the remainder music, the thematic material in numerals indicate the actual of the words in the first phrase, and Dvorak's Requiem may find its movement numbers of Dvorak's resumes at the beginning of the initial statement in the choral, solo, composition. The Pie Jesu is not a second phrase, "coget omnes ante or orchestral writing, and later liturgical entity, but rather a musical thronum." The same text is used for migrate to one or both of the development of the final textual the closing bars of the movement. remaining areas. As a result, the portion of the sequence Dies irae. chorus functions in three different ways in this work: 1) as the bearer A. Requiem and Kyrie (1) Dvorak's approach to the choral writing in this work reflects the of the main thematic material, 2) in B. Gradual (2) an accompanying role relative to the C. Sequence composer's mature choral style, and gives some evidence of the influence solo quartet, either with or without Dies irae (3) the orchestra, and 3) in a secondary Tuba mirum (4) of other composers, especially Mozart and, to a lesser degree, role to the orchestra when the Quid sum miser (5) thematic material is stated Recordare (6) Brahms and Verdi. The chorus is employed in 12 of the 13 movements instrumentally. Confutatis maledictis (7) . The solo quartet in Dvorak's Lacrymosa (8) in this work, the exception being the Recordare, which is scored for solo Requiem plays a prominent role in D. Offertory the character of the work. Notable Offertorium (9) quartet. The four-part writing which produces the primary choral sound among the extended solo sections is Hostias (10) the Recordare, in which Dvorak E. Sanctus (11) of the work is balanced by the use of several other voicings, including employs a lyrical style which stands Pie Jesu (12) apart from the other movements of F. Agnus Dei and Communion (13) three-part women's chorus (SSA or SAA), men's chorus (TTBB), and full the work. In addition to omitting certain divisi (SSAA TTBB). The ranges of The ranges found in the solo portions of the liturgical text, Dvorak the choral parts are moderate, as writing are moderate, and the treats the texts of a few movements seen in the following chart. tessituras of the four solo roles place them in excellent balance to one another; unlike the Missa solemnis or Ninth Symphony of Beethoven, in FALL AND CHRISTMAS SAMPLER which the solo alto part is unflatteringly low, the quartet Including writing in Dvorak's Requiem reflects A PAGE FROM THE CHRISTMAS STORY Yordy/Harbach even distribution and balance. a youth musical that recreates the Journey towards Bethlehem undertaken by the Three WIse Men and their young servant S A Upper: c-flafl ff LUTHER CANTATA Barbara Harbach 7 movements (chorales, solos, and choruses) Lower: b g with all new translations and arrangements of Luther's hymns premiered at the 1991 Upstate New York Lutheran Synod Convention Dvorak's Requiem is the last of the SATB CHRISTMAS many large-scale works for chorus Tryste Noel Gardner Read and orchestra written in the Audible Light B. Harbach nineteenth century. The harmonic Slngl Christ Is Bornl Harbach and architectural aspects of the work plus 4 more Christmas anthems possess the grand proportions and VrvACE PRESS SATB GENERAL ANTHEMS expansive nature of Romantic style, NW 310 WAWAWAI RD and as such make this composition a Love Has Opened Wide the Door Harbach PULLMAN, WA 99163 Proclaim God's Greatness Samuel Adler worthy descendant of the Berlioz, plus 2 more General Anthems 1 - 800 - 543 - 5429 Brahms, and Verdi Requiems. However, the Dvorak Requiem was conceived and composed in a OVER $25.00 OF MUSIC FOR ONLY $10.00 manner which was highly (plus S3 Shipping and Handling. Offer not available elsewhere and limited to one set per Institution) progressive, and which was arguably more visionary in terms of

Page 22 CHORAL JOURNAL contemporaneous style than any of Clapham, John. "Dvofak's First Contacts with 8 Sheets, "Antonln Dvorak's Requiem: the aforementioned works. Although England." Musical Times 119 (September Analysis and Commentary," pp. 36-96. 1978): 758-761. o Paul Stefan, Anton Dvo¥tik (New York: this work is currently not a part of Marnat, M. "Ferveur et Eloquence." Da Capo Press, 1971), p. 167. the standard repertoire, it is an Harmonie-Antenne, February 1979, pp. 10 Fischl, p. 30. mI exciting and rewarding alternative to 6-7. a repeat performance of the Verdi or New Grove Dictionary of Music and Brahms Requiem, as it makes use of Musicians, 1980 edition. s.v. "Dvorak, Antonln," by John Clapham, pp. 765-792. similar forces and is equally To submit articles for the Choral Journal, send five (5) copies to the satisfying to its performers and Notes hearers. Managing Editor, P.O. Box 6310 Dvorak's Requiem is a work of 1 Viktor Fischl, editor, Antonin Dvortik: His Lawton, Oklahoma, 73506. Achievement (Westport, Connecticut: Green­ extraordinary expressivity, one in wood Press, 1970), p. 30. which religious convictions and 2 John Clapham, Dvortik (London: W. W. musical artistry achieve parity in the Norton & Company, 1979), p. 78. hands of a master composer. The 3 Hans-Hubert SchOnzler, Dvorak (London: more frequent inclusion of this work Marion Boyars, 1984), p. 137. 4 New Grove Dictionary of Music and Finest Fabrics including in concert programming would Musicians, 1980 edition, s.v. "Dvorak, An­ Permanent Press and Wash and Wear. Superior Quality. certainly result in the acceptance tonln," by John Clapham, p. 765. Free Color Catalog and Fab· merited by its great and singular 5 Thomas Sheets, "Antonln Dvorak's Re­ ric Swatches on Request. beauty. quiem: Analysis and Commentary" (D.M.A. Guaranteed Satisfaction. dissertation, University of Southern California, Toll Free 1988), pp. 104-115. Bibliography 6 The Manchester Guardian, October 10, REGENCY 1891. .%'j;,ij,WU,;•• Books 7 Novello's original full score (1892, edition P.O. Box 10557CJ number 9275) appears to have contained the ;Jacksonville, Florida 32207 Clapham, John. Dvo¥l1k. London: W. W. composer's revisions. Norton and Company, 1979. __. Antonin Dvo¥l1k: Musician and Craftsman. New York: St. Martin's Press, 1966. Burghauser, Jarmil. AntonFn Dvo¥l1k. Translated by Jean Layton-Eislerova. Prague: Statni hudebni vydavatelstvi, 1967. Butterworth, Neil. DVO¥lik: His Life and cMa-nhatlan Times. Kent, England: Midas Books, 1980. Fischl, Viktor, ed. Antonin Dvo¥l1k: His Achievement. London: Lindsay rchoJt[1 @esl/val Drummond, 1943; reprint edition, Westport, Connecticut: Greenwood Press, April 2-5, 1992 1970. The Manhattan Choral Festival's seventh season offers two options: Hoffmeister, Karel. AntonFn Dvo¥l1k. Edited evaluation session with guest clinician andlor sing in the massed choir. and translated by Rosa Newmarch. The massed choir with orchestra will perform at The Cathedral of St. London: John Lane The Bodley Head, John the Divine, and St. Paul the Apostle at Lincoln Center. This Limited, 1928. festival is open to all church, school, university, and community choirs. Hughes, Gervase. DVO¥lik: His Life and Music. New York: Dodd, Mead and Massed Choir Program Company, 1967. ALEXANDER DASHNAW, CONDUCTOR Robertson, Alec. Dvo¥l1k. London: J. M. Dent and Sons, 1945. Requiem ...... Gabriel Faure __. Requiem: Music of Mourning and Fanfare for a FestivaL ...... Ron Nelson Consolation. London: Cassell, 1967. World premiere SchOnzler, Hans-Hubert. Dvo'hik. London: performance of commissioned work ...... Phillip Hagemann \' Marion Boyars, 1984. Sourek, Otakar. AntonFn Dvorl1k: Letters and Evaluation Session Clinicians Reminiscences. Translated by Roberta Finlayson Samsour. Prague: Artia, 1954. Melinda O'Neal Alan Harler __. AntonFn Dvo¥l1k: His Life and Works. Conductor of the Handel Society Director of Choral Activities New York: Philosophical Library, 1954. Dartmouth College Chamber Singers Ester Boyer College of Music Temple University Stefan, Paul. Anton Dvorl1k. Translated by James Hudson Y. W. Vance. New York: Greystone Press, Corning Community College &: Alexander Dashnaw 1941; reprint edition, Da Capo Press, President Elect ACDA Eastern Director of Choral Activities Division Long Island University 1971. c.w. Post Campus I---::-~~w.------==== Articles KEYNOTE ARTS ASSOCIATES

Carroll, E. T. "The Dies Irae: A Martin Monson, Associate Producer P.O. Box 1608 Consideration of Various Settings." The Kalamazoo, MI 49005 American Organist 19 (January 1985): 1-800-522-2213 57-59.

October 1991 Page 23