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Endorsed by the National Association of Teachers of Singing and American Choral Directors Association of Minnesota Affiliated with The National Center for Voice and Speech To receive a brochure, complete the form below and send to: Axel Theimer • The VoiceCare Network • Department of Music St. John's University, Collegeville, MN 56321 (320) 363-3374 • FAX (320) 363-2504 • E-mail: [email protected]
Name ______Address ______CityIState/Zip VOICE CHANGE CAN STOP THE SINGING ... OR RELEASE MORE OF IT. Official Publication of the American Choral Directors Association Volume Thirty-nine Number Eight
MARCH 1999 CHORALJO Wesley Coffman Ann Easterling EDITOR MANAGING EDITOR
COLUMNS ARTICLES From the Executive Director ...... 2 Score Study: A "Magical Eye" From the President ...... 3 for Musical Blueprints...... 9 From the Editor ...... 4 by John Dickson
Letters to the Editor ...... 4
Hallelujah! ...... 73 Timothy W. Sharp, editor Text Setting and Symbolism Technology for the Choral Director ...... 81 in Thea Musgrave's Donald Oglesby, editor Rorate coeli ...... 23 Compact Disc Reviews ...... 85 by Ann W. Waters Richard J. Bloesch, editor
Book Reviews ...... 91 Stephen Town, editor
In Memoriam ...... 32 Carlisle Floyd's Text Settings Repertoire and Standards Committee Reports ...... 67 in His Works for Chorus .... 37 by Teresa S. Coffman ACDA Planned Giving Programs ...... 80
Advertisers Index ...... 96
Cover art depicts John Dickson, Thea Musgrave, Carlisle Floyd, and their musical scores. Cover designed by Lynn Snyder. LITERATURE FORUM Repertoire and Conductors of Fifty All-State Choirs, 1997-98 ...... 49 by Rebecca R. Reames
MARCH 1999 PAGE 1 FROM THE AFFILIATED EXECUTIVE DIRECTOR ORGANIZATIONS INDIANA CHORAL DIRECTORS ASSOCIATION President - Daniel H. Graves ACDA Reaches a New Milestone 209 South Sixteenth Street WENTY THOUSAND! ACDA has reached a new milestone with a record Richmond, Indiana 37374 membership of 20,000. Our current active membership involves members in Treasurer - PaulaJ. AIles all fifty states, Canada, and around the globe. The end of the twentieth 1471 Altmeyer Road T Jasper, Indiana 47546 century finds the American Choral Directors Association a growing, thriving organi zation of professional choral musicians and choral music aficionados. IOWA CHORAL DIRECTORS ASSOCIATION Many things contributed to this phenomenal growth, including the high quality of President - Bruce Chamberlain the Choral Journal through the years, due largely to the contribution by outstanding 1211 Oak Park Boulevard editors and authors. The informative and practical content of the Journal is a signifi Cedar Falls, Iowa 50613 cant factor in encouraging choral musicians to join ACDA. Another major strength of Secretary/Treasurer - Bruce A. Norris 404 Maple Street our organization is the well-planned conventions held at the national, division, and Mondamin, Iowa 51557 state level. We experienced the greatest attendance in ACDA history at the national AMERICAN CHORAL DIRECTORS convention just held in Chicago. More than 10,000 people attended, including ASSOCIATION OF MINNESOTA approximately 6,000 choral directors. A most interesting statistic is that more students President - David Dickau 104 Manchester COUrt registered than ever before. Mankato, Minnesota 56001 Perhaps ACDA's commitment to the furtherance of all parts of the choral art is best Treasurer - Susan ZemUn demonstrated by the Raymond W Brock Commissions. Raymond's devotion to and 1029 Paul Parkway, NE, #304 love for choral music is memorialized annually in one or more commissioned works Blaine, Minnesota 55434 that are premiered at the national and division conventions. This year's national MONTANA CHORAL DIRECTORS ASSOCIATION convention attendees heard not only commissioned works from established composers President - Marco Ferro Gwyneth Walker and Adolphus Hailstork, but also were privileged to hear the first Box 454 Raymond W Brock Student Composition winner, In Flanders Fields, by Paul Aitken. Malta, Montana 59538 When the visionary founders of ACDA started the organization in 1959, I am not Treasurer - Larry Swingen 216 Eighth Avenue SW sure they ever thought their fledgling association would become the giant it is today. Sidney, Montana 59270 (Continued on p. 83.) NEBRASKA CHORAL DIRECTORS ASSOCIATION President - James F. Hejduk Westbrook Music Building Universiry of Nebraska Notice of Vacancy - Choral Journal Editor Lincoln, Nebraska 68588 Applications are being accepted for the position of Choral Journal Treasurer - Mark Butler 1014 Arthur Street editor and chair of the Editorial Board. Applicants should show Holdrege, Nebraska 68949 evidence of significant publications and successful choral OHIO conducting. Editorial duties begin May 1, 1999; annual salary CHORAL DIRECTORS ASSOCIATION President - Craig Johnson is $15,000. By March 23, 1999, please send reslUne, sample of Music Department, Otterbein College publications, and selected programs to Gene Brooks, ACDA, Westerville, Ohio 43081 P. O. Box 6310, Lawton, Oklahoma 73506 Treasurer - Bob Hartigan 8770 Landen Drive Maineville, Ohio 45039 STATEMENT OF MEMBERSHIP The American Choral Directors Association is a nonprofit professional organization of choral directors TEXAS from schools, colleges, and universities; community, church, and professional choral ensembles; and CHORAL DIRECTORS ASSOCIATION industry and institutional organizations. Choral Journal circulation: 18,000. Annual dues (includes President - Marsha Carlisle subscription to the Choral Journal): Active $55, Industry $100, Institutional $75, Retired $25, and 10318 Royal Coach Student $20. One-year membership begins on date of dues acceptance. Library annual subscription San Antonio, Texas 78239 rates: U.S. $25; Canada $35; Foreign Surface $65; Foreign Air $75. Single Copy $3; Back Issues $4. ACDA is a founding member of the International Federation for Choral Music. Treasurer - Kelly Moore ACDA supports and endorses the goals and purposes of CHORUS AMERICA 4021 Timberidge Drive in promoting the excellence of choral music throughout the world. Irving, Texas 75038 ACDA reserves the right to approve any applications for appearance and to edit all materials proposed for distribution. WISCONSIN Permission is granted to all ACDA members to reproduce articles from the Choral Journal for noncommercial, educational CHORAL DIRECTORS ASSOCIATION purposes only. Nonmembers wishing to reproduce articles may request permission by writing to ACDA. President - Richard L. Bjella The Choral Journal is supported in part by a grant from the National Endowment for the Arts, a federal agency. 3011 West Heritage Avenue Recognizing its position of leadership, ACDA complies with the copyright laws of the United States. Compliance with Appleron, Wisconsin 54914 these laws is a condition of participation by clinicians and performing groups at ACDA meetings and conventions. Secretary/Treasurer - Ronald C. Buckles © 1999 by the American Choral Directors Association, 502 SW Thirty-eighth Street, Lawton, Oklahoma 73505. Telephone: 18723 67th Avenue 580/355-8161. All rights reserved. The Choral Journal (US ISSN 0009-5028) is issued monthly except June and July. Chippewa Falls, Wisconsin Printed in the United States of America. ~ Periodicals postage paid at Lawton, Oklahoma, and additional mailing office. POSTMASTER: Send address EdPress changes to Choral Journal, P. O. Box 6310, Lawton, Oklahoma 73506-0310.
Volume Thirty-nine Number Eight
PAGE 2 CHORAL JOURNAL NATIONAL FROM OFFICERS PRESIDENT THE PRESIDENT James A. Moore School of Music. East Texas Baptist University Marshall. Texas 75670 903/935-7963 (voice); 903/938-0390 (&x) [email protected] The Legacy ofRobert Shaw VICE-PRESIDENT HE LOSS OF Robert Shaw is deeply felt by all who know ofhis work and his Lynn Whitten College of Music. University of Colorado legacy. It is difficult to imagine that anyone person will ever have the universal Boulder. Colorado 80309 303/494-6648 (voice); 303/492-5619 (fax) respect, the never-ending influence, and will capture the musical imagination [email protected] T of so many people. PRESIDENT-ELECT Milburn Price My students never met Mr. Shaw, and few saw him conduct in person. Yet they School of Music, Samford University Birmingham. Alabama 35229 knew him through the numerous references and examples I attributed to him. It is 205/870-2778 (voice); 205/870-2165 (fax) [email protected] apparent they felt his loss as keenly as those who
TREASURER worked with him. Ma.xine Asselin Music Department. Bridgewater Stare College As a junior high school student, I remember Bridgewater. Massachusetts 02325 508/697-1377 (voice); 508/697-1729 (fax) hearing the early recordings of the Robert Shaw [email protected] Chorale singing Christmas hymns and carols, EXECUTIVE DIRECTOR Gene Brooks and I remember asking if it were possible for a P.O. Box 6310. Lawron. Oklahoma 73506 580/355-8161 (voice); 5801248-1465 (fax) choir to sing as they did. These early listening [email protected] experiences heightened my interest in choral CENTRAL DIVISION PRESIDENT singing. Subsequent recordings only intensified Thomas J. Stauch Harper College my desire to become more involved in choral 1200 \VCSt Algonquin Road Palatine, Illinois 60067 musiC. 847/925-6566 (voice); 8471925-6039 (fax) [email protected] One of my most memorable experiences as a EASTERN DIVISION PRESIDENT college music student occurred in 1960, when a Frederic Ford BridgcwaterpRariran High School group of students drove to Louisiana Tech Uni P.O. Box 6569 Bridgewater, New Jersey 08807 versity to hear the Robert Shaw Chorale on 908/231-8660 (voice); 9081231-0467 (fax) [email protected] tour, presenting the Bach Mass in B Minor. It NORTH CENTRAL DIVISION PRESIDENT was a never-to-be-forgotten musical experience. Steve Boehll{c Rosemoum High School At that time I was student teaching. After the concert I spent the next three weeks 3155 144rh Screer. W. Rosemoum. Minnesota ;;068 attempting to recreate the event for my junior high choir students. Though I was not 612/423-7542 (voice); 612/423-751 I (fax) [email protected] able to duplicate the musical detail, I was able to convince the students of my NORTHWESTERN DIVISION PRESIDENT enthusiasm for Robert Shaw and his work. Constance Branton South Junior High School In 1964 I heard the chorale again in Kansas City, upon their return from a 80; Shoshone Street Boise. Idaho 83705 successful tour to Russia, where the response to the choir had been overwhelming. In 208/338-5377 (voice) [email protected] particular, audiences were enthusiastic upon hearing the spirituals that Shaw in
SOUTHERN DIVISION PRESIDENT cluded in the repertoire. I still can remember the sounds of "My God is a Rock" Donald Trott Music Departmem. Longwood College coming from the stage. The remembrances go on and on, including his time in Farmville, Virginia 23909 804/395-2500 (voice); 804/395-2149 (fax) Cleveland, Atlanta, and his work with the Robert Shaw Festival Singers. We can be [email protected] grateful that in recent years his recording output was so prodigious. SOUTH\VESTERN DIVISION PRESIDENT R. Paul Drummond I recommend for your reading Dear People . . . Robert Shaw, by Joseph A. Swinney Conservatory of MusiclCentral Methodist College Fayette. Missouri 6;248 Mussulman. This column has previously included quotes from the preface of the 660/248-6323 (voice) [email protected] book, but it seems appropriate to repeat as a conclusion for this article.
WESTERN DIVISION PRESIDENT Thomas Davies , Music Department His career has threaded itself through some of the most significant episodes in the California Polytechnic State University San Luis Obispo. California 93407 hisrory of music in the United States since the 1930s .... There has always been a 8051756-1548 (voice); 8051756-7464 (&x) [email protected] centeredness about him, and the center is congruent with the mysterious core of the
INDUSTRY ASSOCIATE REPRESENTATIVE experience of music. There is that incredible vitality, which convinces ordinary Kent Smith' to Heritage Festivals people who perform under his direction that they themselves possess the capacity P. O. Box 571187 realize an essential life-force through music. There is his perception of the potential Salt Lake City. Utah 84157 801/263-3445 (voice); 8011265-2314 (fax) relationships between art and life and his determination to reveal them to all kinds mail@heritagef~stivals.com of people in all kinds of places. . .. There is that guileless courage to confront PAST PRESIDENTS COUNCIL Joho Haberlen novelty without fear, even eagerly, and to choose freely among the options. School of Music, Georgia State University University Plaza 404/651_:6~6(~~~~hr~~a4m~:1542 (&x) We are grateful for the legacy Robert Shaw has left to choral music. However, the [email protected] Maurice Casey Colleen J. Kirk complete effect of his life and his music is still to come. Harold A. Decker Theron Kirk \XTilliam B. Hatcherr Diana J. Leland Morris D. Hayes Russell Mathis Charles C. Hirt H. Royce Saltzman Warner Imig Hugh Sanders James A. Moore Elwood J. Keister David Thorsen
MARCH 1999 PAGE 3 FROM EDITORIAL THE EDITOR BOARD EDITOR Wesley Coffman 4023 Wembley Terrace 'U7Ortb- and Music Dallas, Texas 75220 N THE APRIL 1986 issue of the Choral Journal that honored Robert Shaw on his 214/353-8020 (voice/fax) [email protected] I seventieth birthday, Shaw wrote: ASSOCIATE EDITOR Nina Gilbert We do this [speaking about projection of text] by concentrating not upon rhe words University of California-Irvine Music 292, Building 714 rhemselves, but upon rhe irreducible, individual, and successive sounds, which form Irvine, California 92697 949/824-3854 (voice); 949/824-4914 (fax) rhese words, and we try to allot to each of rhese sounds its precise moment and [email protected] amount of musical time. We may take our personal inspiration from rhe text, but MANAGING EDITOR when it comes to rhe transmission of that text, it is work gloves, overalls, and sweat. Ann Easterling P.O. Box 6310 Lawton, Oklahoma 73506 Those of us in the choral profession today owe much to the words and work of 580/355-8161 (voice); 580/248-1465 (fax) [email protected] Robert Shaw, who defined a higher standard and caused greater acceptance of the EDITORIAL ASSISTANT choral art. Susan Gower 316 Mustang Circle This issue of the Journal presents three articles that discuss words and music. John San Antonio, Texas 78232 Dickson gives an overview of the intensive work required in making a thorough study 210/495-0833 (voice); 210/495-0838 (fax) [email protected] of the score, words and music. Teresa Coffman (no relation to the editor) gives us EDITORIAL BOARD MEMBERS some interesting insight into Carlisle Floyd's concept of setting text. Anna Hamre Richard J. Bloesch writes about "Text-Setting and Symbolism in Thea Musgrave's Rorate coeH. " School of Music, University ofIowa Iowa City, Iowa 52242 Application for Editor [email protected] David L. Brunner This issue includes a call for applications for Choral Journal Editor. For personal Department of Music, University of Central Florida P.O. Box 161354 and health reasons, I am unable to continue in this position. It is with regret that I Orlando, Florida 32816 relinquish the position. Working with the choral directors of ACDA is a great joy and [email protected] privilege. Christine D. de Catanzaro School of Music, Georgia State University P. O. Box 4097 Wesley Coffman Atlanta, Georgia 30302 [email protected] Sharon A. Hansen Department of Music, School of Fine Arts University of Wisconsin-Milwaukee LETTERS P.O. Box 413 Milwaukee, Wisconsin 53201 [email protected] TO THE EDITOR Victoria Meredith Dear Editor: Faculty of Music, Talbot College University of Western Ontario Bravo to Patricia O'Toole for her fine article ("How Choirs Neglect Girls") in the London, Ontario N6A 3K7, Canada December 1998 issue, summarizing the all-too prevalent practices that most choral [email protected] Richard Nance directors (myself included) have engaged in through the years to try to encourage Department of MusiclPacific Lutheran University male participation in choirs. O'Toole does not just state the problem; she offers Tacoma, Washington 98447 [email protected] convincing documentation to back up her assertions and couches it in positive ways Robert Provencio to create a more sensitive awareness of how we treat our female singers. If I had one California State University-Bakersfield 9001 Stockdale Highway thing I could do over again during my career as a high school choral director, it would Bakersfield, California 93311 be to focus more positive energy on my girl singers. They were so strong, willing, [email protected] Lawrence Schenbeck talented, committed, and patient that I often took them for granted in my quest to Department of Music, Box 316 bring in and keep my male singers. More than anything else, Patricia O'Toole's Spelman College 350 Spelman Lane SW excellent expose of how we shortchange our female singers can better prepare young Atlanta, Georgia 30314 choral directors going out into the field of the need to be bias-free in leading our [email protected] . Timothy W. Sharp singing groups. In the end it leads to a win-win situation, not only for the conductor School of Music, Belmont University but for the singers as well. Nashville, Tennessee 37212 [email protected] Stephen Town Sandi Peaslee Department of Music Northwest Missouri State University Marblehead, Massachusetts Maryville, Missouri 64468 [email protected] [email protected] Dear Editor: As a graduate of a women's college and a conductor of a high school women's COORDINATOR OF STATE NEWSLETTERS chorus, I am compelled to respond to Patricia O'Toole's article, "A missing Chapter Perry White 2726 S. Pickard Ave. from Choral Methods Books: How Choirs Neglect Girls" (ChoralJournal, December Norman, Oklahoma 73072 [email protected] (Continued on p. 22)
PAGE 4 CHORAL JOURNAL NATIONAL June 20-26, 2000 R&S CHAIRS Prague
NATIONAL CHAIR Czech Republic Barbara Tagg 215 Crouse CollegelSyracuse University Syracuse, New York 13244 315/443-5750 (voice); 315/488-1155 (fux) [email protected] BOYCHOIR Randall Wolfe Cincinnati Boychoir 322 Wyoming Avenue Cincinnati, Ohio 45215 513/9480100 (voice) [email protected] CHILDREN'S CHOIRS Rebecca Rottsolk Northwest Girlchoir 728 Twenty-first Avenue Seatde, Washington 98112 206/329-6225 (voice); 206/329-9925 (fux) [email protected] COLLEGE AND UNIVERSITY CHOIRS Wtlliarn McMillan Deparrment of MusidUniversity of Texas at EI Paso EI Paso, Texas 79968 915/747-6630 (voice) [email protected] COMMUNlTY CHOIRS Charles Facer Greenwood Laboratoty School Southwest Missouri Stare University 901 South National Springfield, Missouri 65804 417/836-6356 (voice) [email protected] C?J)iU erghvdta @!Xade C?J). @'lickon ETHNIC AND MULTICULTURAL PERSPECTIVES Czech Philharmonic World Voices Anthony T. Leach Pennsylvania Stare University Children's Choir of Minnesota University Park, Pennsylvania 16802 814/865-6521 (voice); 8141865-7140 (fux) ad [email protected] JAZZ AND SHOW CHOIRS Diana R. Spradling Western Michigan University/School of Music Kalamazoo, Michigan 49008 616/387-4751 (voice) [email protected] JUNIOR HIGHI MIDDLE SCHOOL CHOIRS Kathleen Anderson 1551 Parkview Avenue San Jose, California 95130 650/526-3570 x447 (voice); 650/965-9278 (fux) [email protected] MALE CHOIRS Clayton Parr Vandercook College of Music 3140 S. Fedefal St. Chicago, Illinois 60616 312/225-6288 (voice); 312/225-5211 (fux) MUSIC AND WORSHIP CarlL. Starn Chapel Hill Bible Church 1200 Mason Farm Road Chapel Hill, North Carolina 27514 919/968-4754 (voice); 919/918-4059 (fux) [email protected] Cash prizes for competition winners plus trophies/ SENIOR HIGH SCHOOL CHOIRS awards in each of 4 categories: Janice R. Bradshaw 9 Morningside Drive Boonville, Missouri 65233 st 816/882-7558 (voice); 816/882-3368 (fux) 1 Prize in each category - 25,000 Czech Koruns [email protected] 2nd Prize in each category - 12,500 Czech Koruns TWO-YEAR COLLEGE CHOIRS D. Brent Ballweg Collin County Community College r For further information (ontact: ~ r ' 2800 East Spring Creek Parkway Plano, Texas 75074 972/881-5653 (voice); 972/881-5103 (fux) [email protected] International, Inc. WOMEN'S CHOIRS Monica Hubbard California Instirute of Technology EUROPE Mail Code 2-58 136 Lawrenceville-Penninglon Road Budecska 27 Pasadena, California 91125 Lawrenceville, NJ 08648-1413 12000 Prague 2, Czech Republic 626/395-6260 (voice); 6261795-8731 (fux) [email protected] 800-288-3242 (420) (2) 225-14483 609-896-9330 (in NJ) Fax: (420) (2) 225-12449 YOUTH AND STUDENT ACTIVITIES Scorr W. Dorsey Fax: 609-896-3450 E-mail: [email protected] Deparrment ofMusidMount Union College E-mail: [email protected] Web: htlp:/Iwww.adinlernalional.cz Alliance, Ohio 44601 330/823-2181 (voice); 330/823-2144 (fux) Web: htlp://www.adilours.com [email protected]
MARCH 1999 PAGE 5 .- OUR FESTIVALS IN ITALY' , 3 Cheersfor Todi ° February 11~19, 2000 . '3 Cheersforld._()nniita_o Apri117 -26, 2000 . 3~Cheers for Pamzil. 'Juijq~ 11; 2000 Choirs ofall ages - Come join us for an inspil1!d Choirs ofhigh school age - Come join us fol' Choirs ofall ages - Come join us worllshop to sing Gospel music with an enchanting event to sing selected pieces with fol' a magical Millennium Fuss. Conductor/Clinician Geoffi-ey Dana Hicks. Conductor/Clinician Dl: fen]' fonlan ofOle Miss. Conductor/Clinician to be announced.
Central HoliCiaYS CONCERT TOURS
For more information on our Italy Festivals, or to arrange your private customized tour anywhere in Europe, call your travel agent or Ida Dunham at 1.800.511.1194 or fax at 617.566.3262. e-mail: [email protected] "",' ~ , -- ~ . HAVE You SEEN WHAT'S NEW? . ~~~~ UNIVERSITY PRESS . . Bob Chilcott TODAY, THIS SPRING DEATH SHALL NOT DESTROY MY COMFORT Upper voices and piano Mixed voices and piano four-hands BUFFALO GALS 386040-6 $2.50 386051-1 $2.25 For mixed voices and piano 343231-5 $1.50 (tentative) IN MONTE OLIVET! Scott Nathan Louis Tenor solo and mixed voices GREEN SONGS ALL THE PRETTY LITTLE HORSES unaccompanied Four songs on environmental themes Upper voices and piano 386099-6 $1.85 Upper voices and piano 386144-5 $1.50 342631-5 $2.50 (tentative) LORD, WHEN THE SENSE OF SARAJEVO THY SWEET GRACE PEACE MAss Upper voices and piano Mixed voices and organ Upper voices and organ 386145-3 $2.00 386062-7 $1.60 351688-8 $6.50 SAINTS BOUND FOR HEAVEN Gerald Cohen Joel Martinson Mixed voices and piano four-hands CHRIST IS OUR CORNERSTONE 386056-2 $1. 75 BEl ANA RACHEITS Mixed voices and organ (In God do I put my trust) WE'LL SHOUT AND GIVE HIM GLORY 386178-X $1.60 Solo voice with mixed voices Men's voices and piano four-hands unaccompanied I WILL EXALT YOU, 0 GOD 386059-7 $2.25 386163-1 $1.50 Mixed voices and organ Mixed voices and piano four-hands $1.75 386058-9 $2.25 HINEI MA TOV/SHAALU SH'LOM 386179-8 Y'RUSHALAYIM HYMN CONCERTATO: WHEN MUSIC WAKES Solo voice with mixed voices MY SLEEPING HEART David Willcocks unaccompanied Mixed voices, congregation, organ, and FEAR NO MORE THE HEAT 0' THE SUN 386158-5 $1.40 opt. brass Upper voices and piano 386101-1 $2.75 342638-2 $1.20 LIBAVTINI ACHOTI CHALA (You HAVE CAPTURED MY HEART) fuLL FATHOM FIVE Solo voice with mixed voices and piano Kevin Riehle Upper voices and piano 386159-3 $1.40 A CELTIC PRAYER 342639-0 $1.20 Mixed voices and organ IT WAS A LOVER AND HIS LASS 386082-1 $1.30 Libby Larsen Upper voices and piano I JUST LIGHTNING SHENANDOAH 342637-4 $1.20 Upper voices and percussion Mixed voices, flute, oboe, bassoon, and 386044-9 $2.50 piano UNDER THE GREENWOOD TREE Upper voices and piano 386167-4 $1.50 I WILL SING AND RAISE A PSALM 342636-6 $1.20 Mixed voices and organ 386043-0 $1.85 Frank Sargent, arr. WHO IS SILVIA? Upper voices and piano THE STAR-SPANGLED BANNER INVITATION TO MUSIC 342606-4 $1.20 Mixed voices and piano For unaccompanied mixed chorus 386070-8 $2.50 386165-8 $1.20 SO BLESSEDLY IT SPRUNG Mack Wilberg Mixed voices, oboe, viola, and harp Complimentary inspection copies of 386129-1 $2.85 COME, THOU FOUNT OF EVERY BLESSING any five of the above titles are available Mixed voices and organ on request. Circle your choices on a 386060-0 $1.75 copy of this advertisement and send to the Music Department at
OXFORD UNIVERSITY PRESS 198 Madison Avenue, New¥ork, NY 10016 Disney's Candleligh~ Processional and Massed Choir Progratn November 26 through December 30, 1999 Disney Magic Music Days is seeking outstanding high school and university choirs to sha're in the spi'rit of this spectacula'r Disney holiday t'radition at Epcot® at the Walt Disney World®Reson in Florida, Disney's Candlelight Processionitl is a beautiful and inspi'rational presentation of the Ch'ris~'llJI}~;stQ:ry that features joyful '11Zusic, a celebrity na'rtl}t01, a~zassed,chQi'l, and a ),O-pieceJDi~1Je~707ffhi~£;;J) -. -. -"'>- .: .~ ,. -. .', .- <, ~ .:-:. ....:..... To 'receive an a~{litidn/ippliiation, please contact Disney Magic Music Days at 800-833-9806 O'r call yoU'll' student u'avel planner, Score Study: A "Magical Eye" for Musical Blueprints
by John Dickson
There I was, standing in the middle of a crowded shopping vision of the music. Unpacking the score, layer by layer, must mall, gazing cross-eyed at a multicolored image while my son occur, until the complete picture is revealed. Yet little in a exclaimed, "Come on, Dad, can't you see the 3-D Statue of musician's education can completely prepare the conductor for Liberty?" Later that week I returned to the shop, purchased the such a task. (Score study is the conductor's most personal and Magic Eye book, and retreated to the privacy of my office. private activity. It is that mystical time when an intimacy of After what seemed hours of frustration, I placed the picture artistic understanding is forged between conductor, poet, and against my face. Slowly moving it away without looking spe composer.) cifically at anyone pattern, the image opened before my The purpose of this article is to remind the conductor of the very eyes. Like a three-dimensional shadow box, there stood complexities and thoroughness of this multilayered analytical the great lady in all her Technicolor detail. process called score study. The conductor's task is nothing less So what does this have to do with score study? Only a basic than total absorption in the composer's vision of the art work, principle-the art work was there all the time; I just did not the translation of musical and textual elements into a multi know how to find it in all the detail. Like going to a 3-D movie dimensional art work in sound, and the development of a without the special glasses, I was looking at the picture, but the rehearsal strategy for the most effective and efficient ways to images were distorted and blurred. I did not know how to recreate the art work. envision the art work. Score study can be just as frustrating and intimidating. Stage I: Developing a Vision of the Score Much like a master-craftsman who realizes the architect's Sometimes we get lost in details and miss the real picture. vision, the conductor's first task is to envisage the composer's Sometimes we are uncertain what to look for. If only there creation. Like any creative artist, the architect is able to visual existed a Magic Eye that would instantaneously reveal the full ize the art work in its entirety and then draft all the specifica picture of the music. Unfortunately, to really know the music, tions, dimensions, and symbols necessary for completion of the there is no substitute for discipline, thoroughness, and creative project. But if the blueprints are then entrusted to a less than VlSlOn. capable craftsman who lacks the talent to interpret every detail Given this monumental task, the conductor must employ of the diagrams while maintaining the gestalt of the creation, the necessary tools and techniques of the craft to develop a the final art work remains unrealized or distorted at best. However, in the hands of a master-craftsman who possesses John Dickson is Visiting Fellow Wolfson College, Cambridge both technique and vision, one-dimensional blueprints of facts University, Coordinator for Conducting Studies, and Associate and figures can be transformed into three-dimensional art Dean for Doctoral Studies at The School of Church Music at works. So the conductor must, through craft and imagination, The Southern Baptist Theological Seminary, Louisville, set free from the page the blotches of ink and form them into a Kentucky. multidimensional art work in sound.
MARCH 1999 PAGE 9 To develop a vision of the choral score, taste the words, savor the flow of syntax, one must go through the same creative It is also important to and digest word interplay and associa process as the composer went through tions. when creating the work. The whole point take time to taste the Although reading a text may offer in of score study is to get as close as possible spiration, the composer most likely moved to the composer's vision of the work. words, savor the flow of beyond the initial inspiration to a critical analysis of the poems structure. Beyond Levell: The Text syntax, and digest word obvious stanzaic divisions within a poem, The temptation to pick up a choral structure is often defined by parallel and score and give immediate attention to the interplay and opposite themes. Literal recapitulation of music is great. However, the initial inspi text establishes some type of tripartite ration for most choral music comes from associations. form, but more subde repetitions of even the words. Quite often, these words ex single words can create a sense of reca isted in poetic or other textual art form pitulation. prior to any musical associations. If the thought. But a text must be dissected as It might be helpful to discuss this pro beauty of language, poetic structure, tex carefully as any musical analysis, if the cess of structural analysis in light of a tual meaning, and aesthetic expression in inspiration behind the music is to be un specific poem. For example, in Gerald spired musical ideas in the mind of the derstood. The exegesis of a text involves a Finzi's Lo, the Full Final Sacrifice, con composer, then it is incumbent upon the critical analysis of its meaning, structure, structed from Richard Crashaw's versions conductor to absorb the literary art form and expression. It is helpful to read the of the Hymns of St. Thomas Aquinas: first. poem separate from its musical context. Adoro Te and Lauda Sion Salvatorem, the Simply to read through a text evokes Reading for comprehension is necessary, poem appears through-composed at first images, stirs imagination, and stimulates but it is also important to take time to glance (ABCDEFG). However, a more careful look reveals a large palindromic LO, the full, final, Sacrifice final sacrifice; Christ structure (A B C B A), based not on On which all figures fix't their eyes. recapitulated text but on theme, with the / A a The ransomed Issac, and his ram; old sacrifices; Issac, return of the broad B complexes defined The Manna, and the Paschal Lamb. manna; Paschal Lamb by the transubstantiation of Christ's Eu Jesu Master, just and true! main theme: J esu charist. Figure 1 shows the poem with \ Our Food, and faithful Shepherd too! "Our food" marginal notes based on a structural and textual analysis. 0 let that love which thus makes thee counter theme: The general message of the poem is Mix with our low Mortality, Eucharist the ultimate sacrifice of Christ on the cross. The opening A section refers to / Lift our lean souls, and set us up b Convictors of thine own full cup, past offerings: "the ransomed Issac, and Coheirs of Saints. That so all may his ram," "the Manna," and "the Paschal Drink the same wine; and the same Way. Wine Lamb." But the final sacrifice that over Nor change the Pasture, but the Place shadows all, and "on which all figures fIX't B \ To feed of Thee in thine own Face. their eyes," is Christ's sacrifice. And in the ensuing two lines beginning, "Jesu 0 dear Memorial of that Death Master," the name of Jesus is confirmed Which lives still, and allows us breath! and the countersubject, that of Christ's Eucharist-"Our Food," is introduced. / Rich, Royal food! Bountiful Bread! c Whose use denies us to the dead! Bread If Section A introduces the central theme of the work-the sacrifice of Live, ever Bread ofloves, and be Christ, then the large B complex, consist \ My life, my soul, my surer self to me. ing of Sections b and c, introduces the counter-the me-communion. The "Co heirs of Saints" are admonished in Sec Help Lord, my Faith, my Hope increase; Petition tion b, that "all may drink the same wine" / And fill my portion in thy peace. and "feed of Thee in thine own Face." d Give love for life; nor let my days Section c offers the bread, "Rich, Royal ~ Grow, but in new powers to thy name and praise. food! . . . Whose use denies us to the (Continued on p. 11.) dead!" Figure 1. From Richard Crashaw's "The Hymn of St. Thomas in Adoration of the Blessed In both sections, parallels are drawn Sacrament," Adoro Te and Lauda Sion Salvatorem. Appears in Gerald Finzi, "Lo, The Full, between the past sacrifices of Section a Final Sacrifice," © 1946 by Boosey & Hawkes. Reproduced by permission. and the Eucharistic elements of Sections
PAGE 10 CHORAL JOURNAL b and c. The Paschal Lamb, representing thine own Face," to a face to face encoun shades shall chase, and for thy veil give Christ's atoning blood, becomes the com ter with God, "When Glory's sun faith's me thy Face." The veil is an allusion to munion wine. The Manna, the Bread of Christ, becomes the "Royal Food." The core of the palindrome encom passes Sections d and d'. Following com munion, a personal petition for faith, hope, and love is voiced. The individual's response evokes the most intimate mo ment. And out of the ashes of humility Custom Concert Tours and petition, Royal Sion rises to sing. Experience in over 40 countries on 5 continents! The structute of the poem then begins to turn inside out as the communion You prepare the MUSIC theme is fulfilled in the transubstantia tion of the body and blood of Christ. We'll prepare the WORLD! Whereas Crashaw began with the wine Tuscany International Children's Chorus Festival and then the bread in the first B complex, he now reverses the two and recapitulates Doreen Rao 1999 July 5 -11 the bread and then the blood in this sec Henry Leek 2000 July 3 - 9 ond B complex (Sections c' and b'/a). Jean Ashworth Bartle 2001 July 2 - 8 The "Royal Food" of Section c is trans formed into "The Bread of Life" in Sec Musica Mundi, Inc. tion a. The cup of wine in Section b is 101 First Street, Suite 454 • Los Altos, CA 94022 1-800-947-1991 literally changed into "that blood, whose Phone 650 949 1991 • Fax 650 949 1626 E-mail: tours@musicamundLcom http://www.musicamundi.com least drops sovereign be to wash my worlds of sins from me," in Section b'. Crashaw, having pictuted the comple (Figure 1, continued from p. 10.) tion of the sacrament through the trans C / Rise, Royal Sion! rise and sing Call formation of the body and blood of Thy soul's kind shepherd, thy heart' King. Christ, moves from sacrifice to the Stretch all thy powers; call if you can believer's ultimate reward. The last half of d' Harps of heaven to hands of man. the final stanza should be labeled Section "" This sovereign subject sits above .PI. because of the recapitulation of three "" The best ambition of thy love. word s: "eyes, " "d'nn k" an d"f:ace. "The "eyes" of Section a "on which all figures Lo the Bread of Life, this day's Recapitulation of fix't their eyes," has now been transformed Triumphant Text provokes thy praise. countertheme into the eyes of Christ, "When this dry / c' The living and life-giving bread, Transubstantiation soul those eyes shall see." In Section b all To the great twelve distributed of Eucharist: were encouraged "to drink the same When Life, himself, at point to die "Royal Food" for wine." Now able to share communion's \ Oflove, was his own Legacy. "Bread of Life" wine with Christ in heaven, the faithful B may "drink the unsealed source of thee." 0 soft self-wounding Pelican! ' Wine for And finally, Crashaw ends with the key Whose breast weeps Balm for wounded man. "sovereign blood" word, "Face." All this way bend thy benign flood The final line of Section b, "To feed of / b'la To'a bleeding Heart that gasps for blood. Thee in thine own Face," is reminiscent That blood, whose least drops sovereign be of Bernard of Clairveaux's hymn, jesus, To wash my worlds of sins from me. the very thought ofThee -"but sweeter far A' Come love! Come Lord! and that long day Recapitulation of 3 thy face to see and in thy presence rest." For which I languish, come away. words: "eyes," It is in this final moment that Crashaw's When this dry soul those eyes shall see, "drink," "face" depiction of the believer's triumphant so And drink the unseal'd source of thee. journ is fully realized. In the same context When Glory's sun faith's shades shall chase, as the Apostle Paul's statement that "we And for thy veil give me thy Face. Amen see through a glass dimly, but then face to face," the believer is transported from ini Figure 1. From Richard Crashaw's "The Hymn of St. Thomas in Adoration of the Blessed tial status as a "Coheir," albeit participant Sacrament," Adoro Te and Lauda Sion Salvatorem. Appears in Gerald Finzi, "Lo, The Full, in communion who "feeds of Thee in Final Sacrifice," © 1946 by Boosey & Hawkes. Reproduced by permission.
MARCH 1999 PAGE 11 the veil Moses wore after coming down example. Poetic imagery gives way to a setting can be anticipated with greater from the mountain with the Ten Com clearer understanding, as (in the case of understanding, depth, and insight. mandments. Moses had encountered the the Crashaw poem) biblical parallels are "Glory of God," and his face shone with drawn, as themes become more obvious Level 2: The Music a "shekinah" radiance. But it began to and punctuated, and as words begin to Now the task is to employ the same fade as he descended the mountain, so he inherit more identity and individual color, critical methods to uncover the composer's veiled his face in an attempt to retain the structure will reveal itself If one were creation of a musical structure to support "God's Glory." Crashaw suggests that be to continue with a musical analysis of a text. cause of the full, final sacrifice of Christ, Finzi's setting, thematic repetitions, mu A conductor's approach to score study the believer is ultimately able to exchange sical recapitulations, and a host of other is often an organic process that takes years a veil for the very face of God. musical parallels would support this struc to develop. Following an initial "read To analyze poetic structure one must tural analysis of the poem. through" of the music, this process be look beyond obvious textual repetitions Therefore, a critical study of poetic comes highly individualized. Rather than and general message; the conductor must structure reveals textual form, theme, suggest any chronological or hierarchical make a critical interpretation of the text. meaning, expression, color, and tone. approach to the music, two processes This exegesis requires turning the poem Once the conductor has thoroughly in that should give greater vision into a "inside out," as demonstrated in the above gested the text, the composer's musical composer's musical structure will be dis cussed. The first is a method of score analysis taught by the late Julius Herford of Indi ana University. lOver the years this sys die da Leid tra gen, denn sie tem has provided conductors with a : consistent way to absorb the detail of the A musical score and to identifY the macro ------cosm of the musical structure. L"te~id~~=:===~tr~a==-~!g~en, denn sie In this system every measure of music
- = ~ is accounted for in terms of function, and T how it functions in relationship to theme, harmony, orchestration, texture, etc., re se - Jig sind, _ die da Leid _____ tra gen, denn sie veals the inherent structure of the music. B l~~~e~~~r~es~~~~~~~~~~~~~~~:~~~~~~~~~~~~~ For example, the first theme of the first '-' movement of the Brahms Requiem is a se Jig sind, die da Leid tra - gen, denn sie symmetrical antecedent-consequent A phrase of eight bars, grouped as four plus ,..;'" p p~>------four. However, more careful consideration eJ reveals a ten-measure phrase, which in sol - len ge - tra -stet ~ den, se - p p~>- cludes a two-measure cadential extension " that is later transformed into a unifYing structural device, ultimately functioning eJ ---- '-/ ~ .. rJ U ... sol - len ge - tra - stet, ge - tra -stet wer - den, se - as the "glue" that connects the recapitu " p p~>- lated A theme to the coda (Figure 2). Harmonic function can also impact I phrase grouping. In the same movement sol - len ge - tra -stet, ge - tra -stet wer - den, se - " p p~>- Brahms recapitulates the introductory : material for a third time but in the key of i' --" I - ~ Db Major rather than the anticipated sol - len ge - tra- stet, ge - tra -stet wer - den, se - tonic of F Major. Because the harmonic " Fl./"I'I A function is inappropriate for true recapitulation, the phrase grouping is eJ I I I truncated with only four bars of the in p -c:::::::::::::::=- W SIr. troduction stated (Figure 3). Any musical u.Hom. I I I I J j ! : l element can affect phrase groupings. The 11 .... challenge for the conductor is to determine t .. ~~ft which elements directly impact the shape of the structure and which ones do not. Figure 2. Johannes Brahms, Ein deutsches Requiem, Opus 45. After every measure is analyzed accord © 1869 by C. F. Peters. Reproduced by permission. ing to musical elements and function, the
PAGE 12 CHORAL JOURNAL ************************************ = Plan now to attend the annual . = i UCLA i * * = SUMMER CHORAL WORKSHOP = = on the beautifully wooded UCIA campus in Westwood = * with * =* DONALD NEUEN =* * Professor of Conducting and Director of Choral Activities * = PLUS GUEST CLINICIANS: = * Paul Salamunovich, Conductor, Los Angeles Master Chorale * * Alexander Treger, Conductor, American Youth Symphony * * Timothy Mussard, Head, UCLA Voice Department * =* TWO WEEKS: JULY 19 - 30, 1999 =* = Positive, Supportive, Motivating, Practical, Intense Hard Work = ! TWO FULL-CREDIT COURSES ! * (take one or both for credit or non-credit) * ! CHORAL TECHNIQUES CHORAL CONDUCTING ! : (MORNINGS) (AFTERNOONS): ~ -Developing an exciting choral sound ·Practical concepts of artistic musical conducting ~ * oRhythmic interest, forward motion, & phrasing oInstrumental techniques for the choral conductor * * ·Section characteristics, problems, & solutions oBecoming a true reflection of the score * * -Diction, projection, & communication -Intensified conductorial communication * ~ -Unified vowel formation & tone color -Beat patterns and styles that really work ~ : -Score study, analysis, & preparation -Rehearsal techniques & related topics : ~ -Rehearsal techniques, pacing, & planning -Mixed meter conducting ~ * -Vocalizing & warm-ups -Understanding the needs of your forces * * -Breath support & control -Videotaped analysis of your work * ** DONALD NEUEN brings to this workshop his Write to: ** * extensive experience plus his private study with Summer Choral Workshop * RobertShaw, Roger Wagner, Julius Herford, Alfred UCLA Department of Music * Mann, Lara Hoggard, and many other prominent Schoenberg Ha1l- Box 951616 * * conductors and musicologists. Los Angeles, CA 90095-1616 * * (310) 825-4036 * * DeL 11 * ************************************* * structure reveals itself through thematic changes, performing medium, and count thorough process. groupings, harmonic shifts, textual less other elements uncovered in this It is helpful to mark this phrase group analysis below the staff. Place a number indicating the total number of measures ""'" in a "section" and then in parentheses, ~ vv break down the phrase groupings within Se - Jig a section (Figure 4). 11 pp Once all measures are accounted for, go back and mark the larger sections and ~ b:e: ~ Se - lig themes at the top of the page. " pp Even if this were the only procedural analysis of the score, the conductor should ~ ben. Se - Jig be able to close the score and recite from pp : memory a measure-by-measure OJ tual structure and comparisons, changes 1 v)t_ 1717 I~ 1 iu8- pp of orchestration, thematic material in key Vel/. : ~~ : voices, textural shifts, and so on. The key to this holistic absorption in the music is rrrr rrrr rr.. rr. r rrr r the process of wrestling with every mea sure of the music in determining func Figure 3. Johannes Brahms,--- Ein deutsches Requiem, Opus 45. tion, not dissimilar to the composer's task. © 1869 by C. F. Peters. Reproduced by permission Once the sections and themes are la beled and each measure is functionally interpreted, it is time to fully mark the Twenty-eight measures score. The second process in musical struc tural analysis is the development of a sys m. 19-28 (4+4+2) + m. 29-46 (8+8+2) tem of color coding for marking the score. Although many conductors participate in A theme A theme! expanded this activity, one of the best systematic Figure 4 approaches can be found in the Choral Journal interview with the late Margaret Hillis, conductor of the Chicago Sym phony Chorus, in which she explained her system of color coding.2 The author recommends using this sys Master of Music tem as a guide with the assumption that conductors will make their own adapta in Music Education tions. Begin by color-coding the themes with [(odaly Emphasis rather than labeling sections, because there is the chance the concept of structure Holy Names College, located in the San Francisco Bay Area, offers may change during this process. The this unique graduate program. Hungarian master teachers join experienced American faculty in the teaching and supervision of choice of color is arbitrary, but if one uses students. The degree may be completed in one year. Classes begin mostly primary colors for expression with the HNC Kodaly Summer Institute, June 28 - July 16, 1999. marks, dynamics, and other material, use Study in other OAKE-endorsed summer courses may be transferrable. alternative colors for thematic marking. • $6,000 Kodaly Fellowships are available for 1999-2000. The significance of color coding a theme • APPLICATION DEADLINE: MAY 1, 1999 is to consistently mark that theme, wher Holy Names College receives more requests for graduates of our ever it appears, with the same color. A Kodaly Program than we can fill. colored bracket at the beginning of the theme is cleaner than highlighting the HOLY NAMES COLLEGE entire line. If a theme begins in the choral Anne Laskey, Director of Kodaly Program 3500 Mountain Boulevard, Oakland, California 94619 voices and then appears in the wood Phone: 510/436-1234 Fax: 510/436-1438 winds, identification of thematic material is immediate by marking both passages PAGE 14 CHORAL JOURNAL with the same color. If it is fugal and the important passage or solo theme. If the "Theme 1," include this in parentheses. countersubject is marked with a different trumpets have been tacet for the past Use two red lines for double bars and a color, it is easy to see the interplay of the thirty-:-two bars, a red "Tpt" is useful. If yellow pencil to show divisions, if more two themes throughout the texture. there are fugal entries in the strings, a red than one unit of staves appears per page. Once the themes are coded, color-code 1, II, III, or N to designate the correct The truth is that the process of color expression and dynamic markings. A sys instrument within the quartet, can clear coding is of greater value than the final tem of "hot to cold" colors is helpful. up the counterpoint. product. Much like the phrase grouping Finally, it is time to mark the broader analysis, the significance for the conduc pp and quieter green sections, but not before a look through tor lies not in the ability to reference p blue the score again. Label each section with a markings during the actual music mak mp yellow large red letter. If there are further dis ing, but the knowledge gained through mf orange tinctions, such as "Introduction" or the detailed analysis and marking. By f and louder red Mark over the dynamic marking with the corresponding color and mark it in every voice or instrumental part. If it is a full orchestral score and if tutti orchestra and chorus lead up to a fortissimo climax, take time to mark 'Jf" up and down the score. The colors are most helpful in grading dynamics. Dynamics and their changes are shaped by the textual and musical elements with which they are associated. Some places marked piano are more in tense than some marked forte, and some 1'odnelf 2lchen6ef[~ef[ places marked crescendo are relatively small increases in sound. Dynamics are more Lynn Bielefelt, Sandra Stauffer than an issue of decibels. A color-coding system allows a con text for a crescendo or diminuendo. If it is a crescendo that begins "p" and climaxes at "mf" the first portion could be drawn blue, the extension of the line yellow, and the completion orange. This graded dy namic assists the conductor in pacing the crescendo or decrescendo. Other expression marks, such as tenutos, time-word expressions, fermatas, etc., are highlighted in red. Any tempo changes are also in red, and a squiggly line is effective for ritardandos. Placing the squiggle slightly before the precise moment the ritardando begins, helps an ticipate and pace the tempo change. If it is an orchestral score, the high lighting ofimportant instruments is help ;)ollt us: fllso II1o'lkshops lit: ful. Having color-coded the thematic International Festival of Concerts Strings Scottish Folk Dance, Mouth Music material both in voices and instruments, Orchestral Conducting Academic Credit Available Piano the conductor identifies the most impor Tax Deductible General Music tant instrumental passages. Further study Optional trips: Edinburgh, Scottish Isles Jazz Improvisation will reveal instrumental material function ing as harmonic support, melodic motifs, or "filler." In addition to thematic color _ DeRt Ml, 187 AqQa View Drive, eedarBurg, WI 53012 USA: : .. Tel: 414 3711062; Fax: 414 3111096; E-mail::[email protected] ' ing, it is suggested, for example, that "CD' , eheck out, our ;Website: www.intemational~vorkshops.org! be marked in red when the clarinet has an MARCH 1999 PAGE 15 traveling so carefully and thoroughly exists only in time and notate it so future imagination. The score is studied, marked, through the score, the conductor has com generations can recreate the original art and memorized. Now it is time to em mitted it to memory and needs only the work in sound. ploy a different aspect of the conductor's most occasional glance for reference. From his sketchbooks and scores it is vision, the prioritization of musical ele At this point the conductor has jour evident that most of Mozart's music was ments and their realization in sound. neyed far into the score, stopping to ana already fully composed in his head before lyze text, absorb poetic structure, analyze he ever notated it. No system could ever Level 3: The Prioritization of measure groupings, interpret overall form, fully reveal the sound of the music Mozart Musical Elements and Their mark and color-code the score. Though heard in his head-the particular tone Function there is still much to consider when tak quality; the apex of a crescendo, the bal One of the most significant consider ing a comprehensive approach to score ance bf a counter-subject, or nuances of a ations when translating musical and tex study, a vision of the composer's score phrase. The truth is the musical nota tual elements into sound is function. For should begin to emerge. tional system is, at best, a most inexact all its ability to indicate specific pitch, notational blueprint of the original art rhythm, harmony, and instrumentation, Stage II: Translating the work. the notational system is inadequate to Musical and Textual If this blueprint, with its complex sys convey function. This task remains the tem of representational symbols, is only primary responsibility of the interpreter. Elements into Sound an approximation of the music, then be Therefore, if the conductor does not un Sound on paper is a fascinating and yond the technical proficiencies of score derstand the way in which a vocal line, a brilliantly creative process. It must rank. reading, it is incumbent upon the con harmony, an instrument, a tempo func as one of humankind's greatest achieve ductor to develop an innate sense of tonal tions, the sound cannot be replicated in ments-this ability to take an art that its truest sense. If one cannot imagine a IE] sound, rarely will that sound be repro .,I" duced . Defining the function and prioritizing ~ GIo-ri-fi - ca - mus Ie. Gra - Ii - as a gi - mus Ii h! pro - pIer ma- the importance of musical elements give " the conductor focus. More often than not, eJ v the conductor will discover one musical Glo-ri - fi - ea - mus Ie. Gra - Ii - as a - gi - mus Ii element that supersedes the others as the " driving force behind any particular pas ,; Ie. Gra - Ii - as a - gi - mus Ii hi ;r sage. The focus may shift from one ele " / .;-;. ment to another through the course of a ,; work but one element, most often, can be Ie. G;r;-! - mus Ie. Gra - Ii - as a - gi - mus Ii hi '\ ~ pIer ma fl h", '\~ -j.. .• ? singled out at any given moment. To fo cus on this is to gain more insight into Glo-ri-fi - cam - mus Ie. pro - pIer ma- the composer's primary compositional tool for that moment of music. I I I I For example, in the Gloria of Ie. Gra - Ii - as a - gi - mus Ii hi Palestrina's Missa Papae Marcelli, the pri mary element that creates the general char acter of the music is texture. Harmony, ~ anam glo-ri-am lu am. De - us rhythm, melody are all present, but they ,," r-;- are not the focal point of the music. It is the interplay of the vocal counterpoint am. Do - mi-ne De - us, Rex cae Ie stis, and the variety of textures that create the interest. The conductor's challenge in the .. .. / Do - mi-ne De - us, Rex __- __ cae-Ie - stis, score study process is to dissect each line of counterpoint and piece together the ,; gnam glo - ri - am ____\''\ tu - am. De - us interplay oflines and motifs. What makes f!c' .. "tIt . "L? '\ sixteenth-century polyphonic music so challenging to conduct is the seamless gnam glo-ri-am _____ tu - \.n. Do - mi-ne De - Js, Rex De - us nature of the texture. What distinguishes '""....? fL' ...... Palestrinian counterpoint is the flexibility of each line to take on various functions Do - mi-ne De - us, Rex ____ cae-Ie - stis, while maintaining its own elegance and Figure 5. Giovanni Pierluigi da Palestrina, Pope Marcellus Mass, Norton Critical Score, Lewis grace. Consequently, to really know this Lockwood, ed. © 1975 by W. W. Norton & Company. Reproduced by permission. music and to really conduct it, the PAGE 16 CHORAL JOURNAL conductor must go beyond stereotypical more colorful tone. The cadential voice is of the line is the beginning of tonal imagi line "arch shapes" and head-motifs. The usually the most significant line. The alto nation and, ultimately, the translation of key is the clear understanding of the func should begin the line with warmth and the musical element into sound. tion of each line in relationship to the fill out the tone as the line moves to the Perhaps one of Faure's most sensuous counterpoint. leading tone cadence. The flourish of the and languishing melodies opens the Agnus For example, a line can sometimes duet will come through the texture be Dei of his Requiem. Although the move function harmonically as a foundational cause of the rhythmic diminution. ment begins by emphasizing melody, its voice or harmonic underpinning. Its func Comprehending the function of any ultimate structural focus is harmony. Fol tion can shift to melody as an embellish given line within the contrapuntal tex lowing the threefold petition of "Agnus ment or flourish, or as thematic or motivic ture breathes life into that line and deter Dei," he suspends "lux aeterna" on a C, material. It can also serve as a cadential mines not only its contextual balance but and in that moment the melodic empha voice leading the entire counterpoint to also its tonal color. As suggested in the sis gives way to a harmonic destiny. This cadence. Voices can function in ensemble above example, more presence of sound sudden visitation of heavenly light ap as duets or trios and within that context should be imparted to a cadential line pears transcendent; unencumbered with can further function in a harmonic or carrying the leading tone. A richer color earthly music, this single note hovers melodic context. These and other func should characterize melodically embel above in halo-like fashion (Figure 6). tions depend entirely on the relationships lished lines or themes, while duet voices Initially, the function of the harmony within the texture. or lines that function as harmonic under is circular in nature. Faure filters the light A brief example from the Gloria dem pinning should sound more hollow and through a cycle of third- and fifth-rela onstrates the inner relationships within less colorful. Understanding the function tion chords whose stasis harmony slowly the contrapuntal texture (Figure 5). Following the hymn-like blocks of Ii] Lux ___ ae - ter - na lu - ce - at e is, lu - ce - at sound set to the "benedicimus te, @1l Light -- per - pe - tllai shille_ lip - 011 them. shine_ lip - .."." P 1 dolce sell/pre 1 1.... •.. ·1 adoramus te, glorificamus te," Palestrina 1 1 1 1 I I ...... 1 thins out the texture and planes down the harmony in a simple three-voice state ppl I I I I I I -T ( ment of the "propter magnam gloriam Lux ae - ter na lu - ce - at e IS, Light per - pe tlla! shille_ lip - Oil them. tuam." The leaner texture and quite simi lar rhythmic construction focus reveren L~ J b,~ J ~J:...... J J lIJ J tial attention on the simple harmonies. But all voices are not equal. The soprano pp I I I I and bass I are set in duet, moving to Figure 6. Excerpt from Requiem by Gabriel Faure and edited by John Rutter. gether in parallel thirds. The tenor II, © 1984 by Hinshaw Music, Inc., Chapel Hill, North Carolina 27514. Used with permission. though similar in rhythmic construction, is slightly less active. It supplies mostly the fifth of the chords and functions as a harmonic support voice for the duet. The tone for all three voices should be more ~,f&1b "hollow," with the duet slightly predomi nating. WITTE TRAVEL The ensuing "Domine Deus, Rex Specializing In coelestis" is adopted by the previously in Custom-Designed active voices, alto, tenor I, bass II. Bass I Tours For Choir & is the only continuing voice, but it changes function, exchanging its prominent role Choral Groups as duet voice for a subordinate role in harmonic underpinning. Two primary United States • Canada functions exist in this new four-voice tex ture: tenor I and bass II are in duet, plan Europe • Scandinavia ing each other in parallel thirds, and the Great Britain alto serves as the cadential voice. Though this is the second duet in parallel thirds, the "kingly" text demands more flourish. 3250 - 28th Street, S.E. Unlike the previous duet that appears to Grand Rapids, MI 49512 function more harmonically, this duet as (800) 469-4883 sumes a melodic embellishment and should be sung more linearly with a richer, Wherever you journey, let us be your guide. MARCH 1999 PAGE 17 settles, only to return to its initial Ab orchestration will prevent a premature major harmonic base. The progression is surge into the recapitulation. restated, but on this second pass the har Knowing the function of An exhaustive study into the monic cycle gathers momentum, over prioritization and functionality of each of comes the harmonic forces that would the orchestration can the musical elements is too extensive for recycle it into perpetual stasis, and com this article. The above examples simply pletes the climax of the movement by aJ7ectstructural demonstrate the conductor's responsibil cadencing in A major. This harmony func ity in determining the most influential tions as a half cadence for the recapitula interpretation. element in any given moment of music tion of the opening "Requiem" in D minor. and then initiating an intensive examina One final harmonic twist and Faure ex tion of how the elements function within changes the initial D-minor statement for Previous score study should have identi the context of the music. its anticipated resolution in D major. fied the function of an instrumental sec In this example, an understanding of tion. Beyond sectional function, the Level4: The Union key centers is insufficient to effectively conductor must know the color capabili of Text and Music shape the direction of the movement. ties of each instrument and its functional The final approach to this second stage What began as a focus on melody shifted context. For example, in nineteenth-cen of analysis is to examine the union of text to an emphasis on harmony, first by es tury literature, horns sometimes associate and music. Now that both text and music tablishing a tonal stasis, leading to an with brass and sometimes with the wood have been independently analyzed, it is escape from harmonic entrapment, seek winds. Brahms also substituted bassoons essential that the conductor investigate ing rest in harmonic recapitulation, and for horns in passages where the valveless this wedding of elements. ultimately resolving the structural har horns could not play the notes. It is important to consider a number monic puzzle. Faure's harmonies seem to Knowing the function of the orches of questions when evaluating the mar function less out of classical schemata and tration can affect structural interpretation. riage of text and music. How does the more out of an organic sense-they grow In the first movement of the Brahms Re music enhance the text? Does the rhythm out of one another. The climax of the quiem, Brahms suggests a false recapitula conform to natural speech inflection? Is entire Requiem and its structural symme tion by a return to the A theme in the the melodic line effectively shaped ac try in recapitulation will fail unless the orchestra but without the voices who cording to the flow of syntax? Are the conductor comprehends the function of originally stated the theme. Four mea harmonies reflective of certain descriptive Faure's "organic" harmony. sures later a full recapitulation occurs in words, and are the keys indicative of the In any accompanied choral work, the the tonic key, with orchestra and voices character of the text? Is the musical struc conductor must determine the function stating the A theme as in the beginning. ture sympathetic with the poetic struc of instruments and orchestration. A functional understanding of the ture? Is the drama of the text appropriately paced through the various tempi? These and countless other questions should be EASTMAN considered when evaluating the marriage SCHOOL OF MUSIC of text and music. The value of this as UNIVERSITY OFROCIlESTER sessment provides the conductor with an overview of the composer's creation and allows a step back to view the full "can Middle School Choral DirElctclf!;f.1N.orkshop vas," after so much concentration on the July 6-9 "brush strokes." Susan Wharton Conkling Take, for example, the preparation of a Choral Conducting WOlrkslloR] D",::~: Bach Passion. Having thoroughly devel July 12-16 ~'i""'f;"::\-"-".:c= .",' 1-'- ... William Weinert and David oped a critical interpretation of the text, Choral Conducting: Artistry, framed the dramatic story around the vari Musicianship, and Reflective· ous characters, sketched out the length of July 19-23 I' scenes, established the different time pe William Weinert, Robert Mciver,; Susan Wharton Conkling, Monica Dale riods and settings, and completed a thor ough musical analysis in the same detail, I then compare the two structures, tex tual and musical, looking for parallels and contrasts. Because the passion settings are bibli cal stories, it is imperative for the conduc tor to pace the work as a series of unfolding events. Therefore, my final PAGE 18 CHORAL JOURNAL markings involve scene headings over a music. The most carefully prepared score One should always begin with the complex of movements. The St. John Pas for rehearsal and the most effective re composer's suggestion, if one exists. Be sion, following the opening chorus, be hearsal techniques cannot compensate for yond this, harmonic rhythm, text, small gins with "The Betrayal." I also write in a thorough understanding of the music. est rhythmic unit, and other musical changes of personages or crowds. The con If a conductor knows the work, methods attributes that might suggest a particular ductor must have a clear distinction be for rehearsing it become evident. pace, should receive consideration. Re tween the outraged Jews and the mocking member, tempo is as much about charac Pharisees. Often scene changes occur in Level 5: Preparing the Score ter as speed, and the conductor's intuition the middle of a recitative. The transition for Choral Rehearsal is invaluable. Outside influences such as to the upper room must be marked by a Once a score is thoroughly learned, acoustics or size of the choir may also slightly longer pause after cadence before the conductor can return to the score, alter the score's directives. the Evangelist resumes. confident that an effective and efficient Once a tempo is determined, its met The text also offers a window into the rehearsal strategy can now be developed. ronome equivalency should be marked in tone and character of the music. It is It is' beyond the scope of this article to the score. When rehearsal begins, it may probable that Bach chose specific stanzas pursue a comprehensive listing of rehearsal be necessary to adjust the tempo, and the for many of the chorales. Each chorale is techniques and strategies. However, ad metronome marking provides a basis for unique, with its own harmony and text. dressing a few key issues will aid in the departure. Some works have little margin The placement of words that describe the development of a rehearsal strategy for adjustment. For example, in certain character of the chorale, based on the text through score study. Bach choruses even six ticks can make the and music, at the top of each chorale, Tempo is one of the conductor's most difference between a line that is flowing with a tempo (metronome) marking, will important responsibilities. Choosing the and one that is frenetic. assist in portraying the individual charac right tempo involves many considerations. Efficiency is one of the key elements ter of each chorale. Finally, any extramusical associations Allen Organ's revolutionary Renaissance ™provides the freedom to with the text, such as a personal com actually choose your acoustic environment, a stop list that '-··~··:·:"'·~·.!;'=-"::f;==":.~"!?·;~~,c;~;;~E;;"';'~~F.j mentary on the scripture or parallel asso can be changed again and again, access to the world's most ciations with other scriptures and texts, extensive collection of pipe sounds, and a responsiveness can be written in the margins of the cho found in fine tracker pipe organs. Renaissance ™is rales and choruses. Comments about how available in a wide variety of specifications, each featuring Virtual Acoustics ™and Sound Matrix ™technology. the musical structure relates to the spiri tual qualities of a text or any additional ~ comments such as these are placed on Rehaiffi'arice™ . "post-its," in case the conductor has a change of mind or wants to add to it in future study or performance. Everything else ~i'~~;~;~l. Stage III: Preparing an Call Allen today at 610-966·2202 for a i "II Macungie,l'eririsy'!yania 18062-0036 USA free RenaissanceTIA brochure or visit an p~~ttG-~nD. E-mail: [email protected] Effective and Efficient Allen Organ representative near you. ~ ® www.allenorgan.com Rehearsal Strategy The third and final stage in score study involves the preparation for rehearsal. Far Custom Designed too often, a conductor's approach to score study begins with this stage. For whatever Performance Tours reasons, lack of discipline, lack of vision, Europe • Australia • Great Britain lack of time management, there exists the USA· Canada strong temptation for the conductor to begin score study during the rehearsal pro Adult and Student Choirs • Bands cess. If this becomes the "modus oper Orchestras • Dance Groups andi" for score study, the conductor should forfeit the status of visionary and Call or write: leader and join the ranks of those reading ISM it for the first time. P.O. Box 969, Manhaman, KS 66505-0969 To plan for rehearsal during initial Phone 785-537-2451 score study, is to begin teaching without a Fax 785-537-7104 vision. The process of rehearsing becomes Toll Free 800-678-4532 more about how one understands the MARCH 1999 PAGE 19 MIDI Keyboard Kits $299 General MIDI Keybd.-FuIl61 keys to any successful rehearsal. IdentifY the SeqlJencingffranscription Software http://www.ChorolWeb.com Toll Free: 877-WEB-MUSIC or 208-882-6760 most potentially problematic portions of Band in a Box, MIDI Connector the music and create a long-range rehearsal Music Through the Internet Finale $219 • Encore $219 plan with these in mind. For example, the fugues in the third and sixth move Site Licenses • MusicMastery View. listen. Purchase and Download Choral. Handbell. Keyboard. and ments of the Brahms Requiem require ex Solo Vocal Music over the Internet v..e'f'oOS AABACA (.0 tensive work and should be scheduled frequently in the rehearsal rotation. On \..O'oS 612-933-7307 ~Of(\S See THE BLACK FOLDER on our website I http://aabaca.com the other hand, the seventh movement is often neglected, because of the formidable third and sixth movements, and left with too little rehearsal time. A weekly rehearsal grid with movements and specific sec tions is quite helpful to conductor and chorus and insures the most efficient cov erage of the work. This same procedure should be applied from the largest mas terwork to the smallest anthem. When rehearsing a choral masterwork, provide the chorus with a one-month rehearsal plan and highlight the potentially chal lenging sections for the singers' practice outside of rehearsal. One of the most fascinating aspects of score study involves the various roles the conductor must assume, such as theoreti cal analyst, vocal pedagogue, musicolo Come Solo gist, poet, or orchestrator. Unlike purely orchestral conducting, the choral conduc Festival 500 Sharing the Voices tor must assume the role of voice teacher St. John's, Newfoundland, Canada to effect any appreciable difference in tone quality. Vocally challenging passages must July 5 to 11, 1999 be studied from the perspective of singing technique. This requires diagnostic vision, The choirs are all in place, but there's a bit more room. So why don't you come solo? ability to offer sound vocal technique, Festival 500 has limited space available for individual choristers and conductors to par and an acute perception of tonal colors. ticipate in this international event. You can attend workshops led by choral experts. Without a philosophy of choral tone, the conductor will have little impact on the Hear concerts featuring choirs from Europe, Asia, Mrica and the Americas. Sing in a tonal development of the choir. For the massed performance at the Grande Finale concert. And attend the opening ceremonies experienced conductor much of this can and the parties all for the low registration fee of $199.00 CDN. Special guest artists be done within the spontaneity of the include Chanticleer, the Vancouver Chamber Choir and Grupo Vocal Olisipo, rehearsal. However, it is often the case that those who appear most polished in Bramwell Tovey, Bob Chilcott, R. Murray Schafer, Diane Loomer, Gerald Fagan, improvising effective vocal techniques in Robert M.Abramson, Luc GuiI1ore, Nancy Telfer and Jon Washburn. the moment of the rehearsal are the ones who have worked through the score in So register now and come sing solo with us! advance with the singer in mind. And of For further information and application forms contact: course, the perfect tone color can be en Festiva1S00 Sharing the Voices ~ visaged only by early study of the union 7 Plank Road, St. John's NF AlE IH3 Canada of text and music. ~ Phone (709)738-6013 Fax(709)738-6014 ~ttl More attention is given to historical E-mail [email protected] Festival 500 performance practice than perhaps any Sharing the Voices Web Site: www.festiva1S00.com other aspect of choral music making to day. The study of the score for rehearsal /7 must include a thorough application of NEW7E1. AIR CANADA performance practice issues. If, for ex Cffic {/ -,: . airNova llf8 Home 184m ample, it is an eighteenth-century PAGE 20 CHORAL JOURNAL composition, articulation must be care when focused on the work as a whole. plan, it is important to mark orchestral fully notated for rehearsal. Shape within a The same is true in developing a sepa parts. More rehearsal hours can be saved melismatic passage must come from the rate schedule for soloists in a work like from this activity than any other prepara groupings punctuated by a skip or change Bach's Christmas Oratorio. There are tion. First, the conductor needs to know of direction in the line. Marking these many different consorts of instruments what the players see on their parts. The articulations in the conductor's score will concertino strings, solo obligato winds, parts might require extra rehearsal figures aid in a more efficient reproduction in continuo only, tutti strings, etc. The ma or measure numbers written in. The part rehearsal. Other issues of instrumenta trix of rehearsal scheduling can become may be covered with so many old mark tion, phrasing, tempi, double-dotting, and quite complex, but it must be carefully ings, both correct and incorrect, that they a myriad of stylistic considerations re planned for the most efficient use of time are confusing. quire the conductor's extensive knowledge with the instrumentalists. A meeting with the concertmaster prior as musicologist. After preparing an orchestral rehearsal to marking the parts is seldom a waste of Extramusical imagination is critical in these final stages of score study. Whether the conductor assumes the role of poet, painter, or actor, it is imperative to trans late sound into image. Just as it takes years to develop a tonal "vocabulary" through concerts, recordings, and the study of voice, instruments and the score, so it also takes time to develop an extramusical language of imagery and metaphor. Imagery and metaphor are the conductor's most imaginative tools in aug menting vocal training and developing musicianship. Those for whom the trans lation of sound into image or metaphor is less serendipitous may find it necessary to preplan certain "sound pictures" and write them in the score. As the conductor be comes more adept envisioning "sound images," it will be less necessary to write these down. Regardless of the method, pictures can be worth a thousand words in a rehearsal.2 Level 6: Preparing the Score for Orchestra Rehearsal The final ingredient involves the re hearsal preparation for the orchestra. It is best to begin with an overall look at the orchestration by preparing a grid of each movement and its instrumentation, cho ral voicing, and solos. Know the instru ments required for each movement, and in rehearsals prior to complete run throughs, group movements according to instrumentation as a courtesy to certain players. Most Baroque works, for example, use occasional brass for the most festive movements. Plan the rehearsal of these movements during one period of rehearsal so brass players do not sit idly by for long stretches of time. Though this is common knowledge and practice, if a plan is not laid out in advance, it is very easy for the conductor to forget about certain players MARCH 1999 PAGE 21 time, especially if one is working with an school years is severe, compared to the amateur orchestra. It is helpful to discuss For each ecstatic instant slight drop for males" (p. 12). However, issues of style, articulations and bowings, We must an anguish pay in this same study, Mrican-American girls and other performance practice consider In keen and quivering ratio scored significantly higher than white ations. Sometimes hearing a passage To the ecstasy.4 boys on the self-esteem index. O'Toole played two different ways will assist in conveniently hides this important infor making a decision prior to rehearsal. Once Are we willing to pay the price for the mation in a note (Note 8). There are the parts are marked, the concertmaster ecstatic instant? many other reasons to question the find can deal with most issues of bowing ei ings of the AAUW studies. A book rec ther in a section rehearsal or during full Notes ommended for anyone interested in rehearsal. . 1 Herford's method, which could be perceived learning more about this is Christina Hoff Efficiency is money with an orchestra. as "phrase group" analysis, is well-known Sommers's Who Stole Feminism? (NY: Therefore, identifying the most difficult to most American conductors, due in part Simon & Schuster, 1994). The book sections, the most technically challenging to Robert Shaw's study with him. This listed in O'Toole notes (Note 5), but not passages for particular instruments, and system is explained in detail in a book surprisingly, is absent from her suggested the most problematic transitions are all edited by Harold Decker and Julius reading list (Appendix C). key to effective rehearsing. In devising a Herford, Choral Conducting: A Apart from O'Toole's dependence on rehearsal plan, the orchestra (recognizing Symposium, 2nd ed. (Englewood Cliffs, the AAUW studies, there are other the vast disparity between amateur and N.J.: Prentice-Hall, Inc., 1973): 199- troublesome aspects of her article. Care professional orchestras) must be allowed 265. ful examination of her use of language to go through the movement(s) before 2 Dennis Shrock, "An Interview with Margaret reveals exaggeration of the facts. Her tone working specific sections in greater detail. Hillis on Score Study," Choral Journal is often defensive. Even in her attempt to Unlike the singers, the player has only (February 1991): 7-12. defend girls and women, she ultimately one part, and it is important for each 3 Post-it notes are helpful for these types of portrays them as helpless, weak victims player to have some idea of the whole. markings and any other rehearsal of our male-dominated society. Just as But once accomplished, the plan should suggestions that might be of a more O'Toole italicized words in quotes from focus on the most difficult sections, whether temporary nature. Once the rehearsal Choral Methods books (Appendix A), I from the standpoint of ensemble or the techniques are completed, the post-it note italicize words in her article: technical difficulties of an instrument. can be removed and the score left Build into the rehearsal plan time to uncluttered. However, by leaving some • Apparently changes experienced work transitions. Whether it is a tempo suggestions, they become excellent by girls during puberty have a more change, a more complex modulation, a references for the next time the work is devastating effect. (p. 12) difficult key, a shift in text, a key struc performed. • The drop in self-esteem for girls tural moment, or any number of musical 4 Martha Dickinson Bianchi and Alfred Leete during middle school years is severe, transitions, these are the moments that Hampson, editors, The Complete Poems as compared to the slight drop for ensure success or failure in performance. of Emily Dickinson (Martin Seeker: males. (p. 12) Score study will identify those places, and London, 1933): 19-20. • In this text we hear only the man's good rehearsal planning will ensure voice, and it is somewhat predatory enough repetitions to make both conduc -C]- in nature. (p. 17) tor and players feel secure. If the • Lastly, boys in choir expect to be conductor's task in performance is to pace the center of attention because they and shape a work, the study of the sec realize they are a rare commodity and tional transitions should receive the most (Letters, continued from p. 4.) because they are dominant in many critical attention for the realization of the 1998). Her article is filled with generali of their other classes. (p. 22) gestalt of the work. zations, and her arguments are weakened • A high school ensemble with a Score study is indeed that mystical time by poor resources and by her bias. large number of male singers almost when an intimacy of artistic understand O'Toole's article reads more like an immediately is recognized as ing is forged between conductor, poet, ultrafeminist tirade than a serious essay excellent and seems to intensifY the and composer. But mysticism and under on the education of girls. male-lusting to which the choral standing are hard earned. A great score Ms. O'Toole uses the research of the profession is so prone. (p. 23) reader must wear several pairs of glasses: American Association of University • In mixed-voice choirs, boys always analytical, microscopic, visionary, kalei Women (AAUW) as the backbone of her determine the quality of the doscopic, and yes, magical. Yet even essay. A careful look at the AAUW stud ensemble. (p. 23) multivision is ineffectual without disci ies reveals many problems. For example, • An even more insidious form of pline. For ecstatic utterance is only heard in referring to the AAUW self-esteem discrimination occurs during above the echoes of the artist's anguishing study, O'Toole concludes that "The drop auditions for honor choirs. (p. 24) cries. Emily Dickinson said it better: in self-esteem for girls during middle (Continued on p. 84.) PAGE 22 CHORAL JOURNAL Text Setting and Symbolism in Thea Musgrave's Rorate coeli by Anna Hamre Thea Musgrave (b. 1928) developed an international repu choir, it is highly dramatic, employing vigorous solo lines, ad tation for a variety of compositions. The predominandy dia libitum pitches, and special musical effects, such as hissing. tonic style of her early works soon gave way to a more chromatic While Musgrave includes examples of obvious text-painting in and abstract style, and she eventually turned to serialism. Her Rorate coeli (e.g., sopranos trilling in description of birds sing asynchronous music (notated music that does not need to be ing), she illuminates the texts with other symbolic gestures. exacdy coordinated with other parts!) first appeared in her chamber concertos of 1966. Intrigued by the works of Charles Text Ives, she also began to adapt his technique of incorporating The composition interweaves two William Dunbar (1460- popular music into serious compositions. Her music some 1520) poems and words of the Latin Dies irae. The table, times requires performers to move about the stage or audito showing the modernized English versions of the Dunbar po rium, at times for dramatic effect, but at others for the simple ems used by Musgrave, illustrates the juxtaposition of texts. benefit of being able to hear other performers better. This table omits textual repetitions used in the composition Since the mid-1960s, Musgrave has written largely on com but shows how the composer connected the poetry through mission. Her output includes a wide range of literature, from words and concepts. operas to large and small instrumental and vocal ensemble The first poem, which begins "Rorate co eli desuper! Heav pieces. Her greatest fame has come through her operas, most ens distill your balmy showers," honors the birth of Christ, the notably The Decision (1964-5), Mary, Queen ofScots (1977), Savior who frees the faithful from the "fiends arrest" [sic]. The andA Christmas Carol (1979). second poem, which opens with "Done is a batde on the Although receiving less attention than either her operatic or dragon black," celebrates the resurrection of Christ from the instrumental output, Musgrave's choral compositions are effec dead, an act in which he overcomes Lucifer. The two poems of tive and accessible, with a spectrum requiring a variety of Christ's victory are juxtaposed with the Dies irae text, which performing resources. On one hand, the Four Madrigals (1953) describes the judgment of the dead. Although usually associ are unaccompanied, while The Five Ages ofMan (1964) calls for ated with the Catholic Mass for the Dead, this Sequence has a a large chorus and orchestra. long history as an Advent hymn, "heralding the One who is Rorate coeli is an eleven-minute, through-composed com coming to judge the world."2 Likewise, Musgrave uses the Dies position unified by recurring rhythmic elements, melodic mo irae text to anticipate both the Last Judgment and the birth of tives, and harmonies. Written for SSATB soli and SSAATBB Christ, tying together these two Dunbar poems. Throughout the composition, textual phrases are combined Anna Hamre is Choir Director at Mesa Ridge High School into vertically stacked musical layers, highlighting important ideas and Musical Director of the Abendmllsik Chamber Choir in or underscoring connections between the poems. Lest the focus of Colorado Springs, Colorado. the work be lost, however, the main concepts are reinforced with homorhythmic cadences using only a single text. MARCH 1999 PAGE 23 Centuries after the Dunbar poems were Shower, 0 heavens, from above, third text in Rotate coeli. written, the modern reader finds power and let the skies rain down in the words. Particularly striking is righteousness; let the earth open, Dies irae, dies ilia Day of wrath Dunbar's use of alliteration, such as that that salvation may sprout forth, and that day in the first line of the resurrection poem, let it cause righteousness to spring Solvet saeclum in shall dissolve "Don is a hattell on the dragon hlak.," or up also; I the LORD have created favilla, the world into at the end of the first poem, ''All £Ish in it. 4 embers, £lood and fowl of £light." Teste David cum as David Dunbar's work exhibits influence from The second poem, "Done is a battle Sibylla. prophesied biblical and scholarly writings. The recur on the dragon black," deals with the leg with the SibyLB ring textual excerpt Et nobis Puer natus est end of Christ's descent into hell and the ("For unto us a Child is born"), is a quo resurrection. Torn Scott maintains this is The Sequence connects references to tation from Isaiah 9: 6. Part of the Introit the "finest" religious poem in the Scottish the Christian God in both poems. The for Christmas Day, these words are a fit language.5 According to Kinsley, this ten first poem calls for "observance" to be ting refrain for Dunbar's poem about the syllable octave with refrain is based on a given to the "King is King," while the birth of Christ. James Kinsley called Et French form; it was a common Middle second poem shows the familiar Chris nobis Puer natus est "a triumph in English stanza and used often by Dunbar.6 tian image of a "lamb in sacrifice" trans Dunbar's celebratory style. The hymn is Sources Kinsley cites as bases for this poem formed into a "lion risen up again." The built out of the first two parts of the Te include both scriptural excerpts and non three texts converge at the center of the Deum and the Benedicite." 3 Kinsley lo scriptural religious writings from as early composition, where also there are three cated references in Dunbar's poem to the as the second century'? The refrain, layers of musical activity.9 writings ofAquinas and Dante. The open Surrexit Dominus de sepulchro, a versicle At this juxtaposition Musgrave's indi ing Latin text, Rorate coeli desuper, found from the Mass for Easter Day, occurs five cation is for a solemn "hymn-tune" in various Advent services and offices, is times in the second poem. tempo. The sopranos and altos provide a the first line in the song occurnng In The first three lines of the Sequence stately three-voice chorale setting of the Isaiah 45: 8: from the Requiem Mass comprise the first poem, while the lower voices, more JULIUS HERFORD PRIZE CALL FOR NOMINATIONS HE SUBCOMMITTEE for the Julius Herford Prize, given annually by the American Choral Directors Association, is T now accepting nominations for the outstanding doctoral terminal research project in choral music for 1998. Projects will be considered if they constitute the principal research component of the degree requirements, whether the institution calls the project a "dissertation," "document," "treatise," etc. Eligibility is limited to doctoral recipients whose degrees were conferred during the period January 1 through December 31,1998. Nominations must be approved by the dean, director, or chair of the music unit. An institution should submit only one document. In no case may any institution submit more than two, and a second nomination should include a justification for the additional nomination. The winner will receive a plaque and a cash award to be presented at the 2001 ACDA National Convention in San Antonio, Texas. A letter of nomination (including the signature of the head of the music unit) and one copy of the dissertation should be submitted no later than April 15, 1999, to Carroll Gonzo, School of Music, University of Texas, Austin, Texas 78712; telephone: 512/471-0941; fax: 512/471-7836; e-mail: [email protected]. DEADLINE FOR APPLICATION: APRIL 15, 1999 PAGE 24 CHORAL JOURNAL rhythmically animated, sing the compan A soon comes to the foreground, as it is tertian harmonies are striking as isolated ion verse of the second poem. Suspended the main note of the theme given to "Et instances of word painting. The triads do under the female voices and later over nobis Puer natus est" ("A boy is born to not function within the confines of tradi the male voices is the tenor soloist sing us") and the center note of an ad libitum tional harmony and voice-leading. ing the Dies irae Sequence. Initially, the pattern sung by middle voices. An assign Musgrave sets the words "fire," "earth," soloist is not synchronized with the other ment of B to Satan and the recurring and "air" with root-position triads. "Fire" voices. Eventually, he joins the choral ten pitch of A on the "boy-is-born" theme receives an N major triad and "earth" is a ors and basses as they crescendo in a clearly illuminates the tension between minor third lower. '~r," however, returns melodic passage that ascends to amplifY good and evil found in this piece (Figure 3). to the B-major triad, tying it to the B the poetic reference to Christ's resurrec A, used in reference to Christ, eventu major triads previously used for the words tion. The use of the Sequence provides a ally predominates in this work. The "boy" "archangels," "angels," "stars," and pivot point to connect the two Dunbar melody at the end absorbs the B and as "sphere," terms all associated with airY poems, merging them into a single theme cends to an A, and the final sonority has Demonstrating graphic text setting, of celebration of victory over death (fig the pitch A in the top and bottom voices. Musgrave gives the word "fire" a special ure 1). Tertian harmonies. Because most so accent, and she sets "air" in pitches above norities in Rorate coeli are not triadic, the "earth." All three sonorities contrast with Musical Elements [.HJ Hymn-tune tempo: solemn j =60 Texture. Rorate coeli employs con mf stantly shifting textures that define struc ture and enhance expression. These c1er gy do to him in changes involve not only the nature of the polyphony and the density of the so norities but also the grouping of musical activities, which are often stacked in lay ad lib. freely,-choosc tempo so a<; to lit as indicated (hold till cue) ers, or "streams," as Gail Louise Hendricks 11 maestoso ("') TENOR sOLO 1 :::.----> > > > > > >-- Mottola described them in her analysis. 10 When Musgrave layers or juxtaposes (SOLO) (hold os long os possible) Di - es - rae, di - es iI - la, ___ multiple texts, the individual lines en t:\ ====- lliente hance other on-going activity. Therefore, the words "Sinners be glad" from the first poem find textual companionship in "Done is a battle on the dragon black." Each line receives its own musical treat ment that reflects not only its own text, cline, And bow un to__ this but also augments the meaning of the r--3-----, r-3-----, other text occurring at the same time (fig ure 2). Tonality and Harmony. In Rorate coeli ets~ Musgrave never attempted to negate to nality or its implications, even though Sal-vet __ sae cllll11_ de fa she blurred the tonal center and used vii _~~/a:..:,====-_ TUTTI 11 --- "'-- --- atonal and non-pitched elements. Dunbar's theme is the victory of Christ He for our sake . that over Satan, the victory won in both the birth of Jesus and His resurrection from (v) the dead. Musgrave reflected this battle by creating tension throughout Rorate coeli be nign. ______And do (v) between two pitch centers: A and B. The opening major-minor-seventh chord (a unifYing sonority used through nign, ______And do (wait for cue) out the composition) never resolves in '" the traditional manner to the key of A, yet A is highlighted continually in the Tes - te __ Da - vid __ ClIl1l-Si-bii ~ piece. Also emphasized is B, the lowest sounding note of the opening sonority ------ and the root of a perfect fifth found at the suf - fered to be slain, And like a lamb conclusion of the introduction. The pitch Figure 1 MARCH 1999 PAGE 25 "water clear," which she sets with perfect "archangels," "angels," and "stars" containing constantly changing pitches, fourths (Figure 4). (along with "planet" and "firmament") perhaps depicting heavenly bodies The sonorities setting the words occur simultaneously with vocal lines swirling through space. Musgrave in structs the singers to gradually eliminate ~ [Q] SA TUTII andante J=56 the constantly changing pitches. Musgrave t:\ ** then directs the singers to hold the D# (found in the first-alto line) "very steady" as it enharmonically becomes B. The B ners ____ TENOR sounds to the end of the solo phrase, if:::::=-pp (stagger breathing) (hold pitch very steady) "that come into so meek mannere." This t:\ t:\ note, remaining constant through refer ences to the earthly elements and becom Ah __ mm~(/~IlIl~IlI~lli~IIK~) ______ing softer on the description of the "meek (Spoken very rapidly-low pitched. Not together) mannere" of the holy birth, may be sym BASS t:\ ppp bolic of the corning of Christ from the heavens to the earth. That is, this con ' Done is a battle on the dragon black, '11 + Sing any pitch within the range indicated II • Our Campion Christ confoundit has his force; . stant note changes in name only (from D# (result should be a closely~spaced cluster) (repeal words as llecessal)I) to B) during the word "sphere," perhaps ** Move up and down a semi tone from chosen pilCh. reflecting the Christian concept of God Figure 2 becoming human while remaining divine t:\ (Figure 4). eJ Musgrave uses similar symbolic ges pp tures to highlight Christ's entering and " t:\ (stagger breathing) leaving earth. Paralleling the earlier use of B-major chords in which the middle note eJ u_ of the triad was extracted (Figure 4), t:\ Musgrave uses a similar technique when " the basses sing the text Surrexit Dominus eJ de sepulchro. The basses sing G# two oc SOLO ad lib. mf ;;!"arCa~ taves below the sopranos, who sing pedals > > > > > > on E and B with the words "The Lord." Whereas the third of a B-major chord the deid - ly dra - gon previously depicted Christ corning to t:\ earth, here the third of the E-major chord depicts Christ re-entering a spiritual world (Figure 5). pochissimo meno moss A dramatic succession of chords oc SOPRANO SOLO Conductor: Signal to tenors ~makecresc. curs when the length of notes, placement P~ t:\ " on accented beats, and interpretive indi -- cations give weight to a series of words: eJ I Et __ no - bis Pli - er na - tliS est. _____ "night," "pierced," "bright," "light," " '~pollo," "night," and finally the com bined words of "night," "light," and eJJ "sepulchro. " "I,ll p~ Musgrave sets the first "night" with a cluster (which is also used to give the bass ... ~ ______":iJ. =L/ " section time to check the crucial pitch of Et __ no - bis Pu - er na - tliS est. ___ A). She sets "pierced" with a cluster of five notes taken from an octatonic scale Conductor's signal Ad lib.1lot together. Intone the words mthcr slowly_ -fl ..... p sempre r r to make erese. f plus an F#, and this sonority also includes the distinctive major-minor-seventh so " t:\ nority. She places "bright" with a major triad. She sets "light" with four notes of eJ II: Et pro nobis Puer natus est. : II an octatonic scale in addition to the "lead I,ll t:\ ing tone" of Gt and then sets "Apollo" with a Gil-major triad. "Night," found on another major triad, immediately becomes Figure 3 PAGE 26 CHORAL JOURNAL a major-minor sonority with the addition of the Dunbar and Dies irae texts, and an Choral Repertoire. Vol I· Sacred Latin of the word "surrexit." When "light" and insight into her use of symbolic gestures Texts (Corvallis, Oregon: Earthsongs, "night" combine with the word to illuminate poetry hundreds of years 1988),74. "sepulchro," the F in the alto line be old, will aid the conductor's efforts. 3 James Kinsley, editor, The Poems ofWilliam comes a dissonant E, highlighting the in Dunbar (London: Oxford at the herent tension between "light" and NOTES Clarendon Press, 1979),223. 4 "night," the clash occurring symbolically I Stephen Walsh uses this term and its Herbert G. May and Bruce M. Metzger, during "sepulchro," the Latin word for definition in his article on Musgrave in editors, The New OxfimlAnnotated "grave." The action abruptly stops, and The New Grove Dictionary ofMusic and Bible (New York: Oxford University the title word "Rorate" with the motivic Musicians. Press, 1973), 879. major-minor-seventh chord provides a re 2 Ron Jeffers, Translations and Annotations of 5 Tom Scott, Dunbar: A Oitical Exposition of turn to the opening in text and sound. In this section the major triads, even though ~ Conductor. Hold up left hand to occurring as part of more complex so L.H. signal altos and tcnors .."fJ J; - ,,> > >. > > p norities, show a rising pattern. That in cludes B-major on "pierced," E-major on Stars, pIa-net, firm - a- ment and sphere,_ "bright," G# major on '~pollo," and Bb f p major on "night." The symbolism would " - it:=: ____ p seem to refer to Christ rising from the ~ > > > » ~tars, pIa-net, firm - a- ment ~d sphere,_ dead, "Surrexit Dominus de sepulchro." "pp f > > p Rhythm and Meter. Combined ~'-' ,," 1I~' ~ ~ rhythms occasion horizontal density that - ~ it":' is analogous to the vertical density cre Stars, pIa-net, firm - a- ment and sphere,--- _ --- ated with Musgrave's layering of textual " and musical activities. The sometimes rapid alternation between metered and non-metered (or less-regulated) passages adds dramatic impact to the rhythmic tension. Additionally, asynchronous, spo p", "'------ken passages occur simultaneously with .. sung, metered melodies. and sphere,_ Triplets, used simultaneously with p", ",------. duplets or in alternation with them, cre ate rhythmic tension similar to that cre and sphere,_ Conductor: Wait till all altos and tenors ated through the use of two pitch centers. have reached sustained A- then pause before continuing. r;::;l Meters also reflect this duality by alter Itmga ~ nating between duple and triple. The con '" > clusion, in triple meter with triplet v Fire, air, kd wa-ter cJear_ subdivisions, parallels the dominance of funga Fffop=- IlfJ1 > A as a pitch center, affirming the signifi " '" cance of the Trinity and victoty over Satan. v Fire, air, rind wa-ter tcJear~ " '" (hold jlitch vel)" steady) Conclusion Rorate coeli is a notable contribution ------'-"' to the repertory of this century, and un ...... > doubtedly it will receive an increasingly prominent place in choral programming. and wa-ter cJear_ Yet, Musgrave's reliance on multiple, si p multaneously sounding layers to advance separate texts and musical ideas presents a earth, significant challenge to the performers of p- this work. Not only does the audience earth, need to digest more than one concept at a p time, it must synthesize the material adequately to comprehend the point earth, being forwarded by the composer. An understanding of Musgrave's interweaving Figure 4 MARCH 1999 PAGE 27 the Poems (New York: Barnes & Noble, 7 Ibid. In particular, Kinsley notes that the indicate whether this is a reference to the Inc., 1966),300. The anti-Semitism found basis of the first two and last verses is the Christian symbolic use of the number in the text is striking to the contemporary Descensus Christi ad Inferos (? second three, or simply a srylistic unification reader, but as Scotr points out on p. 287, it century). It was found in the Evangelicum within the composition. embodied traditional thinking. Nicodemi, which was well known 10 Gail Louise Hendricks Mottola, A Survey of 6 James Kinsley, 235. throughout Europe in both Latin and the Choral Works by Thea Musgrave with vernacular versions. The drama-tization of a Conductor's Analysis of The Five Ages of Christ's descent into hell, the Harrowing, Man and Rorate Coeli (DMA diss., was a theme in medieval mystery-plays. University of Texas, 1986), 13l. 8 Ron Jeffers, 67. 11 It may be that Musgrave uses the pitch B 9 The prevalent use of three elements (such and the B triad to draw a connection YOLJr exclLJsive SOLJrce for ~omanian as the grouping of three notes, the linking between Satan and his heavenly origins choral mLJsic and beyond... of three texts, or the layering of three as described in Christian tradition. ~ CATALOG and musical activities) occurs frequently throughout the work. Musgrave does not -C]- 'VSAMPLER TAPE! I PI "" I P. O. Box 27830 IV...... ,. ___ Seattle, W A 98125-2830 Phone· (206) 364-4225 Fax. (206) 364-4569 ------:::::::::::: (shout) E-mail [email protected] " .,. cresco mf '" Iffo Iffo lfv_~ __ If*~ If*-----" ~ -# • '" And_ loose _ you _ of the friends ar - (rr)res~ (ShOlll) --=== Iffo " ,-3----, cresco mf '" r--"1 Iffo ~y -'" I I I '" L~=::::::::==---~__ -----~======-----::=-__ ~3---, Call or write today 1\ l.ll pp for our unique 7iJ 7i~ 'C:!" 7i -# ~ -# ;Y personalized service! And_ on ly __ of his own ___ ~3---, 1\ l.ll pp on ly __ own ___ (wait for cue) ~hOldtill basses reach Fti) mf 3 1':1 MARK FOSTER > MUSIC TOURS 'B' (800) 869-1406 P.O. Box 2760, Santa Clara * Pitch ad lib. California 95055-2760 Figure 5 PAGE 28 CHORAL JOURNAL TABLE Juxtaposition of Texts in Thea Musgrave's Rorate coeli The first two texts are the modernized versions of two of William Dunbar's Divine Poems. They can be found in their original Scottish in The Poems o/William Dunbm; edited by James Kinsley (London: Oxford at the Clarendon Press, 1979). The third text is from the Requiem Mass. Brackets indicate Musgrave's rehearsal letters. Rorate coeli dest/per Done is a battle on the Requiem Text dragon black Rorate coeli dest/per! [A) Heavens distill your balmy showers, For now is risen the bright day star. Fro' the rose Mary, flower of flowers: The clear sun, whom no cloud devours, Surmounting Phoebus in the East, Is coming of his heavenly towers; Et nobis Puer natt/s est. [B) Archangels, angels, and dominations, Thrones, potestatis, and marryrs sere, And all ye heavenly operations, Stars, planet, firmament, and sphere, [C) Fire, earth, air, and water clear, To him give loving, most and least, That come into so meek mannere; Et nobis Puer lIatus est. [D) Sinners be glad, and penance do, Done is a battle on the dragon black, And thank your maker hairtfully; Our campion Christ confoundit has his force; For he that ye might not come to, The gates of hell are broken with a crack, To you is coming full humbly, The sign triumphal raisit is of the Cross, The Devils trymmillis with hiddous voce, [E) The souls are borrowit and to the bliss can go, Christ with his blood our ransom does endorse: Surrexit Dominus de sepulchro. [F) Dungen is the deirlly dragon Lucifer, The cruel serpent with the morral sting; The old keen tiger, with his teeth on char, Whilk in a wait has lain for us so long, Thinking to grip us in his clawis strong; [G) Your souls with his blood to buy, The merciful Lord would not that it were so, And loose you of the fiends arrest, And only of his own mercy, He made him for to fail of that fang: Pro nobis PileI' nat/IS est. Surrexit Dominus de sepulchro. [H) All clergy do to him incline, Dies irae, dies ilia, And bow unto this bairn benign, He for our salce that suffered to be slain, Solvet saeclllm de fovilla, And do your observance divine And like a lamb in sacrifice was dight, Teste David Ctlm Sibilla, To him that is of Kingis King; Is lilre a lion risen up again, And as giant raxit him on height; [Il Incense his altar, read, and sing In Holy kirk, with mind digest, Him honouring above all thing, Qlli nobis PileI' lIat/1S est. Ul Celestial fowls in the air Sing with your notes upon height; In firths and in forests fair Be mirthful now, at all your might, For passed is your dully night; [K] Aurora has the cloudis pierced, Sprungen is Aurora, radiant and bright; The sun has risen with gladsome light, On loft is gone the glorious Apollo, The blissful day departed from the night: SlIrrexit DomimlS de seplllchro. Et lIobis PileI' lIat/1S est. 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The foe is chased, the battle is done cease, The prison broken, the jevellouris fleit and flemit The war is gone, confirmed is the peace, [0] The fetters loosed and the dungeon temit, The ransom made, the prisoners redeemed; MtJSICA~ The field is won, 0'ercomen is the foe, Despoiled of the treasure that he yemir: 1\'()WI.t~I(:.t.\..® ." Surrexit Dominus de sepulchro. Your exclusive source for Ftomanian choral music and beyond ... [P] Sing heaven imperial, most of height, Regions of air malce harmony; [Q) All fish in flood and fowl of flight, ~ CATALOGand Be mirthful and malce melody: SAMPLER TAPE! All 'Gloria in exce/sis' cry, Heaven, earth, sea, man, bird and beast, He that is crowned above the sky P. O. Box 27830 Seattle, W A 98125-2830 Pro nobis Puer nattlS est. 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A useful source of new repertoire ideas and Church History - John Kevern an invaluable aid to rehearsal preparation Person in Ministry - Leland Elhard " .•• a continuation of the author's previous study of 20th century works Liturgical Choir - May Schwarz with English texts..• evaluates each work in terms of potential performance problems, rehearsal considerations, and level of difficulty for both the June 14-18 (one week) choir and orchestra.•• also provides a helpful list of music publishers and People's Song Leading - Alice Parker distributors." - INSTRAMENTALIST June 21-25 (one week) Jonathan D. Green (M.Mus., University of Mossachusetts; DMA, University of North Carolina at Children's Choirs - Amy Chivington Greensboro) is Visiting Assistant Professor and Diredor of Ensembles at Sweet Briar College. Hymns Old and New Carol Doran ALSO AVAILABLE June 28-July 2 (one week) A CONDUCTOR'S GUIDE TO CHORAL·ORCHESTRAL WORKS PART I Music & Theology - Walter Bouman Jonathan D. Green 1994 • 322pp • 0-8108-2712-3 $39.50 For more information, contact: " .•• an excellent resource for embarking on the study and performance of twentieth century choral works in English." - CHORAL JOURNAL Prof. May Schwarz, Director, MACM program Trinity Lutheran Seminary To order call (800) 462-6420 2199 E. Main St., Columbus, OH 43209-2334 Scorecrow Press, Inc Phone: (614) 235-4136 Fax: (614) 238-0263 4720 Boston Way' Lanham, MD 20706 Email:[email protected] www.scarecrowpress.com PAGE 30 CHORAL JOURNAL CHORALWEB PUBLISHING INC. hHp://www.ChorolWeb.com Finest Fabrics including Toll Free: 877-WEB-MUSIC or 208-882-6760 Permanent Press and Wash & ., Wear. Superior Quality. Free Color Catalog and Fabric Swatches on Music Through the Internet Request. Guaranteed Satisfaction. Toll Free 1-800-826-8612 View. Usten, Purchase and Download Choral. Handbell, Keyboard, and. Solo Vocal Music over the Internet HEGENCY _·M#I~'et·N'I~I§i._ See THE BLACK FOLDER on our websltel P.O. Box S9SS-CJ Jacksonville, Florida 32211 AMERICA'S PREMIER A CAPPELlA VOCAL ENSEMBLE CHANTICLEER IS NOW ACCEPTING AUDITION TAPES & RESUMES FOR THE FOLLOWING VOICE-TYPES: Countertenor· Tenor Baritone • Bass Based in San Francisco, Chanticleer annually performs 20-25 Bay Area concerts, and tours an average of 25 weellS across the U.S., Europe and Asia. Chanticleer's unique repertOire includes Gregorian chant, Renaissance, pop, jazz, gospel and contemporary commissioned works. Chanticleer has a total of 20 recordings released under the Teldec Classics International and Chanticleer Records labels. EXSU.TET •.. ~I.I • .lT~ ,~ ..., To apply for an aUdition, please send: • Acurrent resume • One high-quality cassette recording that contains: 1. One art-song or aria in a foreign language 2. One jazz or popular selection 3. Scales and arpeggios that demonstrate your vocal range • One photo • All materials submitted become the prop erty of Chanticleer, and will not be returned ~ Audition tapes and resumes due April 30, 1999 Call-backs will be notified by May 28, 1999 Call-backs will be held in S.E on June 26-28, 1999 111 tbe event tbat tbere are 110 vacallciesfor tbe '99.200 season, call-backs will not be beld. HoweveI; resumes & tapes will be kept 011 file. SEND TAPES & RESUMES TO: S.E Chanticleer, Inc. 650 Fifth Street, Suite 311 San Francisco, CA 94107 415-896-5866 Equal Opportunity Emplo)ler MARCH 1999 PAGE 31 IN MEMORIAM RobertShaw April 30, 1916-January 25, 1999 direction has been recognized by six He was student conductor of the college's Grarnmy awards for Best Choral perfor glee club, which brought him to the at mance and by the Georgia Governor's tention of radio entertainer, Fred Waring. Award in the Arts. Waring brought the young Shaw to New Retirement as the ASO's Music Direc York and assigned him to form and con tor in 1988 did not bring any lessening of duct the Fred Waring Glee Club in weekly Shaw's musical activities. As he cut back broadcasts. on his ASO conducting appearances, he Finding his Waring-related activities was freed to accept more guest engage dealing almost exclusively with popular ments and focus on realizing a cherished music, Mr. Shaw began looking for a clas dream, the Robert Shaw Choral Institute. sical outlet. In 1941 he formed the Colle Concentrating, for the first time in giate Chorale, an all-volunteer chorus. twenty-one years, on choral literature Quickly noticed for its high standards without orchestral accompaniment, he and racially integrated membership ("a conducted a landmark series of summer melting pot that sings"), the group sang OBERT SHAW, Music Director festivals in the south of France (and more traditional masterpieces and also worked Emeritus and Conductor Laure recently in Greenville, South Carolina) with living composers, presenting pre R ate of the Atlanta Symphony Or and made a number of recordings with miere performances of many new works. chestra, died on January 25, 1999, at the his Robert Shaw Festival Singers. In At The Chorale eventually came to the no age of 82. He was at Yale University in lanta his Robert Shaw Chamber Singers tice of Arturo Toscanini, revered conduc New Haven, Connecticut, to see the play gave a series of acclaimed concerts at tor of the NBC Symphony, who invited "Endgame," which was his son Thomas's Spivey Hall and also made recordings. it to perform Beethoven's Symphony No.9 senior directing and acting project, when Another remarkable development of with his orchestra. After attending a Shaw he suffered a stroke. recent years was Shaw's association with rehearsal, Toscanini remarked, "I have at Renowned as Americas greatest con New York's Carnegie Hall, where annual last found the maestro I have been look ductor of choral music, Shaw came to Robert Shaw Choral Workshops drew ing for." Atlanta in 1967 to become Music Direc choral directors and singers from across In 1949 he formed the Robert Shaw tor and Conductor of the Atlanta Sym the nation for week-long sessions of prepa Chorale, which for two decades reigned phony Orchestra. During his twenty-one ration and study, culminating in perfor as America's premiere touring choral years in that capacity, the ASO grew from mances received with acclaim and group and was sent by the U.S. State a part-time, part-year regional ensemble affection. His many other Carnegie Hall Department to thirty countries in Eu to a full-time, year-round orchestra, rec concerts included a performance of rope, the Soviet Union, the Middle East, ognized internationally for its excellence. Handel's Messiah on the two-hundred and Latin America. The Shaw Chorale He led the orchestra on tours across the fiftieth anniversary of the work's premiere began recording as the chorus for opera U.S., including a 1971 Carnegie Hall de and on his own eightieth birthday, a per recordings. Later they branched out with but that became the first of many ASO formance of Mahler's Symphony No. 8with numerous LP records of their own, in appearances in that prestigious space. He the Cleveland Orchestra and Chorus, the music ranging from Broadway and folk took the ASO and its Chorus to Wash ASO Chorus, and other choral groups. favorites to the great milestones of the ington in 1977 to perform at the Inaugu With singers on stage and arranged classical choral literature. With these re ral Concert for President-elect Jimmy around the hall in two tiers of box seats, cordings, Shaw won the first four of his Carter, and he led both ensembles on an the number of performers came close to fourteen Grarnmy awards. During this acclaimed concert tour of Europe in 1988. equaling that of the audience. period, he also worked to perfect his or The two-hundred-voice Atlanta Sym Robert Lawson Shaw was born in Red chestral conducting, serving as Music Di phony Orchestra Chorus and the smaller Bluff, California, on April 30, 1916. As rector of the San Diego Symphony for ASO Chamber Chorus were his creations. he liked to remind listeners at his fre four years and then as Associate Conduc Both were trained to the perfection he quent speaking engagements, he came tor of the Cleveland Orchestra, working demanded and continue to be an impor from a line of evangelical preachers, and closely with George Szell for eleven years tant part of the ASO's musical pro the family often sang gospel hymns before accepting his appointment with grams-at home in Atlanta on a regular around his mother's piano. Destined for the Atlanta Symphony. basis and occasionally on tour. The ex the ministry himself, he majored in reli Throughout his career, Shaw received cellence of the ASO Chorus under his gion and philosophy at Pomona College. abundant recognition for his work. His PAGE 32 CHORAL JOURNAL honors include degrees and citations from Robert Shaw: A Tribute forty U.S. colleges and universities, by Ray Robinson England's Gramophone Award, a Gold WILL NEVER forget my first encounter with the choral artistry of Robert Record for the first RCA classical record Shaw. The year was 1960, and the Robert Shaw Chorale was making one of its ing to sell more than a million copies, I frequent national tours. On this occasion they appeared in Portland, Oregon. four ASCAP Awards for service to con As a young choral conductor struggling to impart the fruits of the choral experi temporary music, the first Guggenheim ence to my college choir, I had come to the concert with great anticipation. Fellowship ever awarded to a conductor, Although unaware of the reputation of Mr. Shaw and the Chorale, as the evening the Alice M. Ditson Award for service to progressed, I was absolutely mesmerized with the sounds that emerged from the contemporary music, the George Peabody stage. Medal for outstanding contributions to The program opened with Bach's double chorus Signet dem Herrn, and much to music in America, and the Gold Baton my surprise, everything was in place. An unusual kind of musical perfection was Award of the American Symphony Or unfolding right before my ears. The rhythmic vitality and flexible vocalism experi chestra League for distinguished service enced that evening was light years ahead of anything I had previously encountered. to music and the arts. It was an incredible musical evening that has remained fresh in my memory for Shaw was appointed by President nearly forty years. This was my introduction to the art of Robert Shaw and, Jimmy Carter to the National Council on fortunately, the first of many similar events I experienced in ensuing years. the Arts, and he was a 1991 recipient of With the passing of Mr. Shaw, those who have worked with, sung under, or the Kennedy Center Honors, the nation's simply known him are undoubtedly reliving similar musical images as they come to highest honor to artists "who, through a grips with what he really meant to the choral art in America in the twentieth lifetime of accomplishment, have enriched century. But what is very clear at the outset is that his contribution was multifac American life by their achievement in the eted. performing arts." The following year he Mr. Shaw was not the first choral conductor to tour the highways and byways of was awarded the National Medal of Arts America with his choir. George L. White (Fisk Jubilee Singers), F. Melius in a White House ceremony. He was the Christiansen (St. Olaf Choir), and John Finley Williamson (Westminster Choir) 1993 recipient of the Conductors' Guild were among the pioneers in this endeavor. Shaw brought a quality of excellence to Theodore Thomas Award, in recognition choral singing that had not previously been experienced by American audiences. of outstanding life achievement in con No one ever left a Robert Shaw choral event unchanged. An intangible, even ducting and for his contributions to the mystical quality was present when he was on stage-a special musical ethos, if you education and training of young conduc will, that was unforgettable. Even when a listener at a concert or a student at one of tors. In 1997 the French government his workshops might disagree with his interpretation of a given work, there was awarded him its medal as Officier des Arts always the recognition that they had observed a master conductor/diagnostician at et des Lettres. work. As early as 1943 the American Association of Composers and Conductors In September 1998 Shaw was Guest identified his unique talent and designated him ''America's greatest choral conduc Artistic Director at the Kennedy Center tor," and the results of his work over the past fifty-six years have proved the for the National Symphony Orchestra's soundness of that mid-career assessment. two-week Beethoven Festival, leading per Robert Shaw's lifelong pursuit of excellence in every detail of the choral art formances of the Missa solemnis, Choral created a lasting impression on those who were fortunate enough to sit under him, Fantasy, and Ninth Symphony. Immedi but it often resulted in uncomfortable moments for participants and administra ately thereafter, he was called to step in tors in his choral workshops. If he did not believe the singers were committed to for the ailing Seiji Ozawa to conduct the the task at hand, it was not unusual for him to walk out of a rehearsal. He Ninth Symphony for the gala opening con demanded that same standard of excellence of those who sponsored these events. In cert of the Boston Symphony's season. In a memorable conversation at his kitchen table in Atlanta some three decades ago, October he was inducted in the Ameri this writer was told in no uncertain terms that "business as usual was simply not can Classical Music Hall of Fame. acceptable" where the preparation for a choral performance was concerned. His Shaw is survived by his sister, Mrs. personal commitment to a quality musical experience for every singer was conta Harrison Price, of San Pedro, California; gious and led to a special environment for music making. Church musicians, his brother, John Shaw, of Baldwin Park, public and private music teachers, and university professors would return from California; his children, Dr. Johanna Shaw these "mountain-top" experiences and inspire their singers to seek the same kinds of Providence, Rhode Island, and Nan of results. There is little doubt that the high level of choral performances in this tucket, Massachusetts; Peter Thain Shaw country today at all ievels can be attributed in great measure to the lifetime of Portland, Oregon; John Thaddeus influence of Robert Shaw. Shaw of Lathrop, California; Thomas His unique place in the choral profession led· to an interesting but logical Lawson Shaw ofAtlanta and Yale Univer question that was addressed to him in 1974, while he was in Princeton leading a sity; and stepson Alexander Crawford Hitz workshop at Westminster Choir College. 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Summer at June 28-July 2 Choral Symposium with a focus on the child and adolescent voice, conducting technique; special needs singers, pitch accuracy, music literacy; rehearsal techniques and repertoire will be explored in sessions designed for elementary, middle, high school and church choirs. • Ann Howard Jones • Helen Kemp • Paul E. Oakley • Dennis Jewett • AI Holcomb • Dwayne Dunn July 12-16 Understanding Music Through Improvisation • Christopher Azzara July 19-23 The Choral Music Experience: The Conductor as Artist and Educator • Doreen Rao July 18-30 K6daly Certification Courses Hartt Summerterm • John Feierabend • IIdik6 Herboly '99 • AI Holcomb • Victoria Loebell • Jill Trinka ~~ Universityof ~~ Hartford July 18-30 One University. Nine schools of thought. Conversational Solfege (Music Literacy) The University of Hartford admits students without regard to race, age, color, creed, gender, physical ability, sexual orientation, and national and ethnic origin to all rights, privileges, programs, and activities generally accorded or made available to students of the University. • John Feierabend Carlisle Floyd's Text Settings in His Works for Chorus by Teresa S. Coffman Floyd's Choral Compositions Rossetti). All are for treble voices with piano accompaniment. Perhaps best known as one of America's leading opera com Floyd was honored to have been asked to submit original posers, Carlisle Floyd was originally skeptical about writing compositions for such a worthy project, but in his own words, strictly choral music. l A highly dramatic composer, he thought he felt "straight-jacketed" by the melodic and rhythmic limita he might be limited by attempting to compose using "choral tions imposed. ''I'm glad I did it," Floyd states, "but ... it was techniques," such as imitation, which might stifle the expres very difficult .... I was used to a very different medium." As he sion of the text.2 However, in 1960 he accepted a commission began to work on the pieces, his first challenge was to find texts from Erich Kunzel for the Brown University Glee Club as "an he thought "would be good in terms of literary quality and interesting challenge."3Written after his operas Susannah and would also appeal to children," and he remembers "that was a Wuthering Heights, his first choral composition, Death came long search." In the end he was "very pleased and proud" that his knocking, is a piece for men's chorus and piano set to a text by pieces were selected for inclusion in the resulting anthology.5 Joseph Auslander. Kunzel chose Floyd for the commission The Martyr, indicative ofthe passion ofthe people on the 15th because he was impressed with Floyd's work and saw him as an day ofApril 1865, Floyd's third and most dramatic choral work "up-and-coming" composer.4 up to that time, was the result of a 1971 commission from the In the mid-1960s, after the operas The Passion oflonathan Cincinnati Conservatory. Floyd set Herman Melville's text, Wade, The Sojourner and Mollie Sinclair, and during Markheim, based on the assassination of President Abraham Lincoln, for Floyd again ventured in the direction of choral music. At the mixed chorus, two trumpets, piano, timpani, and percussion request of the Juilliard Repertory Project, he and a limited (celesta, chimes, vibraphone, xylophone, cymbals, suspended number of other composers submitted pieces with defined cymbal, snare drum, tenor drum, bass drum, whip, tambou guidelines as to range, rhythmic complexity, and texts that are rine, and gong) .. The Martyr is dedicated to his friend and appropriate for elementary school children. The compositions colleague at Florida State, Wiley Housewright. were then "tested" in specific schools, and those deemed suc Floyd states he had a difficult time creating musical ideas cessful were included in the anthology, luilliard Repertory Li when setting the text for The Martyr. When asked why, he brary. All four of Floyd's compositions were selected for hesitates: "I don't know.... I can't answer the question only inclusion: Long, long ago (anonymous text), "Rain" and "Where because I think if I were given the same text now, I would say, go the boats?" from Two Stevenson Songs (texts by Robert Louis 'Wow, this is a great text to set.' This is a marvelous poem." Stevenson), and Who has seen the wind? (text by Christina But, he adds, "I felt uncomfortable writing choral music at that point-choral music outside of opera.... And because it was a Teresa S. Coffman teaches at the University of Houston Moores commission, I felt I had to do something choral-specifically School of Music, where she received her D.M.A. in conducting choral-and I felt more constraint."G in 1997. Uncomfortable in the choral realm, Floyd refrained from writing strictly choral music for almost twenty years. His MARCH 1999 PAGE 37 compositions during this time included Fl011d continualbl exhibits "Eternity" (Robert Herrick), "Dear lovely the operas Bilby's Dol~ Willie Stark, and J 'J Death" (Langston Hughes), from "Deliv- Jonathan Wade (revised). In 1992 Floyd his recoonition 0+ the ery Guaranteed" (Kingsley Amis) , "Inter- began work on his most complex choral 6' 'J view with Lazarus" (Joseph Auslander), composition. Commissioned by the imhortance 0+ choral "To Joshua, an Epitaph" (Alice Thomas American Choral Directors Association T 'J Ellis), and "A Time to Dance" (Cecil Day as a memorial to Raymond Brock, A Time writinf7 throuf7h his ohera Lewis). The work, scored for bass/bari- to Dance premiered at the 1993 ACDA 6 6' r tone solo, mixed chorus, and full orchestra, National Convention in San Antonio, choruses. is his most extended choral work to date. Texas, by the Westminster Choir, under Floyd originally rejected the ACDA the direction of Joseph Flummerfelt. commission, but "they were persistent," Floyd describes this, his most recent cho- and he finally consented. He states that ral work, as a "musical collage of reflec- possible."8 The sources for the varied texts he "freed" himself to do it, because he tions on mortality"? and dedicated it to are as follows: "Preamble" (English me- said, "Okay, you all are badgering me to his sister, Ermine. He used the Oxford mento mori medal, c. 1650), "Great do this, and you're going to have to take Book of Death as a main source for the Nature's Voice" (Lucretius [John what you get." This allowed him to ex texts of the "Preamble" and the ten fol- Dryden]), "Vanitus vanitatum" (John periment in a way he "would never ex lowing movements in order to "cover as Webster), "Epigram" (Mark Twain), periment with opera choruses."9 Gene wide a range of views of death as "Death, be not proud" (John Donne), Brooks, the executive director of ACDA ------"'------~------, and an admirer of Floyd's music, specifi- cally wanted Floyd for this commission because "he is a world-famous celebrity composer with high standards of compo sition" who "writes well for the voice. "10 When asked if he has plans for other choral works, Floyd answers quietly but quickly, "No, not any more."ll At least, it is hoped, not until his next persistent commISSIOn. Floyd's Compositional Style and Text Setting Floyd inherited an '~erican" com positional style from his mentor, Ernst ORDER TOLL-FREE The Treble works ofJacflson Berkey Bacon, and certain characteristics appear 888... 303 ... 4112 - Coming in early 1999 - '. throughout his choral music: frequent use of pedal points, polychords, rhythmic and melodic motives, modality, quartal and quintal harmonies, independent vocal and instrumental lines, and syllabic text set ting. He describes his music as "basically New Music of tonal," and adds the following: Rene Clausen What I like to do is to set up a Come, Let Us Sing to the Lord tonality and then simply stack other SATB with Organ or Brass Quintet tonalities on top . . . [through] MF2150 polytonality, or bitonality, or using a lot of non-harmonics ... so the Through Our Beating Hearts Remind Us basic tonality is disguised. I don't SATB and Organ do that as~ any kind of intellectual MF2148 exercise; that's what interests my ear.... That's the ultimate FREE reference copies available upon request arbiter-what I hear .... To me, PO Box 4012, Champaign, IL 61824-4012 Phone (800) 359-1386 or Fax (217) 398-2791 it's a way of making tonalities much [email protected] richer and interesting. I love to pack musIc comPRnv http://www.markfostermusic.com tonalities . . . so, therefore, when PAGE 38 CHORAL JOURNAL you finally do resolve into a When asked how his opera tendencies tonality, it's much sttongerY transfer to his choral music, Floyd quickly There is really hardly a more replies, "I start from the text. The text to dramatic subject, implicitly, than Not composed out of an inner need, me suggests exactly what I want in terms that: death, loss, mortality.... Floyd's choral works have been written at of musical quality and theatrical That's the only way I'm interested the request of others. He has reiterated quality." 15 Andrew Porter quotes Floyd as in writing choral music. Evety many times that his original hesitation in stating that "music and drama, 'if neces text that I've chosen is because of writing choral music was due to the fact sary, should be capable of existing au its inherent dramatic qualities. 17 that he would have to compose using tonomously,' but 'the fusion of the two "choral" techniques-"fugal imitations, should enhance and make each more He further illustrates the drama bf and all this kind of thing" -which didn't significant."'IG His concern with text-set death in The Martyr by offering the visual appeal to him as an operatic composer, ting is clearly demonstrated in the fact enhancements of black dress, stage light because, in his words, "you lose text."13 that all of his operas have been composed ing, and projected images as suggested in In spite of this reluctance, Floyd con to his own librettos. his "Composer's Note" included in the tinually exhibits his recognition of the score: importance of choral writing through his Dramatic Aspects opera choruses. One important aspect of Although his choral works are not While The Martyr was wrirten to these choruses is the way each functions based on his own literary writings, Floyd's be performed in a standard musical in the opera. The chorus members never most extensive choral compositions, Death framework ..., the composer would simply provide "background" music; they came knocking, The Martyr, and A Time to like to suggest that, where feasible, always playa specifIc and important role Dance, contain a common thematic the work be presented in a that contributes to the plot and the move thread-death. Why death? After a somewhat theatrical setting. To ment of the opera. Often the chorus func lengthy pause, Floyd answers, "I have ab accomplish this, he would tions as a choir or group of singers-as solutely no idea; it never occurred to me favor the use of projections on a carolers in Markheim, as singing choir until this minute." But after some thought screen over the chorus at the rear and congregation members in Susannah, he surmises the following: of the stage, the projections to be as ballad-singing farmhands in Of Mice and Men--or as a cheering, jeering, or simply desperate sheep-like mob-as "kinsmen" in The Sojourner and Mollie Last Call! Sinclair, as the townspeople in The Pas sion ofJonathan Wade, as "the poor and dispossessed" supporters of Willie Stark. Floyd discuses his original interest in opera in an Opera Cues interview: What drew me to opera in the first place was not just that I find music as absorbing and involving as spoken theater, but that music can encompass and explore an emotional range not possible in j spoken theater .... I think it is a measure of this ideal 'blending of drama and music' that the productions I remember most vividly and poignantly at HGO and Custom Tours over my twenty years as a subscriber I...AS,:[ CAl...I... for participation in the 1999 spring festivals! here have been The Coronation of Phone 1-800-533-6263 ~to check availability. Poppea, Falstaff, G6tz Friedrich's Wozzeck, Ponnelle's Boheme, and • Start planning for your spring, 2000 trip! the mesmerizing Elektra of a few seasons back. These demonstrated Mark the Millenium with participation in a first-class festival, to me what the art form was capable or with a superior customized tour. of being, and each time I was Festivals: Toronto, Virginia Beach, New York City, Myrtle Beach heartened to continue my quest for Call 1-800-533-6263. email: [email protected] that elusive 'equal blend.'14 website: www.greatfestivals.com MARCH 1999 PAGE 39 the actual photographs of Lincoln, elaborate theatrical presentation is "tonally stacked" than his choral compo his death, and his funeral. These obviously not called for, any or all sitions. He calls A Time to Dance a "chal projections would not be constant, of these relatively simple additions lenging yet accessible" kind of "fusion" but would be used at certain points can add substantially to the impact between his operatic and choral styles. in the music. In addition, theatrical of a performance. IB lighting of the chorus, rather than I keep going back in my head, and the usual concert lighting, is a In A Time to Dance, Floyd felt he was this is certainly not a fair parallel (I decided advantage. Also, while it is freer to incorporate dramatic composi wish it were), to ... Verdi. People not always practical, it is never tional aspects more than in any other of say, 'The Verdi Requiem is really theless of considerable benefit if the his choral works, even though this work operatic.' What else should it be? chorus can be garbed entirely in is very different and much more complex That's his voice, and I find that so black, and preferably in some non than any of his choruses for opera, which distasteful, because I think it is one identifiable attire. While an are generally more conjunct and less of the most exciting choral pieces in the world. Well, what do you > expect him to do-turn out a .", P 1It1,.~ Bl : Palestrina MasS?I9 Death came knock-jng,_ p > > ~ > Charles Hausmann, Director of Cho : B2 -- ral Studies at the University of Houston r-- Death came knock-jng,_ knock-j~_ knock-jng, _ and preparer of the chorus for the univer sity performance of A Time to Dance in "- ~ to.. r-. ~.~ : ...... 1995, surmises that this fusion of styles ~. . "satisfies the dramatic urge we all have '-.! ~Ii r P'P ~ P -== the urge for emotional self-expression : and that comes through because [Floyd] l is a theater composer. "20 ~: ~: ~: ~: In his own words, Floyd attempted in Figure 1. Death came knocking, nun. 12-15 A Time to Dance "to see how much poco meno mosso (J=63) P'PI F"i F"i ~ F"i I S ,.;" A eJ vr' U' vr' _.r ~U· T .r ~.. r c...... J r ~ Be - ware the Peo-ple weep-jng when they have the i-ron hand Be - J J. J r-; J t\ T : n. n. .. F6 J B " P'P I:...J I.....-..:j I:...J I ~ Timp Co' .. .. P P'P 7 " ""'",. (Cel.) Chimes Cel. Perc eJ p lantana mf~"'" ~ Vibr " '" eJ P Ten. _II 14., a J .,. 1~ I a J ~ -~ I Dr. .. 14 I '" " I Sva ~ ... ______P .. _. ______.. __ . ______._. ______.... __ . ______"______... ______._._ ...•.. _____ , i ~ i~~ t ~ i~ F P'P r~ ! ~ n J ~ Figure 2. The Mm·tyl; mm. 18-20 PAGE 40 CHORAL JOURNAL variety I could really get .... 1 was going softer dynamic, lower tessitura, and slower obtained from the middle voice.22 to preserve the integrity of the text first .. tempo (Figure 2) than the second theme, The middle "weeping" section includes . but within that I was going to use every, which is an angrier, more defiant setting two instances of an alto/bass ostinato 5/4 every device 1 could think of in terms of of the same text-as seen in the high "weeping" pattern, which reinforces the choral writing. . . ." He experimented tessitura, disjunct choral lines, loud dy mournfulness and illustrates a sort of mes with this work in a way he felt he could namic, faster tempo, and more percussive merizing numbness in its repetition, not not experiment with opera choruses, be instrumental lines (Figure 3). Floyd ex unlike the swaying and murmuring of cause the "function" was different. He states, plains the high vocal tessituras of the mourners at many funerals (Figure 4). "1 would never write a bitonal chorus for declamatory, almost violent, second theme Floyd's fondness for the extremely disso opera as I did in A Time to Dance."21 as the only way to get the intensity of nant intervals of major sevenths and aug Even with their many differences, sound he wanted, which could not be mented fourths occurs throughout in the Floyd's choral compositions contain simi larities with his opera choruses in his use IJ]] L'istesso tempo rna largamente of dramatic aspects to portray the text. In 119 I ~ J,j Ir-I I J J l-----J addition to his creative tonal schemes, S -''' which continually underline the drama A eJ "-..:1 I- I I I of Death Came Knocking, The Ma1"ty1", and Be - ware the Pea - pIe weep - ing. __ Be - A Time to Dance, his use of text painting, creative instrumental lines, frequent meter ; Jr-~ 1~~ ~2J J T : b~ J J changes, and numerous expressive indi B cations contribute to the expression of -=tf text in all his works for chorus. > > > > > Timp : Text Painting I I ::p f p--= Text painting is a regular recurrence in Gra;,; Gym.] SI~S~ Gym. ~ Floyd's choral works. The pervasive Perc .. } } } 1 1 I .. I{f, ~ I' I I I "knocking" motive in Death came knock f p-==:d ing continually reminds performer and > > > > > > listener of the relentless presence of death. Chimes " 4!J Dramatic text painting occurs through sempre marcalo f >- out the work but is especially evident on .----... the word "lmocking." The most pervasive ----.." ,~ ----..- > #~ ~~ rhythmic motive first appears strikingly " * as a recurring "lmocking" motive in the eJ· :6J: > :6J: piano introduction as a thirty-second > note/eighth-note percussive figure, which : JI#~ is then augmented in the voices in the ~ imitative first section on the word "knock qr #ltr # r r > > > 't ing." (Figure 1). This figure appears as a constant "rapping" throughout the piece Figure 3. The Marty!; mm. 119-123 in its original or augmented form. Pedal points beneath this activity not only add [JJJJ [J1J molto meno mosso (J=96) to the ominous quality of the music, they ,."" JYP also provide important and practical tonal s centers in this somewhat "tonally stacked" But the Pea - pie pIece. A Floyd describes The Ma1"ty1" as being in 4!J ~~ ~~ three main sections, but there are many weep - ing, weep-jng, weep - iog, weep-ing, subsections that malce this type of ternary " JYP form resemble a rondo with Floyd's char TI~~~~ '!I But the ~eo-ple acteristic recurring themes. The text paint JYP,...... ing in The Ma1"ty1" is especially evident in Blm~~~ each of the "Beware the people weeping" ":'. ": . " weep - mg. weep-mg, weep - mg. weep-mg, themes and in the generally more sub dued "weeping" central section. The first "Beware the people weeping" theme tends to represent a mournful quality with its Figure 4. The Marty!; mm. 111-112 MARCH 1999 PAGE 41 vocal and instrumental lines, sustaining mourners. further demonstrated in A Time to Dance. the relentless and unresolved agony of the Floyd's careful attention to the text is Nature, as personified by the baritone ITIJ Allegro risoluto (J =72) soloist in "Great Nature's Voice," com > sempre marc. -'II > >--...... ",>. pletes the chorus's thrice-stated query, s "Suppose great Nature's voice should call e! Death __ be ___- - not proud though to thee or me or any of us all." This same II > > > > sempre marc. characterization technique is used in the A - eighth movement, "Interview with e! I Death __ be ___=--- not proud though Lazarus," in which the baritone solo, sempre marc. II > - > --t- ;;; ",>. Lazarus, answers the probing questions T posed by the choir. ~ Death __ be ___- not proud though Frequently in his choral works, Floyd - se;:re marc, uses vocal doubling as a way to reinforce > I,~l> b;;;. : text, especially in declamatory passages. B , I This is readily seen in "Death, be not Death __- be ___ not proud though proud," the fourth movement from A I >~ > b I >.- > .. Time to Dance (Figure 5),23 and through ...... I out The Martyr. On the other hand, there ~ ~. - marcatiss. >ffij is very little doubling in "Dear lovely 'I !~, .. !o.. I.. Death," the only extended unaccompa nied writing in any of Floyd's works for ~~.. t·· ~ l ~> ~ ~> ~ chorus (Figure 6). One way he empha ";11 :---- .,... ~ -;;3--, ----... sizes the text in this highly chromatic, - hymnlike movement is by keeping the e! dynamic range between and some have called thee might -y and dread - ful, pp mp. II ..- r:---3---, Lest one think A Time to Dance too - -- somber a piece, Floyd reveals his sense of e! humor in his almost whimsical setting of some have called - thee might -y and dread - ful, .,.... r---;:; ~--, the text from "Delivery Guaranteed": II - =------... ~ I Death has something to be said for some have called thee might -y and dread - ful, it: jL ~ ,--3--:; L : '" There's no need to get out of bed for it; r-- --- some have called - thee might -y and dread - ful, Wherever you may be, !o.. b •.. ~ They bring it to you free. 24 ...... ~ ~ .. I ...... ~ ~ Floyd describes this movement as bi !o.. I.. I.. ~h •.. • F~: .. .. tonal, but it might also be considered ~~ .. polychordal within tonally centric sec t·· ~ I f' > tions. In either case, this duality, along Figure 5. From A Time to Dance: "Death, be not proud," mm. 1-4 with the angular solo line and the staccati choral parts, seems to emphasize the some Lento molto sostenuto ::::::=- times unexpected, yet inevitable appear ,.;" p I S ance of death (Figure 7). eJ I I Dear love-ly Death that tak- eth all things un - der - wing. Text as Reflected by p ::::::=- A " Instrumentation eJ it.. ~ .. it "" it .. It .. ~ •. Floyd's instrumental lines rarely double Dear love-ly Death that tak - eth all things un!:r~ing. the voices; he instead often uses accom p I ::::::=- I T " panying patterns to reflect the text. The It .. 'If It.. 'If piano plays an integral part in painting ~ Dear love-ly Death that tak- eth all things un - der - wing. the picture of Death came knocking, as p ::::::=- seen in the "knocking" motive. In "Rain" B from Two Stevenson Songs the piano rep 'If. I 'If -..." '"' Dear love- Iy Death that tak - eth all things un - der-wing. resents rain, with its irregular staccato Figure 6. From A Time to Dance: "Dear lovely Death," mm. 1-4 eighth-note motive, which is reminiscent PAGE 42 CHORAL JOURNAL of the sound of raindrops. This staccato careful attention to syllabic stress and [His] musical style is eclectic. Much motive is also reflected in the vocal line speech rhythms. This is clearly demon of its power is generated through (Figure 8). The piano in Who has seen the strated in the frequent meter changes of expressive declamations and his wind? portrays wind with a soft, fluid, "Dear Lovely Death" (Figure 6), in the strong harmonic language. But he slurred "wind" motive (JJJJJ t) which notated rhythms and phrases of Long, long has not neglected lyricism recurs throughout the piece (Figure 9). A ago, and in the first "Beware the people altogether, which, from time to similar "wind" motive occurs in Long, long weeping" section of The Martyr (Figure time, springs from his music like ago. 2). In each case, the notated rhythms and some geyser eruption. And he is not Floyd also often sets the mood and meters closely follow normal speech pat afraid of emotion, or of romantic accentuates dramatic passages of his mu terns-a striking characteristic in Floyd's attitudes, when the text calls for sic with instrumental punctuation: a sharp operas and his choral works. In writing them. His extraordinary success gunshot, represented by the whip in the about Bilby's Dol~ Porter surmises, "the stems from the fact that he is at one two Allegro animato sections of The Mar word setting is flexible, not tied to the bar and the same time a supremely tyr, occurs after the choir cries, "But they lines, natural in its response to what would articulate and versatile musician and killed him ..." (Figure 10). Persistent 0 be the spoken inflections of the text. "26 a telling and consummate chimes in the opening nine measures of dramatist.27 this same work clearly set the stage for a Summary funereal atmosphere. Floyd's dramatic style is astutely sum Carlisle Floyd's choral music is The slide projector might also be con marized by David Ewen: dramatic, musically "challenging yet sidered an instrument that emphasizes cer tain dramatic passages in The Martyr. Floyd does not specify which slides to use 1271 Vivo (J. =80) or when to use them-this is left to the discretion of the conductor. But he does suggest that the pictures be actual photo graphs of Lincoln, his death, and funeral. He prefers that only a few slides be shown for a very brief time, with the screen go Solo> ing to black between pictures. He finds > > that too many slides "distract from the piece" and prefers slides that depict the Death has some - thing, some-thing, some- thing _ to be said for it. reactions of the people to Lincoln's assas sination.25 Tempo and Expressive 11 -== f Indications Floyd's numerous tempo and expres sive indications contribute to the move ,./" mp =- ment and the drama of his choral works, .- S -- and this is especially evidenced in The @} r - Martyr and A Time to Dance. For ex some - t h'mg to be said for it. ample, the first thirty measures of The "mp =- A Martyr incorporate no less than eight dif eJ ferent tempo indications: measures 1-4, some - thing to be ~aid for it. Andante poco moderato; measures 5-9, " mp. = = stringendo poco a poco; measures 10-16, a T eJ ...... tempo, risoluto e marcato; measures 16- some-thing, some-thing, some - thing to be said, said for it. mp. -- -=== h.. .=- 17, poco rit.; measures 18-21, poco meno : mosso; measures 22-28, Tempo 1; mea B r- sures 28-29, poco rit.; and measures 30- some----thing, some-thing,--- some - thing to be said, said for it. 49, Allegro animato. A similar frequency II~ ... ~ ~ ~ of tempo and expressive indications oc : : ___ OJ curs throughout A Time to Dance, but is @} OJ 11 u!f perhaps most evident in "Interview with i"'"""'-, i"'"""'-, ~ Lazarus." " : - : His strategic mixing of meters, notated @} oJ rhythms, and phrase lengths illustrates his Figure 7. From A Time to Dance: "Delivery Guaranteed," mm. 1-12 MARCH 1999 PAGE 43 accessible," thoughtfully and expertly community children's choirs or women's used as an anthem during Christmastide composed to meaningful texts, and in voices, and the four pieces together form for a church, children's or women's chorus, spiring to perform and hear. The Juilliard an interesting set. They are also effective or even as a duet. Although Death came Project pieces are ideal for school or separately, and Long, long ago might be knocking, The Martyr, and A Time to Dance are more difficult, due to their harmonic Allegro poco scherzando (J =108) mp and rhythmic complexity, they are gener ally accessible to advanced university, com vcs.~~_~~~~~ munity, or professional choirs and are excellent concert pieces. None are lengthy; The Martyr is less than fIfteen minutes long, and A Time to Dance is less than thirty. Because Floyd is widely recognized as an opera composer, his choral works are often too easily overlooked. Although rela r tively few in number, they are exception Figure 8. From Two Stevenson Songs: "Rain," mm. 1-5 ally diverse and worthy of performance. fI Allegretto (J =84) P,...... , Floyd's Choral Works vcs·~~~~~m~~ Death came knocking. For TTBB cho e) Who ~s s;;: _ the wind? rus and piano. Text by Joseph Auslander. SIlO •••••••••••••••••••••••••••••••••••• __ •• ______•••• •• ----.---. ______••••••••• ___ •••••• __ ., New York: Boosey & Hawkes, OCTB 5368, 1961. Long, long ago. For two-part treble cho rus and piano. Anonymous text. New York: Boosey & Hawkes, OCTB5648, 1967. Two Stevenson Songs. 1. "Rain," 2. "Where go the boats?" For unison treble chorus and piano. Texts by Robert Louis 9. Who has seen tbe wind?, mm. 1-4 Stevenson. New York: Boosey & Hawkes, OCTB5627, 1967. []] Allegro animato (J =92) Who has seen the wind? For two-part treble chorus and piano. Text by Chris tina Rossetti. New York: Boosey & Hawkes, OCTB5628, 1967...... '--'" kind; But they_ killed him_ in_ his_ The Martyr, indicative ofthe passion of the people on the 15th day ofApril, 1865. For SATB chorus, two trumpets, piano, timpani, and percussion. Text by Herman Melville. New York: Belwin-Mills, 1973, ownership transferred to Boosey & Hawkes in September 1989. A Time to Dance. For SATB chorus, bass-baritone solo, and orchestra. Texts from an English "Memento Mori" Medal (c. 1650), Lucretius Qohn Dryden), John Webster, Mark Twain, John Donne, Rob ert Herrick, Langston Hughes, Kingsley Amis, Joseph Auslander, Alice Thomas Ellis, and Cecil Day-Lewis. New York: Perc.~~------~-----~~~----~~------T------~ Boosey & Hawkes, LCB264 (piano/vocal score), 1996. Works Arranged by Floyd from His Operas and Published Separately for Chorus Figure 10. The Mm·tyl; mm. 29-30 PAGE 44 CHORAL JOURNAL "Jaybird Song," from Susannah. Arr. Sendforyour for SATB chorus and piano. Anonymous LUMINA MUSIC FREE! 1999 Lent and text. New York: Boosey & Hawkes, Featuring enduring, meaningful texts OCTB5502, 1964. set to provocative, original music. ~ Easter Pack! "Down in Galilee," from The Passion Buy aile. Copy forever. Theodore Presser Company' Dept. I-CJ I Presser Place • Bryn Mawr, PA' 19010-3490 ofJonathan W0de. Arr. for SATB chorus -or- E-mail [email protected] and piano. Text by Carlisle Floyd. New York: Boosey & Hawkes, OCT5538, 1965. EL NOI DE LA MARE "Free as a Frog," from The Passion of MEMENTO MORI: An AIDS Requ.iem (A CATALAN CAROL) Jonathan W0de. For unison chorus and TTBB Chorus; 5, M-S, T, B soli; and orchestra SATB, Keyboard, opt. handbells (LG 52763) piano. Anonymous text. New York: Nine movements (75 min.); on rental (LG 52862) Boosey & Hawkes, OCT5527, 1965. Death came knocking © Copyright ITA,tllerrf!:,~teslof~tlz.§lra,m.sil~ltl'§rcl!e~tt,!·with·l 1961 by Boosey & Hawkes, Inc. Copy right Renewed. Reprinted by permission. Long, long ago © Copyright 1967 by Boosey & Hawkes, Inc. Copyright Re newed. Reprinted by permission. 1"'.ifM:.1 ~Tif,;J.!~~~L" Two Stevenson Songs© Copyright 1967 Available separately with keyboard accompaniment: ~~CHRISTMAS MORNING by Boosey & Hawkes, Inc. Copyright • The Wounded (Ingemisco) SSA and Piano (LG 53017) Renewed. Reprinted by permission. TTBB and M-S (LG 52818) Who has seen the wind? © Copyright • Pie Jesu 1967 by Boosey & Hawkes, Inc. Copy TTBB and M-S (LG 52819) • Sanctus-Holy-Kadosh right Renewed. Reprinted by permission. adapt. SATB and 5 (LG 52820) A Time to Dance© Copyright 1996 by Boosey & Hawkes, Inc. Reprinted by per mISSIOn. WASHINGTON STATE UNIVERSITY NOTES SCHOOL OF MUSIC AND THEATRE ARTS ITeresa S. Coffman, "The Choral Music of Carlisle Floyd: History, Analyses, Text ASSISTANT PROFESSOR - TENURE TRACK Choral Music Education, Choral Conductor, Voice Studio and Performer (male: bass/baritone Setting, and Performance Considerations or tenor), effective August 16,1999, full-time, nine months. (D.M.A. document, The University of Houston Moores School of Music, Teach choral music education methods, materials, and techniques. Direct University Singers. Teach studio voice. Maintain creative and scholarly activity related to teaching. Actively participate 1997). This article is excerpted from this in recruitment of students and activities of appropriate professional organizations. Advise students document. and provide appropriate service effort. 2Carlisle Floyd, interview by author, 3 Master's degree plus national visibility or doctorate required. Evidence of strong research September 1996, Houston, Tx. ability, knowledge of current music education and vocal methodology, and effective teaching, 3 bid. I performance, organizational, and interpersonal skills required. Minimum two years successful 4Erich Kunzel, telephone interview by author, choral teaching at the secondary level required. Evidence of ability in student recruitment and 26 Februaty 1997, Houston. retention, plus ability to maintain effective relationships with secondary schools required. Evidence 5Floyd, interview by author, 26 April 1996, of university choral and vocal teaching and keyboard skills sufficient for accompanying preferred. Houston. Please send letter of application, at least three confidential recommendation letters, current 6Ibid. vita, video of choral conducting, and audio of solo singing to: 7John Silantien, ed., "Special Events," Choral Dr. Lori Wiest, Chair Journal, vol. 33, n. 6 Oanuary 1993): 3l. Choral Music Education Search sF/oyd, 26 April 1996 interview. School of Music and Theater Arts 9Ibid. Washington State University IOGene Brooks, telephone interview by author, P.O .. Box 645300 Pullman, WA 99160-5300 25 February 1997, Houston. II Floyd, 26 April 1996 interview. DEADLINE TO APPLY: 12F/oyd, 3 September 1996 interview. Screening begins April 5, 1999, and continues until position is filled. 13Floyd, 26 April 1996 interview. 14F/oyd, "Susannah: An Interview with Carlisle WSU is an EOlAA Educator and Employel: Members of ethnic minorities, Vietnam Era and disabled veterans, persons of disability and/or Floyd," Opera Cues (Spring 1996): 16. persons of the age of 40 and over are encouraged to apply. 15Ployd, 26 April 1996 interview. MARCH 1999 PAGE 45 16Andrew Porter, "Musical Events: 2°Charles Hausmann, interview by author, 3 26p orter, "Gomg . to t h e D eVI'1" , 320 . Reconstruction," New Yorker, 4 February March 1997, Houston. 27Ewen, The World ofTwentieth-Century Music 1991. 21FJoyd, 26 April 1996 interview. (Englewood Cliffs, NJ: Prentice Hall, I7Floyd, 26 April 1996 interview. 22Floyd, 3 September 1996 interview. 1968),274. 18Floyd, The Martyr, indicative ofthe passion of 23To conserve space, the excerpts from A Time the people on the 15th day ofApril. 1865, to Dance are from the piano/vocal score. -C]- poem by Herman Melville (New York: 24Kingsley Amis, "Delivery Guaranteed" from Belwin-Mills Publishing Corp., 1973, Collected Poems 1944-79 (London: ownership transferred to Boosey & Hutchinson, 1979). Hawkes in September 1989), 3. 25 Floyd, 3 September 1996 interview. 19F1oyd, 26 April 1996 interview. MIDI Keyboard Kits $299 General MIDI Keybd.-FuIl61 keys SeqlJencingfTranscription Software Band in a Box, MIDI Connector Finale $219 • Encore $219 Site Licenses • MusicMastery '/..e'l'oOS AABACA (.0 \.O'oS 612-933-7307 \to~S ic aids http://aabaca.com ..iiii_ ...... IMiIilLl~ se 29.63 • www.tpmusicaids.com .JL TRINITY~ LUTHERAN SEMINARY SUMMER MUSIC COURSES I-Week, 3-Week Courses June 14 - July 2, 1999 Graduate Credit April 5-9, 2000 June 14-July 2 (three weeks) Church History - John Kevern Person in Ministry - Leland Elhard Lincoln Center • NYU • Churches of New York Liturgical Choir May Schwarz 1999 Faculty June 14-18 (one week) People's Song Leading - Alice Parker Weston Noble • Moses Hogan • Jeffrey Unger (2000 Faculty To Be Announced) June 21-25 (one week) Children's Choirs - Amy Chivington ****BY AUDITION ONLY. LIMITED TO TWELVE CHORAL GROUPS**** Hymns Old and New - Carol Doran "An intensive program of performance, workshops, June 28-July 2 (one week) MusiC & Theology - Walter Bouman sightseeing, Broadway shows and educational exchange" • GREAT PERFORMANCES· MUSICAL EXCELLENCE· AFFORDABLE VALUE· For more information, contact: Prof. May Schwarz, Director, MACM program Trinity Lutheran Seminary 1-800-922-3976 2199 E. Main St., Columbus, OH 43209-2334 WORLD PROJECTS, INTERNATIONAL MUSIC PRODUCTIONS Phone: (614) 235-4136 Fax: (614) 238-0263 Contact: Don Jacobsen Email:[email protected] PAGE 46 CHORAL JOURNAL ~ ~ <0> Ir1'l ~ ~([D IITl ([D grr2a. p.Lhi ~ ([D _ 4- A Classified, Annotated Bibliography of Articles Related to Choral Music in Five Major Periodicals through 1980. (1982) 233pp. by Lynn Whitten ~OTI11J.ogra.ph ~ ~([D1nlogJr21.pJiha ~ 0_ <6 A Classified Index of American Doctoral Dissertations and Dissertation Projects on Choral Music Completed or Currently in Progress through 1989. (1990) 177pp. by Michael J. Anderson ~([DJTljl([Dgn-2a.ph :N"o_ '7 The Choral JOlll"llal: An Index to Volumes 19-32. (1992) 134pp. by Scott W. Dorsey ~OJTljlogJra.p·Itn ~o_ 8 American Singing Societies and Their Partsongs: Ten Prominent American Composers of the Genre (1860-1940) and the Seminal Singing Societies that Performed the Repertory. (1994) 112pp. by William Osborne ~o.li1llogJraph. ~ o CD CD E) 0 E) CD 0 El E) Ii) <:) '" 0 Ii) Ii) (l) CD CD 0 0 CD (;) CD <;} (;) 0 " (Z) III 0 0 0 0 0 0 0 0 0 0 E) 0 CD Cl (') CD (') (!) 0 f ~ R WI Name: ______,~j~_~~~lt~~i'ff~l';'''iJ"m·s,e·~ &~,-, ... = '.;" /" .". ·~mt·rsl"· Address: ______·.3i1~~~~i~;i~i~~:t~~;'r:!P~~iIH~Ji~\~~~~~i~~~t:~(-1:;f~:::~~JJt1~f~~~~' City: ______State: Zip Code: ·~::;~{I:~l:~:~m:~~~~~,:i;~·~tI~~~~I~~~:[k;~· Monograph Quantity Price Subtotal :"!f:~?lli:~f~;~;;;fi!Kli~~·f$,¥&;':~.~::~~I0Rl~:Q~!I~:n ' ~~(~:lf~jt~;t&~~~;{~I{;:.~t03t:~I(:~I\x;glil;)~:t;\~~·~, No.1 @ $5.00 $ --- ~ ._.'.;.:.... ;. ;.!C' ~""':"#,·.:t:·;~~':/i'I:';,>:, ! _~. ;,O.J ..;.<. t: :',~ ~ .. ~ ~ "fr;t""'//1l'\'~""J"'''' J,·J·'~·:::·A·';·'~-:'~:;:·'·· ,.>:-<./~ •• ;,V"~'~:·.·· No.2 @ $5.00 $_- '>;:>;;;:; :".:f:!tJ"·;?::~a:Wie!n~~"· ',:' ·'(Iie-nf)e~K~\!1:!r..:;:~.:. 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When package arrives, 8 INT __ Changing High School Choir open immediately and check for damage.ViaMedia cannot replace damaged 9 INT __ Sacred Music of Duke Ellington recordings more than 10 days after they are delivered. LITERATURE FORUM Repertoire and Conductors of Fifty All-State Choirs, 1997-98 by Rebecca R. Reames ALABAMA Jo-Michael Scheibe The God Who Gave Us Life Judy Bowers University of Miami (The Testament ofFreedom) Thompson Florida State University SATB Choir Be Thou My Vision arr. Hunter Junior High Choir She is My Slender, Small Love Thiman Sing a Mighty Song Gawthrop Betelehemu Whalum Laudate Dominum Porterfield Haste Thee, Nymph Handel/Mason The Drummer and Canciones de cuna Gray In memoria aeterna Vivaldi the Cook Parker/Shaw Shenandoah arr. Kiehle Gloria Basler o Praise the IfMusic be the Food ofLove Dickau Viretta Sexten Mighty Lord HandellLiebergen Der gan zum liebchen Brahms Kennet High School, Missouri Down by the Sally Gardens arr. Rutter The Battle ofJericho Hogan Female Chorus The Storm is Passing Over Tindley/Baker The Milkmaid's Fable Cobb Wir eilen mit schwachen, ALASKA doch emsigen Schritten Bach Charlotte Adams Craig Johnson How Sweet the Moonlight Sleeps Young Cherry Creek High School, Colorado University of Texas-Austin Measure Me, Sky arr. Mulholland SSA Choir Nigra sum Casals Let All the World in o aula nobilia Mathias Yo Ie canto todo el dia Brunner Every Corner Sing Vaughan Williams o magnum mysterium de Morales Verbum caro foctus est Hassler Jing-Ling Tam Dance on My Heart Koepke Sing Unto God University of Texas at Arlington A Child Said McCray (from Judeas Macabeaus) Handel Mixed Chorus Somagwaza arr. Kaptein There Shall a Star Come The Dream Tree arr Allaway Out ofJacob Mendelssohn Anvil Chorus Verdi A Jubilant Song DelIo Joio Love and Pizen Mechem Wake Up, Ollie Brown Allaway My Shepherd Will Supply Jasmine Flower arr. Tam Joel Knapp My Needs Thompson o aula nobilis Mathias Jacksonville State University Negana Leek Chichester Psalms Bernstein TTBB Choir Kjrie and Gloria (Mass in C) Beethoven E'en So, Lord Jesus, ARIZONA Qptickly Come Manz Mary C. Breden CALIFORNIA Lobet den Herren, alle heiden ed. Stocker Loyola Marymount University Jo-Michael Scheibe Fergus an'Molly arr. Singh University of Miami She's Got You Klein we Will Remember Thy Name Handel The Awakening Martin Alleluia Amen Handel Hast Thee Nymphs (L'Allegro) Handel western Songs arr. Wagner Alma redemptoris mater Palestrina In memoria (Beams Vir) Vivaldi Climbin' Up the Mountain arr. Smith The Snow Elgar/Fraser Gloria (Missa Kenya) Basler OfCrows and Clusters DelIo Joio weg der liebe Brahms Dirait-on Lauridsen Heart we Will Forget Him Mulholland America arr. Hunter Shendandoah arr. Basler Rebecca R. Reames is Assistant Bile Them Cabbage Down arr. Wilberg Professor of Choral Music and Music The Battle ofJericho arr. Hogan Education at the Crane School of ARKANSAS Music, State University of New York Stan McGill at Potsdam. South Garland High School, Texas Male Chorus MARCH 1999 PAGE 49 COLORADO Jing-Ling Tam Praise and Honor Bach/Robinson Nina Gilbert University of Texas at Arlington How Old do Ytt' Have University of California-Irvine Mixed Choir to be to Sing the Blues? Robinson Men's Choir It Takes a Village arr. Funk Chichester Psalms Bernstein Reach Out and Touch Ashford & Laut verkuende uns're freude Cool ofthe Night arr. Ratedge Simpson/Robinson (A LittleMasonic Cantata) ~terNight Whitacre K. 623 Mozart ~ke Up, Ollie Brown Allaway Simon Carrington Artsa alinu arr. Gilbert University of Kansas Four madrigals del Encina Senior All-State Chorus Revelose mi cuidado CONNECTICUT Una sanosa porfia Peter Bagley All Ye Who Music Love Donato Caldero y lfave, ma dona University of Connecticut Alleluia Larson Amor con fortuna Alles hat seine zeit Haydn Got a Mind to Do Right arr. Morrow Sing to the Lord a New Song Schutz When Mary thro' La pastorelfa Schubert Geistliches Lied, op 30 Brahms the Garden W'ent Stanford Bye Bye Blues Hamm, Bennett, Witness Whallum Tres cantos nativos Lown, Gray How Can I Keep from Singing? arr. Tyler dos indios krao arr. Leite Quick! W'e Have Lift Boy Britten And So It Goes Joel/ Chilcott buta Second arr. Ringwald Make Our Garden Grow Bernstein/Page Love Somebody arr. Bacon Bridge Over Troubled ~ters arr. Shaw Hilary Apfelstadt Ohio State University FLORIDA Women's Choir DELAWARE Larry Wyatt Russell Robinson University of South Carolina Gloria Henderson University of Florida Senior High Concert Chorus The Lord is My Shepherd Schubert Junior All-State Chorus How Sweet the Moonlight Sleeps Young Hodie, Christus natus est Willan Life has Loveliness to Sell Mulholland Alleluia Mozart/Robinson Pater noster Schutz/Wyatt Hello, Girls arr. Pfautsch Come to Me, a My Love Petker Awake the Trumpet's Sakura, sakura arr. Okamura Now is the Month Lofty Sound (Samson) Handel Ah! si mon moine ofMaying Morley/ Robinson Neckerein Brahms voulait danser arr. Patriquin Shenandoah arr. Althouse The Cloths ofHeaven Hailstork a magnum mysterium Lauridsen You Must Have that True Religion' arr. Carter Andre J. Thomas A bric.iM Florida State University JH/MS (8th and 9th) Not Just Another Mixed Concert Chorus A cultural focus, i.il of the word. A customized itinerary, unique agenda. Prepare the Hymn Handel Experienced professionals at stage, design to executi()l1. Agnus Dei Pergolesi An educational perspective, with viSits to sites &culturallandrIiatks. Sing to the Lord Specialized guides, accommodationS .8A traveVamenities to meet yourbl.iqget, (Three Meditations) Goemanne Arise, My Love Porterfield Sanctus Bernstein Music CollaboratiooJ.!$;;,J,JJd'Performance Tours Down by the Group T01.llrS,tQ,:trsf~w York City Sally Gardens (TB) arr. Rutter Cathedral To:ijrs"of;~reat Britain I Hear America Singing Thomas Eastern &.We.~~¢~n,;'f.J.1l7ope Z. Randall Stroope UK, South A.W"e~ic3'&. Asia University of Nebraska Contact: Dennis Hunt, Concept Tours, Inc. 170 W 74th St., NYC 10023 7-8 Treble Chorus Tel: 212-580-0760 Fax: 212-874-8605 [email protected] Resonet in faudibus Stroope PAGE 50 CHORAL JOURNAL Agnus Dei (Cornation Mass) Mozart Twentieth Century Te quiero Favero King ofGlory, King ofPeace Harris (including Folk-Song Arrangments): Un Canadien errant Parriquin Niska banja arr. Page Gloria (Missa Kenya) Basler Goin' Up to Glory Thomas Measure Me, Sky arr. Mulholland There is no rose Caracciolo Golden Slumbers Aas j'entends Ie moulin arr. Patriquin Blow Ye the Trumpet Mecham Alouette Sund o nata lux Lauridsen Suita scurta Pascanu Norma Raybon Vita de la mia vita Hawley Mister Banjo Hogan Spelman College Ave Maria Orban North Country Folk Songs Wilby SSAAChorus Daemon inrepit callidus Orban Sure On This Shining Night Stroope Achieved is the Glorious Lift Up Your Heads McCray GEORGIA Work (The Creation) Haydn o sacrum convivium Biery Arlene Sparks Ave Maria Macintyre Hodie Christus natus est Carter School of the Arts, W. Palm Beach, FL Hold On arr. Noble Past Life Melodies Hopkins Middle School Treble Chorus Carol to Beauty Mulholland Ave verum corpus Busto Kalinka arr. Gregoryk Wind Jennings Where the Music Comes From Hoiby The Silver Swan Mochnick Den tod, niema.nd Rodney Eichenberger Oh, What a Beautiful City Brown zwingen kunnt! Bach/Kjelson Florida State University Balm In Gilead Berkey Yo Ie canto todo el dia Brunner Reading Chorus Hiney mah tOY Levine She Shall Have Music Page Y'susum midbar Parker Amazing Grace (Over the Hills) Hatfield Renaissance: Island Songs Leek The Swallow Telfer Mentre il cuculo Caimo o noJohn! Halsey Ah! si mon moine Sanctus Lotti Kalinka Prokhorov voulait danser arr. Parriquin Kyrie Gabrieli Ala volette Chatman Mary had a Little Blues Collins Si ch'io vorrei morire Monteverdi LukejsBoat Chatman Chantez aDieu Sweelinck Sudden Light Young Rebecca Reames Buccinate in neomenia tuba Croce I~nna Powell State University of New York at Lay a Garland Pearsall Banks ofDoon Schultz Potsdam Pavane Gasparini Ritsch, Ratch, Filibom! DeCormier Middle School Mixed Chorus Musica dulci sono Cipriano de Rore Cantan las flores Mendoza Yo Ie canto todo el dia Brunner Exsultate justi Williams Baroque: Death Is Gonna Lay His Musik dein ganz lieblich kunst Jeep In virtute tua Gorczycki Cold Icy Hands On Me Thomas o Praise the Mighty Let Their Celestial Concerts All Unite Handel Prepare the Hymn Handel CHORUS AMERICA Come, Mighty Father Handel 22nd ANNUAL CONFERENCE Classical: CREA TIVITY IN YOUR COMMUNITY Three Choruses from La clemenza di tito Mozart Plaudant aetheri Holzbauer Gloriosus Deus Haydn Universi, qui te expectant M. Haydn Alles hat seine Zeit Haydn Romantic: o Cast Me Not Away Brahms/Ehret In der Marienki1"che Loewe Otche nash Gretchaninoff o Lamb ofGod Kalinnikof I am the Monarch ofthe Sea Gilbert and Sullivan For more information contact Chorus America at: Locus iste Dohnanyi 1156 15th St NW, Suite 310, Washington, DC 20005 Two Mendelssohn ph - 202.331.7577 fx - 202.331.7599 Part Songs Mendelssohn MARCH 1999 PAGE 51 Lord Handel/Liebergen Lynne Gackle Carl Starn Psalm 139 Pote University of Miarni Chapel Hill Bible Church Boatmen Stomp (Men) Gray Senior High 9-10 Mixed Chorus Senior High Men's Chorus Answer to a Child's Question (Women) Strang Domine, ad adjuvanadum Gentle Annie Foster/Parker/Shaw Somagwaza arr. Kaptein/Lyon me Jestina Martini A beata trinitas Handl 1 Hear America Singing Thomas Speak to One Another in Psalms Berger Down in the Valley Mead Bashana haba'ah Hirsch/Leavitt The Last Words- ofDavid Thompson Dance, Dance My Heart Diemer Ave Maria Biebl The "Water is Wide Clausen Standchen Schubert Follow the Drinking Gourd arr. Thomas An Irish Airman Forsees His Death Adams Got a Mind to Do Right Morrow LUMINAMUSIC Mary Hopper Featuring enduring, meaningful texts set to provocative, original music. "Wheaton College Buy one. Copy forever. Senior High Women's Chorus www.luminamusic.com Psalm 150 Willcocks Dona nobis pacem DeLong Duet from Cantata No.9 Bach Dance on My Heart Koepke {;.lnterculture Foundation Las amarillas arr. Hatfield ar::;:J of AIIIl'ricfI Choose Something Like a Star Thompson -PRESENTS- Clap Yo' Hands- Gershwin/King John Ratledge EIRSl-BNZER INlERNAllC>NAl CElC>RAl Shorter College CC>I'V1I?EllllC>N IN lElE UNllED SlAlESI Senior High 11-12 Mixed Chorus Chanson on "Dessus Ie marche We are proud to bring to the United states the proven competition d'arras" di Lasso format used in our 30 prestigious international competitions Two Madrigal Love Songs Young + Exposure to foreign choirs and choral singers Song ofthe Open Road Delio Joio + Share extraordinary and diverse new choral literature Cool ofthe Day arr. Ratledge + compete against choirs for a ranking or against a standard Lord, 1 Don't Feel + International/V recognized Choral Adjudicators No- "Ways Tired arr. McIntyre + American Advisors: Dr. Jerry Jordan, Dr. Lee Kjelson, Fare Ye Well arr. Ratledge Dr. John Haberlen, and Dr. Royce Saltzman + Choir categories: Mixed - Male - Female- Chamber - Youth - Jazz + Competition to be televised nationally by PBS HAWAII THE FIRST INTERNATIONAL CHOIR COMPETITION & FESTIVAL Edith Copley FORT LAUDERDALE, FLORIDA Northern Arizona University NOVEMBER 18-21, 1999 Sing A Mighty Song Gawthrop Other Prestigious Events Ave verum corpus Byrd March 28-31 Hungary 7'h Intemational Choir Competition, Budapest The May Night Brahms April 6-11 Italy 1st Int'l Choir Festival Grado, Adria nd Ah! si mon moine voulait June 3-6 Germany 2 Int'l Mendelssohn-Bartholdy Choir Competition July 1-6 Hungary Int'l Summer Festival, Egar, Budapest danser (SSAA) arr. Patriquin July 7-11 Italy 1st Int'l Brass Competition, Terme Little Innocent Lamb July 21-25 Germany 1st Int'l Johannes Brahms Choir Competition October 20-24 Italy 3'd Int'l CANTO SUL GARDA (TTBB) Bartholomew Moloka'i 'aina kaulana arr. Gillett CHORAL OLYMPICS JULY 7-16, 2000 Austria Jamaican Market Place Farrow 2080 SOUTH OCEAN DRIVE, HALLANDALE, FL 33009 Battle ofJericho arr. Hogan (954) 456-5630 FAX: (954) 456-5635 TOLL FREE: (888) 820-5630 E-MAil: [email protected] WEBSITE: www.m(Jsica-mundi.com PAGE 52 CHORAL JOURNAL IDAHO Tudalin, tagadin arr. Harrington/Glick Timothy Brimmer Weston Noble All Things Bright and Beautifol Rutter Butler University Luther College A Zing-a-Za arr. Goetze Middle School Women's Chorus Joshua Fit the Battle ofJericho arr. Williamson Swell the Full Chorus Psalm 100 Clausen Let There Be Peace (Solomon) Handel/Porterfield Psalm 150 Britten on Earth Miller & Jackson/Ades Kyrie (Mass in G) Schubert/Ehret Lifo has Loveliness to Sell Mulholland Three Folk Songs Brahms/Ehret o pastorelle, addio Giordano Follow the Drinkin' Punching the Dough arr. Parker Gow-d arr. Gardner/Bray Scott E. Anderson Idaho State University THE CONDUCTOR1S I NSTITUTE of Mixed Chorus Southwestern Uniuersity Georgetown, Texas Erschallet, ihr Lieder Bach June 20-23, 1999 Ave verum corpus Byrd Gloria (Misa Criolla) Ramirez lord Nelson Mass by Haydn Lament for a Lost Child Hutcheson Christmas Oratorio by Saint-Saens He Never Failed Me Yet Ray Professional Orchestra in Residence ILLINOIS Master classes in conducting with Beth Homes Kenneth Sheppard, Ph.D. Decatur, Illinois Conductor of Choirs and Orchestra at Southwestern Uniuersity All-State Chorus Conducting lab with Mr. Brad Bouley String techniques with Laurie Scott, Ph.D. Psalm 117 (0 Praise Lectures on Haydn's Masses with Ellsworth Peterson, Ph.D. the Lord, All Ye Nations) Stevens Sanctus No. IV Bach/Stocker Fee: $200 if paid before May 10, 1999 The May Night Brahms/Frackenpohl For more information, write or call: Kenneth Sheppard Psalm 150 (SSAA) Willcocks Southwestern University, P.O. Box 770 Georgetown TX 78627 (512) 863-1358 e-mail [email protected] Fergus an'Molly (TTBB) Singh Go Lovely Rose Thiman Battle ofJericho arr. Hogan Paul E. Oakley June 21-dune 25, 1999 Hartt School Of Music Honors Chorus Des Moines, Iowa USA Alleluia Manual -Explore conduding, Hallelujah Beethoven/Collins rehearsal, and vocal IfMusic be the Food ofLove Dickau production techniques. o aula nobilis (SSAA) Mathias • Discover the relaxed, Down in the Valley (TTBB) arr. Mead natural delivery of arr. Rutter Down by the Riverside Tapiola's sound. • Earn college credit while INDIANA attending the workshops. Don Ester For additional information and' Bali State University Workshop registration materials contact: Children's Honor Choir Des Moines Children's Choruses Musica Dei donum optimi di Lassus/Rao 525 East Ninth, Suite B Sing to the Lord Poorman Des Moines, Iowa 50309 Al shlosa d'varim Naplan Phone: (515)262-8312 Fax: (515)262-8359 1 Had a Little Pup Berkowitz MARCH 1999 PAGE 53 Fascinating Rhythm- Sigrid Johnson KANSAS I Got Rhythm Gershwin/Huff Saint Olaf College Charles Robinson Blessing Bart Mixed Choir University of Missouri-Kansas City Lynne Gackle Zion's Walls Copland In virtute tua Gorcyzki University of Miami My Spirit Sang All Day Finzi o schone nacht Brahms/Herman Women's Chorus Sicut cervus Palestrina Agnus Dei P. Williams Psalm 150 - Hallelujah! Cann lin Gonna Sing 'til the o aula nobilis Mathias Ngana Leek Spirit Moves in my Heart Hogan Earthsongs Brunner Kyrie (Mass in G) Schubert/Haberlin Something has Spoken Ah! si mon moine Three Nocturnes Lundvik in the Night Fissinger voulait danser arr. Patriquin Sacramento/Sis Joe Berkey Love's a Lovery Lad Mulholland Clap Yo' Hands Gerswhin/King IOWA Bradley Holmes Jerry Blackstone Millikin University . KENTUCKY University of Michigan Ronnie Oliver, Jr. Men's Choir Coelos ascendi-ty hodie Standford Greensboro College Mi lagnero tacendo Mozart TTBB Singet dem Herrn Praetorious/Depue Praise Him Cox Ring Out, Wild Bells Nelson Gloria Bass Brothers, Sing On Grieg Ave Maria Biebl Come to Me, My Love Delio Joio Ave Maria Biebl Songs ofa Young Man Nance Battle ofJericho arr. Hogan Praise the Lord Handel/Hopson Barb'ra Allen arr. Gill La pastorella Schubert Kpanlongo arr. Bermel Down in the Valley arr. Mead Aina that Good News Dawson 60 Years ofExcellence in Music Publishing For Schools and Churches For FREE catalogs and copies of our latest promotions, contact Shawnee Press, Inc.~~ ~ 49 WARING DRIVE. P.O. BOX 690 DELAWARE WATER GAP. PA 18327-0690 570-476-0550 • 1-800-962-8584, Ext. 243 • [email protected] HAROLD FLAMMER MUSIC • NOVELLO • GLORYSOUND • WIDE WORLD MUSIC • EDITION WILHelM HANSEN • CHESTER MUSIC • CONCERT WORKS UNLIMITED G&M BRAND PUBLICATIONS • SANDSOUNDS • GOLDEN APPLE PRODUCTIONS • BOSWORTH MUSIC PUBlISHERS • UNION MUSiCAl EDiCIONES S.L PAGE S4 CHORAL JOURNAL The Awakening Martin MARYLAND Noways Tired arr. Hairston Craig Denison Orange-Colored Sky arr. Wright Judy Bowers American Boy Choir Florida State University Junior Chorus (Grades 7-9) Andre J. Thomas SSA Florida State University Cum san co spiritu (Gloria) Vivaldi Senior Chorus (Grades 10-12) Instruments ofPraise Koepke IfYeLoveMe Tallis Osjusti Daley Sing Praises to God with Sing Unto God Handel 1 Will Rejoice One Accord Haydn Ave Maria Busto in the Lord Van Vleck/Kroeger Lebenslust Schubert Sing ye Muses Blow Love is a Rain ofDiamonds Walker Niska banja arr. Page Cloudburst Whitacre (No. IV Songs for Womens 10ices) Lord, 1 Don't Feel Down by the Sally Gardens arr. Rutter A Jubilant Song Dello Joio EphEhly University of Missouri-Kansas City SATB Millennium 2000 Fanfare for a Festival Nelson Celebration of Bach There is no Rose ofsuch Virtue Young Te Deum Haydn o vos omnes Casals Tres cantos nativos dos Indios Krao Leite Do Not Stand at My Grave and "Weep Harris The Great Rivers and Lakes The Birth ofthe Blues Henderson/Strommen The Rhine, The Elbe, The Danube Lake Maggiore, Lake Como LOUISIANA Moses G. Hogan Dillard University Hallelujah, Amen (Judas Maccabeus) Handel Ave verum corpus Byrd Shenandoah arr. Erb Rockin'Jerusalem Thomas lin Gonna Sing 'til the Spirit Moves in My Heart Hogan The Last Words ofDavid Thompson The Battle ofJericho arr. Hogan MAINE Rhonda Fleming East Carolina University Phone for complete brochure with prices Zadok the Priest Handel Agnus Dei Hassler Matterhorn Travel Consecrate the Place and Day Pfautsch 2450 Riva Road A Red, Red Rose Mulholland Annapolis, MD 21401 Sing Hallelujah Williams 1(800)638-9150 or (410)224-2230 Old Joe Clark arr. Wilberg Fax (410)266-3868 www.matterhorntravel.com E-mail: [email protected] MARCH 1999 PAGE 55 Daemon irrepit callidus Orban Magnificat Pachelbel Kjrie eleison Mozart Ahrirang DeCormier Twentieth-Century Psalm Bonde Domine, labia mea aperies de Lassus Goin' Up to Glory Thomas The Settling Years Larson Holy l?£zdiant Light Gretchaninoff Four Gypsy Love Songs Brahms 1. Fair and bright MASSACHUSETTS MICHIGAN 2. Roses red C. Thomas Brooks Charlene Archibeque 3. Brambles & thorns Gordon College San Jose State University 4. Dearest swallow High School SATB State Honors Choir No Mark Effinger Star-Spangled Banner Smith Come to Me, My Love DelIo Joio Thrift Schumann The Maker ofDreams Rosaenz StealAway arr. Hughes .OO()J{J > [)()t1JI 'DC) HoI' You Han' arr. Rardin presents a gem of an opportunity in an incomparable setting . .. I'lIAye Call in by Yon Town arr. Wilberg Wade in the Water arr. Luboff SIR DAVID WILLCOCKS - ENCORE!! Mary Manier together with Holland West and East Middle Schools Maurita Phillips-Thornburgh 6,7,8 SA Honors SEPTEMBER 1 through The Ash Grove arr. Rentz SEPTEMBER 6, 1999 You Shall Have a Song Ziegenhals La Casa de Maria The Ladybug Berger Santa Barbara, California Lord, Most Holy Franck/Hopson Full Anglican Choral Evensong and concert Sound the Ti-ztmpet Purcell/Erb featuring Tudor and 20th century anthems and Jubilee Carmichael 1.S. Bach in Santa Barbara historical sites Vem kan segla arr. Waiser Available space limited. COST $250 tuition plus expenses REGISTER BY MAY 15-COST: $225 tuition plus expenses James Borst Pinewood Middle School For registration information: call of fax (323) 662-5007 7,8,9 SSA Honors or e-mail: [email protected] 23855 Sarda Road Valencia, CA 91355 Now Come and Join the Song Eccard/Harris Homeward Bound arr. Althouse My Heart Soars Henderson Bonny Bobby Shaftoe arr. Walters Fire arr. Goetze Agnus Dei Raminsh The Ring Dvorak Jeanne Rasmussen Alpena Middle School and High School 7,8,9 SATB Honors My Heart is Offered Still to You Lassus/Randolph Kjrie Leavitt Gloria Vivaldi Songfor a Russian Child KlouselBrymer Winterscene Nygard Festival Sanctus Leavitt Swingin' with the Saints arr. Hayes PAGE S6 CHORAL JOURNAL MINNESOTA Drunken Sailor arr. Shaw/Parker 17n Gonna Sing 'til the Carol Tralau IfI Got My Ticket, Can I Ride? arr. Shaw Spirit Moves in My Heart Hogan Jefferson High School, Iowa Stodola pumpa arr. Shaw/Parker Blessed be the Lord arr. Maddux Women's Choir How do I Love Thee? Mulholland Craig Johnson II est bel et bon PassereauiGreyson University of Texas at Austin Nancy Bocek Pater noster Gevaert Mixed Choir Choreographer/clinician, Chicago Cantate Domino Lang All State Show Choir The False Young Man Patriquin In resurrectione tua, Christe Handl And Nature Smiled Koepke Haec dies Byrd Bridge Over Troubled ~ter arr. Shaw Svatba Todorov Awake the Harp (The Creation) Haydn Roll Jordan, Roll arr. Chinn Etgen dede Lyondev Heilig Mendelssohn Dancin'in the Streets arr. Huff Go Where I Tomon'ow Shall be My Jailhouse Rock arr. Emerson Send Thee! arr. Caldwell/Ivory Dancing Day Gardner Little David arr. Wilkinson Michael Smith A Red, Red Rose Mulholland MISSOURI Brainerd Senior High School Craig Johnson Minnesota University of Texas at Austin Men's Choir MISSISSIPPI Bradley Ellingboe Alleluia in reszm'ectione Exsultate justi Viadana/Vene University of New Mexico tua, Christe Handl Agnus Dei Kalinnikov/Scholz IfYeLoveMe Tallis Del' Jager Abschied Mendelssohn Elegit eum Dominus Fernandes Erschallet ir Lieder Bach/Malin Sign no more ladies Washburn Set Me as a Seal Clausen Heilig Mendelssohn A Red, Red Rose Scholz How Can I Keep Liturgical Motets Willan What Shall-we Do with the from Singing? Ellingboe MARCH 1999 PAGE 57 Rise Up, My Love NEBRASKA NEW HAMPSHIRE Lo, in the Time Appointed James Stegall Wendell Purrington Gloria (Masque ofAngels) Argento Western Illinois University Seacoast Community Chorus Tomorrow Shall be My Dancing Day Gardner Dixit Dominus Mozart Musich Empire (Triptych) Pfautsch My Shepherd Will Supply Sicut cervus Palestrina Domine, ad adjuvatdum My Need Thomson Betelehemu Whalum me festina Martini Little David arr. Wilkinson Heart we Will Forget Him Mulholland He, watching over Israel Things that Never Die Dengler (Elijah) Mendelssohn Zigeunerleben Schumann MONTANA Blow, Blow, Thou Winter Wind Rutter Rodney Eichenberger NEVADA Daniel Daniel Servant Florida State University Andre Thomas ofthe Lord arr. Moore Florida State University Prepare the Hymn Handel Adoramus te Gasparini Star Spangled Banner arr. Pfautsch NEW JERSEY Gloria (Mariazellermesse) Haydn Sing Unto God Handel Andre J. Thomas Sure on this Shining Night Stroope Ave Maria Busto Florida State University Bullerengue Rin<;on Cloudburst Whitacre Golden Slumbers Aas Daemon irrepit callidus Orban Sing Unto God Handel Betelehemu Brooks Songfor the Mira MacGillivray Heart we Will Goin' Up To Glory Thomas Forget Him (SSA) Mulholland Ave Maria (TTBB) Biebl Awake the Harp Handel Kyrie eleison Mendelssohn Tangeuando Escalada MissaKenya Basler Go Where I Send Thee Thomas Whether Men do Laugh or weep Vaughan Williams NEW MEXICO Lawrence Kaptein University of Colorado, Boulder Mixed Chorus A Jubilant Song Dello Joio Sing, Ye Muses Blow Music, Spread Thy voice Around Handel Vive l'amour arr. Shaw/Parker Mata del anima sola Estevez Minoi, minoi arr. Marshall Betelehemu arr. Brooks Robin R. Koozer Hastings College Women's Chorus Sing a New Song Mendoza For the Beauty ofthe Earth Rutter Cantique de Jean Racine Rutter Set Me as a Seal Clausen Prairie Spring Diemer Salmo 150 Aguiar PAGE 58 CHORAL JOURNAL NEW YORK Maribeth Yoder-"White Carl Starn Andre J. Thomas University of North Carolina at Chapel Hill Bible Church Florida State University Greensboro SATB Chorus Mixed Chorus Junior High Treble Choir Laudate Dominum Mozart Sing Unto God Handel A joyful Alleluia Spevacek How Lovely are Thy Dwellings Brahms Ave Maria Busto Praise Him Bach Sixty-Seventh Psalm Ives Sing Ye Muses Blow Ave Maria Porterfield The Word was God Powell Cloudburst "Whitacre Down by the Riverside Hunter The Last Words- ofDavid Thompson Down by the Sally Gardens arr. Rutter I've Got a Song Byers/Osborne/Leck Witness arr. Halloran Tangueando Escalada The Best ofAll Possible Come to Me, My Love DelIo Joio Robert Swift Worlds (Candide) Bernstein/Page Gain' Up to Glory Thomas Plymouth State University Junior High David Pegg Janet Galvan SATB Choir II Centenary United Methodist Church, Ithaca College Wmston-Salem, NC Women's Chorus Glory Be to God, Alleluia Handel TTBB Chorus o occhi, manza mia di Lasso Echoing Green Mathias The Lark Mendelssohn Let the Nations Sing Knowles Orpheus with His Lute Schuman Old Abram Brown Britten Set Me as a Seal Clausen Ellenszwekerg~ang Brahms Die musici Swift Keep in the Middle Aure volanti Caccini Kumbaya Sjolund ofthe Road arr. Bartholomew When 1 am Silent Varner m Shall Walk through the Adonai ro-i Cohen Valley in Peace arr. Appling American Dances Parker 1. On the Galilee 2. Old Betty Larkin 3. That Raging Canoe Las amarillas arr. Hatfield Bob Stoloff NEW FROM Berklee College of Music ALLIANCE MUSIC PUBLICATIONS, INC. Vocal Jazz Peace SilverlWeir Wakz for Debby Evans/Mattson MOSES HOGAN journey to Recife EvanslWorth Chile Can Carne Edenroth Flintstones arr. Stoloff/Crenshaw I AM HIS CHILD FOR NORTH CAROLINA Paul Oaldey Minnesota Bach Society Choir THREE-PART TREBLE VOICES Jr. High SATB Choir I AMP 0349 A jubilant Song Leavitt Sicut cervus Palestrina VOCAL SOLO Gloria et honore Haydn AMP 3003 jabulajesu Hatfield Think On Me arr. Mulholland AVAILABLE MARCH 1999 Come On Children, Let's Sing Twine ALLIANCE MUSIC PUBLICATIONS, INC. (713)868-9980 FAX (713)802-2988 p.o. Box 131977. Houston, Texas 77219-1977 MARCH 1999 PAGE S9 Joshua! (Fit the Battle Danny Boy .arr. Duson Anvil Chorus (II Trovatore) Verdi ofJericho!) arr. Artman I Wished to be Single Again arr. Ricketts Chorus ofthe Hebrew Slave Down in the Valley arr. Mead All My Trials arr. Hayes from Nabucco Verdi So Deep MacMillan This Train (commissioned) Walker NORTH DAKOTA OHIO Jasmine Flower arr. Tam Geoffrey Paul Boers Constantina Tsolainou Happy Reunion arr. Liu University ofWashington Southern Methodist University Women's Choir Psalm 100 Oauchzet dem Herm} Schlitz OREGON Whither Must I Bogoroditse Devo Rachmaninoff Rodney Eichenberger Wander Vaughan Williams o vos omnes Casals Florida State University Wie lieblich sind deine I Know Where I'm Goin' arr. Wagner Wohnungen Rheinberger My Heart's in the Highlands Porterfield Prepare the Hymn Handel Three Shakespearean Songs Schultz o Whistle and I'll Kyrie Gabrieli Old Grandma arr. Parker Come to Ye arr. Wilberg Qui sedes M. Haydn J'entends Ie moulin arr. Patriquin Four Slovak Folk Songs Bartok Dirait-on Lauridsen Two Brothers arr. Casey Past Life Melodies Hopkins Russel Robinson America the Beautiful arr. Joubert Daemon irrepit callidus Orban University of Florida Y'susum midbar arr. Parker Mixed Choir OKLAHOMA Star Spangled Banner arr. Robinson Jing-Ling Tam PENNSYLVANIA Hallalujah (Mount ofOlives) Beethoven University of Texas at Arlington Larry Frank Adoramus te Palestrina/ed. Robinson Retired school superintendent and Lebenslust Schubert Gloria (Mass in C Major) Beethoven music educator Jubilate Deo Lassus I Got Shoes arr. Shaw/Parker Lsst Csll! Trois chansons Debussy Alleluia Thompson Obey the Spirit ofthe Lord arL DeCormier Porgy and Bess Gershwin America, the Beautiful arr. Dragon RHODE ISLAND Brady Allred Duquesne University j Sing a Mighty Song Gawthrop Ave Maria Busto Vamuvamba arr. Mganga Elijah Rock arr. Hogan Home on the Range arr. Hayes and Custom Tours Bile Them Cabbage Down arr. Wilberg I.l.AS ..... CAl...l... for participation in the 1999 spring fe.stivals! Phone 1-800-533-6263 ~to checl< availability. • SOUTH CAROLINA Start planning for your spring, 2000 trip! Ron Burrichter University of Florida Mark the Millenium with partiCipation in a first-class festival, SSA or with a superior customized tour. Festivals: Toronto, Virginia Beach, New York City, Myrtle Beach Laudamus Te Clausen Call 1-800-533-6263. email: [email protected] Now am I Free website: www.greatfestivals.com (Nun bin cinmal ftei) Regnart PAGE 60 CHORAL JOURNAL Gloria and Agnus Dei TEXAS Jericho Gawthrop (Missa Kenya) Basler Charles K. Smith Home on the Range arr. Hayes It's Not Fair Berger Michigan State University lin Gonna Rise Marsena Feel Good arr. Baker/Elliott Thanks Be to God (Elijah) Mendelssoh Leave No Song Unsung Spevacek Mass in C Beethoven Kjrie Gabrieli Robert Ray With Cheeiful Notes Handel VERMONT University of Illinois Opus 31 Brahms Robert Russell SATB Wechsellied zum Tanz University of Southern Maine Neckereien My Spirit Sang All Day Finzi Der Gang zum Liebchen Let All the World in Every Exultate justi Viadana Glory be to God (op. 37, Comer Sing (Five Beati quorum via Stanford All-Night Vigi~ Rachmaninov Mystical Songs) Vaughan Williams Stomp Your Foot Copland To Him We Sing Young Kjrie (Missa Kenya) Basler Joshua Fit the Battle Hogan The Banks O'Doon Mulholland Epitaph for Moonlight Schafer He Never Failed Me Yet Ray Let Me Fly arr. DeCormier Jesus is Risen (Cavalleria Solitude arr. Edgerton Make Our Garden Grow Bernstein Rusticana) Mascagni o Whistle and I'll Come to Ye arr. Wilberg SOUTH DAKOTA UTAH Vamudara arr. Mairare Anton Armstrong EphEhly Saint Olaf College University of Missouri-Kansas City Heilig Mendelssohn Fanfare for a Festival Nelson The Lord is My Shepherd Pote There is No Rose ofSuch Virtue Young Natuforahi siku ya leo arr. Mganga The Creation Richter Salmo 150 Aguiar Wind Jennings American Folk Rhapsody arr. Spevacek TENNESSEE Andre Thomas Florida State University SATB Choir Sing Unto God Handel Ave Maria Busto Established in a nurturing environ Cloudburst Whitacre ment, Creating Artistry offers an op Sing, Ye Muses Blow portunity for conductors to further de Down by the Sally Gardens arr. Rutter velop conducting skills. Through in Tangueando Escalada dividual andmasterclass teaching, con MissaKenya Basler ductors study Conducting Gesture, Goin' Up to Glory Thomas Vocal Techniques, Rehearsal Effi ciency, Pacing, Score Analysis, Rep BarbaraTagg ertoire, Choral Administration and Syracuse University Multi-cultural Interpretation. Labora Women's Chorale tory choruses provide the opportunity for students to explore actively the con Kjrie (Missa Brevis) Telfer ducting process. Pergolesi Suite PergolesilRao For further illformatioll cOlltact: Where the Music Comes From Hoiby Ginger Markham Jentends Ie moulin arr. Patriquin Indianapolis Children's Choir The Lone, Wild Bird arr. Johnson 4600 Sunset Avenue, Indianapolis, IN 46208 Go Where I (317) 940-9640 FAX (317) 940-6129 Send Thee! arr. Caldwell & Ivory [email protected] MARCH 1999 PAGE 61 Marc .Boucher . _ "rich baritone, superior style" Colwell ARTS MANAGEMENT (519) 662-3499 Fax: (5]9) 6,62-2777 VIRGINIA George Mabry Austin Peay University ing, Ye Muses Blow veMaria Busto igh No More Ladies Clausen dijo kerida arr. Jacobson wake Me up, Lord Brown Two Mexican Folk Songs arr. Rutter WASHINGTON Randi Von Ellefson University of Chicago Mixed Choir Orff 1, 2, 5, 7, 9, 10, 14, 18, 19, 20,22,24,25 LorenWenz Salem High School, Oregon Jazz Choir uc/, be a Lady arr. Kraintz onk's Dream arr. Singh When I Look in Your Eyes arr. Barduhn olka Dots and Moonbeams arr. Cazier attle Hymn ofthe Republic arr. Marcy Packages start as low as $3.00 per CD. Packages inclu,cle:Ldigitally pre-mastered CDs of your group, CD cases, Jl[€iphic design, f,ull . color covers and traycards, assembly gn'a poly::wrap,... We t . WEST VIRGINIA can work from OATs, CDs, records, videos-o~-ca~ttes. \!~!,,". // Deen Entsminger Give us a call to see how easily y6urp~pjeci earl get underwas(.o,._<" Belmont University . i~~ l...... -...... Lo' ~ Crucifixus Lotti /1)/. ~j-->7 ogoroditse Devo Rachmaninoff ather William (Alice In Wonderland) Fine 'henandoah arr. Erb 6i\SL audate pueri (Psalm 113) Mozart FQUALITyCDs. Psalm Set Entsminger II. Psalm 23 III. Psalm III lexander's Ragtime Band Berlin/Simeone PH: 1,540·699·3961 FAX: 1·540·373·3902 4521 Vicky LN Fredericksburg, VA 22406 eman: [email protected] PAGE 62 CHORAL JOURNAL Tour With Your Choir and pelfonn in the Great Cathedrals and HistOlic Churches . • Brazil • Great Britain • Europe Finest Fabrics including • France/Spain • Australia, New Zealand &: Fiji Permanent Press and Wash & Wear. Superior Quality. Free Color Travel with the professionals who have been Catalog and Fabric Swatches on coordinating concert tours for 30 years. Request. Guaranteed Satisfaction. Toll Free 1-800-826-8612 HEGENCY «i)) _"!1:a;fit·WI~6t._ AMBASSADOR TOURS P.O. Box 8988-CJ 148 E. Michigan Avenue / Kalamazoo, MI 49007 Jacksonville, Florida 32211 1-888-830-4448(toll free) FAX: 616/349-7674 http://www.ambassador-tours.com WISCONSIN The 1999 Phil Mattson Randal Swiggum Vocal Jazz/Choral Workshops Graduate student at the University of Wisconsin-Madison o'\l. M []S SAN MARIN HIGH SCHOOL Middle Level State Honors Choir Novato, CA, June 20 - 25 (Grades 7, 8, 9) f~C'~ (Marin County, North of San Francisco) ~ SDlltl1westem ~ toP Community College ~ SOUTHWESTERN COMMUNITY COLLEGE Jubilate Deo Mozart ~ 0'" Creston, IA, June 28 - July 2 ~.f. • Then Came the Disciples c;" Faculty: PHIL MATTSON and VOCALOGY and others. to Jesus Vulpius/Swiggum The workshop's primary goal is to give participants a significant performance experience in choral and vocal Zigeunerlieder (3, 8, 5) Brahms jazz music. The curriculum includes classes and seminars in rehearsal techniques, literature and performance practice, harmonic understanding, ear training, improvisation, solo jazz singing, the rhythm section, and sound Surge illuminaire (world premiere) Dietz reinforcement. The workshop will also consider the significance of music and the arts, and discuss issues of concern to the music educator. Graduate and undergraduate credit is available. Revelations 19:1 LaValley For more information, write the School For Music Vocations, Southwestern Community College, Creston, IA We Are Barnwell/Swiggum 50801, call (515) 782-1319, or e-mail: [email protected] Andre J. Thomas Florida State University Director of Music Ministries High School State Honors Choir First Lutheran Church (Grades 10, 11, 12) TDETennessee Valley Greensboro, NC oJlchoir IRST LUTHERAN CHURCH seeks a Sing Unto God Ffull-time Director of Music Ministries Uudas Maccabaeus) Handel F with organ and/or choral skills, keyboard =r proficiency, and the ability to coordinate and Ave Maria Busto Whitacre develope an expansive music program for a Cloudburst large suburban congregation. Familiarity Tangueando Escalada DIRECTOR with Lutheran liturgical worship/heritagel Dirait-on (Les chansons tradition, children's/yourh choirs, des roses) Lauridsen SOUGHT contemporary music worship formats, handbells, working with volunteers, and Goin' Up To Glory Thomas Growing community boychoir located in Alabama, USA, seeks director to development and education of parish start Summer or Fall 1999. musicians is desired. Two manual, 29-rank Casavant organ, piano, and Kurzweil WYOMING Near full-time to full-time position. keyboard. BA degree required (advanced Some benefrts possible. Opportunity degree desirable), with proven choral and EphEhly for growth. instrumental conducting abilities, University of Missouri-Kansas City interpersonal relationship skills and Responsibilities include development leadership abilities, and willingness to work and implementation of training and as a team member. Salary commensurate The Creation Richter performance programs. with experience. Compensation package Dixit Dominus Mozart includes medical and retirement benefits There is No Rose o/Such Virtue Young Seeking individual with enthusiasm with a small stipend for continuing for this art form, ability to produce the . Tres cantos nativos dos indios krao Leite education and books. Position open June 1, highest quality music and work with 1999. Applications received before March 1, Home on the Range arr. Hayes children in a professional manner. 1999, will receive priority consideration. Pm Gonna Rise (When the Direct applications or inquiries to: Send resume with cover letter and references Son Comes Down) Marsena to: 380 Mountainview Drive Music Ministries Search Committee Russellville, AL 35653 USA Attention: Trisha Hundley -C]- (888) 560-2060 (ask for Denise) 3600 West Friendly Avenue (256) 332-8035 I 332-4036 fax Greensboro, NC 27410 MARCH 1999 PAGE 63 , , ' OUR FESTIVALS IN ITALY " } CheersfO/· Todi opeqrua1')' 11-19, 2000 3 Cheers for Taonll:ina o. April 17 - 2~ 2QOO . 3 Cheers for Panna ° july 2- 11, 2000 Choirs ofall ages - Come join us for an inspired Choirs ofhigh school age - Come join us for Choirs ofall ages - Come join us workshop to sing Gospel music with an enchanting event to sing selected pieces with for a magical Millennium Fuss. Conductor/Clinician Geoffrey Dana Hicks. Conductor/Clinician DI: jmy jordan ofOle Miss. Conductor/Clinician to be announced. GCentral HolidaYS CONCERT TOURS For more information on our Italy Festivals, or to arrange your private customized tour anywhere in Europe, call your travel agent or Ida Dunham at 1.800.511.1194 or fax at 617.566.3262. e-mail: [email protected] We've built a better riser. After fifty years of building risers, we finally broke the mold. Introducing the Wenger Signature, the riser with more smart features than any other riser in history. Classic black styling. One-step setup. Superior stability. Lightweight mobility. Plus a four-step model that fits through a standard doorway. And not only is it backed by a three-year warranty, it's also backed by the people who created it. It-..-; ;/~. d~;r O. J)~.4<. Jfw4Li. C?~1i9~ QV/'It-t"n G/"t//1,...... fc!.... ~~ /?J,itt 54i4;-- JPt"d. Eo f?,JLu,. c:.P5~ B~uJ~F C;().~~ Call your Wenger Representative for more information on this revolutionary riser. 1-800-733-0393. ViaMedia p.o. Box 6774 Sp.. ingdale,AR 72766 Telephone: (50 I) 751-0145 (voice and fax) Web Site: viamediaavp.. o.com E-Mail: he.... ens@a.. kansas.net Pa.. t I - Catalog of ACDA Recordings 10 INT __ AfricanAmerican Choral Traditions (Part I) 1999 American Choral Directors Association Convention II INT __ African American Choral Traditions (Part 2) I. Make your selections below. 12 INT __ Music of the Baroque (Part I) 2. On the order form, fill in quantities, cost each, and total.Add special 13 INT __ Music of the Baroque (Part 2) shipping, if any. 14 INT __ Musical Artistry & The Adolescent Singers 3. Indicate method of payment and complete credit card information, if 15 INT Standards in Choral Music Classes applicable. 16 INT Humor in Choral Music 4. Mail this page, with payment, to ViaMedia, P.O. Box 6774, Springdale,AR 17 INT __ Haydn 72766, OR fax to (50 I) 751-0145, being sure to include credit card 18INT __ AuthenticWorship & Faithful Music Making 19 INT Pen to Podium information. 20 INT __ An Affirmation of Faith (Holy Name Church) CONCERT RECORDINGS - Compact Discs,VHSVideo Tapes & Audio Cassettes "One of the few recordings I thought truly represented the quality of Be sure to note the headings "CDNID/AUD" and place a mark in the proper the performance...• So much so, that on many occasions I have used column and line. ViaMedia recordings to demonstrate my works." James Mulholland, If you want more than one CD, video, or cassette of a given group, write the December 1998 number desired on the proper line. Prices--payable in U.S. funds. Express or international shipping is an additional cost. I to 4 compact discs and'or video tapes - $20.00 each; 5-9--$19.00 each, ORDER FORM 10 or more--$ I8.00 each. 1-4 cassette tapes--$I 0.00 each; 5-9--$9.00 each, Compact Discs and Video Tapes may be any combination, such as one CD and 10 or more--$8.00 each. four videos, a total offive at $19.00 each=$95.00 total, not one at $20.00 and ITEM CDNID'AUD four at $20.00 for a total of $1 OO.OO.You save $5.00! In the event there are I Amabile Youth Singers fewer than 10 orders of a given performance, no recordings will be available 2 -'-'-- Bryn Mawr Presbyterian Church Choir and refunds will be issued. 3 -'-'-- Chapman University Choir 4 -'-'-- Cincinnati Boychoir Compact Discs: Quantity__ x Cost $ __ = CD Total $ ___ 5 -'-'-- Coronado Chorale, Lubbock,Texas 1-4=$20.00 each; 5-9=$19.00 each 6 -'-'-- Detroit Concert Choir 10 or more=$ I 8.00 each 7 -'-'-- EastTenn State University Men's Ensemble Video Tapes: Quantity__ x Cost $ ___ = Video Total $ ___ 8 -'-'-- Ekaterinburg Boys and Youth Choir 1-4=$20.00 each; 5-9=$19.00 each 9 -'-'-- Guelph Youth Singers 10 or more=$18.00 each 10 -'-'-- Houston Chamber Choir Audio Tapes: Quantity__ x Cost $ __ = Audio Total $ ___ II -'-'-- Klein High School Chorale 1-4=$10.00 each; 5-9=$9.00 each 12 -'-'-- Krasnoyarsk College Chamber Choir 10 or more=$8.00 each 13 -'-'-- Lawrence Children's Choir 14 -'-'-- MacArthur HSWomen's Chamber Choir Sum of the Above Subtotal $ ___ 15 -'-'-- Magnum Chorum, Mankato, MN 16 -'-'-- Mongolian Youth Choir No additional shipping charge within the USA ground: no 17 -'-'-- Morehouse College Glee Club USA charge when using 18 -'-'-- Moscow Children's Choir non-express shipping 19 -'-'-- National High School Honor Choir Express Shipping - Starts at $15.00 20 -'-'-- National Honor Boychoir International ground shipping: 21 -'-'-- NationalWomen's Honor Choir $_- 1-4 items: 15.00; 5-9 items: $25.00; 22 -'-'-- Nebraska Children's Chorus 10 or more: $35.00 23 --'-'-- Ohio State University Men's Glee Club International air shipping: $_- 24 -'-'-- Okla State University Chamber Choir 1-4 items: $20.00; 5-9 items: $35.00; 25 -'-'-- Ricks College Collegiate Singers -'-'-- 10 or more: $55.00 26 -'-'-- Santa Rosa Chamber Choir 27 St. Olaf Choir Total of recordings plus shipping $_- 28 -'-'-- Thurman White Madrigal Singers 29 -'-'-- University of Michigan Chamber Choir Complete the delivery and transaction information below; please print legibly 30 -'-'-- University of Mississippi Concert Singers 31 -'-'-- University of North Texas A Cappella Choir Name: ______Day Phone (_),___ _ 32 -'-'-- University of Regina Chamber Singers Address. ______~------33 -'-'-- West Singers, Cherry Hill High School City, ______StlProv ___ Postal Code. _____ 34 -'-'--_n'a.J_'_ n'a_ Willamette Singers Country______N'A--not available Payment: __Maii in __FAX __On Site: Check___ # __ INTEREST SESSIONS ___ Check, in U.S. funds, payable to ViaMedia __ Money order Audio Cassettes Only - See Prices Above or on the Order Form ___ Institutional purchase order (please include a numbered, properly Mark your choices below. signed P.O.) liNT "I Dream of Peace" 2 INT __ Collegiate Male Ensemble Credit Card: __Visa __MC ___Novus ___Amex 31NT Choral Tone Card Number Exp Date: __, ___ 4 INT __ Women's Choirs--Discovering Real Repertoire Name on Card. ______5 INT Slavonic Choral Music Note:The name YiaMedia will appear on your card statement 6 INT __ Differences in Jazz & Classical 7 INT __ Performing on Paper Delivery: 60 days from date of order or postmark.When package arrives, 8 INT __ Changing High School Choir open immediately and check for damage.ViaMedia cannot replace damaged 9 INT __ Sacred Music of Duke Ellington recordings more than 10 days after they are delivered. REPERTOIRE & STANDARDS COMMITTEE REPORTS state, division, and national meetings of poetry written by the children of the cho Children's Choirs professional organizations, and browse rus or the work of professional regional Commissioning Works For convention booths for recent publications. poets. City and state arts councils and Children's Chorus Become acquainted with the work of com university English departments can pro posers in your state or region and attend vide names of poets and writers who From Concept To Concert concerts where these works are being per would be interested in collaboration. formed. Composers and arrangers who Finally, establish a timeline and spe ANY INTERESTING and ac have never written specifically for cific expectations with the composer. How cessible works for children's children's voices are often eager to work much rehearsal time do you need prior to chorus are the result of a com M on a project that has an actual projected the premiere? Will the composer provide mission from a particular children's cho performance date. a full score, instrumental parts, and piano rus or choral event. Ernst Bacon, With the composer, access realistically score? Will the composer be present for Benjamin Britten, Mary Goetze, Ruth the musical challenges appropriate for rehearsals and the premiere? Who has per Watson Henderson, Paul Hindemith, your group. Allow the composer to hear formance and publication rights to the Carolyn Jennings, Norman Luboff, James some recent recordings of your group, work following the premiere? McCray, Daniel Pinkham, Imant and provide for perusal some octavos that Commissioning a new work can be Raminsh, and Gregg Smith have all writ represent appropriate range and complex one of the most musically rewarding as ten music for a specific chorus or event. ity for your singers. Some composers like pects of a chorus season and can add to These works and numerous other works to have specific parameters regarding text the repertoire of literature for children's written by fine composers are in publica and length of piece, in addition to con choruses. Following is a list of websites tion or are available for performance from siderations of range, number of parts, and related to the process of commissioning composer organizations. size of group. projects. This list was prepared by Betsy Commissioning a new work allows Selection of text is an important con Thal for Panpipes, Winter 1998. young singers the opportunity to work sideration. Permission to use a text not in with a composer or arranger and to gain public domain must be secured prior to American Composers Alliance knowledge of the creative process from starting the project. Often composers will http://www.composers.com/ concept to concert. Children can be in have a particular text in mind or will volved in every step of the project and appreciate suggestions that could include can feel ownership and pride in the work created. A commission can mark an anni versary or special event, be a memorial to a person special to the chorus, or be in the tradition of the chorus. The type of commission-major work, short composition, arrangement, single Simply . .. the best! instrument, piano, organ, or orchestra should be determined at a very early stage. The projected premiere date, availability of additional musicians, funds for the composer fee, copying fees, and travel MASTER MUSIC MANAGER fees should be determined prior to dis cussions with the composer. Funding for Easy-to-use computer resources for school and church musicians a project can be secured from granting Macintosh® and Microsoft® WindowsTM versions include: organizations, through gifts to the cho rus, by designating a part of the yearly Music Library Recordings Library Membership Files budget of the chorus, or through collabo Personal Directory Inventory Manager DataDesigner ration with other choruses. How do you find a composer or ar Easily customize any module, or design your own! ranger? Network with conductors who Call MANAGER SOFTWARE for a FREE demo disk. have been involved in a commission. They can provide a wealth of ideas. Listen to (800) 282-9220 • Monday-Friday • 9-5 Eastern Time new works programmed by choruses at Also available for church musicians ... Hymnlndex™ Worship Planner MARCH 1999 PAGE 67 American Composers Forum Society of Composers, Inc. ECAUSE THIS idiom is so new http://www.composersforum.org/ http://www. utexas.edu/ cofa/music! ems/ to our choral history, it often takes SCI Ba considerable amount of time to American Music Center search for and research teaching resources, http://www.amc.net The Sonneck Society for American Music listening examples, and historical refer http://www.aaln.org/ sonneckl ences. The following list is meant to pro The Center for the Promotion of Con vide you with information that can temporary Composers In addition, visit the new ACDA enhance methods and materials you may http://www. under.org/ cpcc Children's Chorus website. This website already be using in your program. provides a list of what's happening at the SAl Composers Bureau Online National Convention in Chicago and lots Free Catalogs http://www.sainational.org/phil/compos of useful information for teachers and Jamey Aebersold Jazz Catalog: call 1-800- ers/ composer.html conductors who work with children. Ad 456-1388, or check the web at http:// ditions for the website can be sent to www.jajazz.com Composers Recordings, Inc. Rebecca Rottsolk, National Chair for The catalog lists more than eighty play http://www.composersrecordings.com/ Children's Chorus, http://www.acdaon along recordings with (1) printed lead line.org/ acda/ nccc. sheets (written out melodies and chord The National Association of Composers Linda Ferreira changes), (2) lyrics of many of the jazz http://www.thebook.com/nucusa Communications Liaison "standards," and (3) printed modal scales National R&S Committee that fit the chord progressions of each National Endowment for the Arts tune. Many festival and all-state vocal jazz http://www.arts.endow.gov committees use tunes from this list of albums for audition purposes. (It becomes Opera of America Jazz and Showchoir much easier to have each singer audition http://www.best.com/~chapka/ opera/us/ Fifteen Resources For The to the same "backup trio" than it is to Vocal Jazz Director expect each auditionee to provide their Companion Products: 30/1022 Text $25.00 99/1022 Video $35.00 30/1075 VideolText Combination $55.00 __~-,-_S_p_e_c_ia--:-:-l ([1JJ_fJi_er___ --"--_ Fo!' a limited time, the publisher is offering the In Search of Musical Excellence text and companion video for the special price of $35.00. To order, call (800) 444-1144 This offer is onl), available from the publisher. Special Offer #CJ0498 MUST be requested when ordering to receive this . special price. Limit one per custome1·. Expires 9/1/99 Multiple copies of the text and video should be ordered from your favorite music supplier. 1·.o.nn:tIl():!:/n:.t~1"t1,Ohij)·I';-IOI.(l!102 Cj0499 A D1\'lSIOS OFTIIE LOUENZ COlll'ORATION PAGE 68 CHORAL JOURNAL own rhythm section or to find qualified 351-2577 or fax 303-351-1923 (to do this you will need to transfer the student instrumentalists who might al The Jazz Studies Program at Univer chord changes from the rhythm parts to ready know many of these selections.) sity of Northern Colorado in Greeley is your vocal score.) Chord changes usually Even though the tunes with lyrics are the world's largest publisher of jazz music appear only in the rhythm section parts. recorded in only one key, the choices of for big band, vocal jazz, and small jazz The time and effort to complete these tunes are extensive. Some of the earlier ensembles. Listings include literature for tasks are well worth the time; it is a won volumes have the lyrics written separately young vocal jazz groups, junior high, high derful way to thoroughly acquaint your from the lead sheets. The catalog also lists school, and college/advanced groups. self with the harmonic construction of a sizable number of books and videos for There are even listings for SSAA and the composition/arrangement. UNC Press educational purposes. TTBB. Also included are short bios of also has the rights to all of the Ward Double Time Jazz Catalog: call 1-800- the writers/arrangers, many of whom you Swingle arrangements. The listings are in 293-8528; or check the web at www. will recognize and all of whom are writ a separate catalog. doubletimejazz.com; or send an e-mail to ing and arranging in authentic jazz and [email protected] pop styles. The less difficult charts (octa Helpful Journal Articles If you do not have immediate access to vos) include written-out rhythm section These articles in the Jazz Educators a major record store chain that can help parts; the more advanced charts only in Journal published by the International you find those "hard to come by" record clude chord changes. All charts are printed Association of Jazz Educators, will prove ings, this company and its services are for on 9"x 13"paper. If you choose to pur especially helpful almost immediately. you. At this point our best resources for chase any of these wonderful arrange 1. Russ Baird, "Outstanding Vocal Jazz learning about styles and interpretation ments, please be advised that there are Charts," Summer 1993, volume XXV; as they relate to vocal jazz are found on often mistakes in the printing of the mu No.4, pages 50-51. record, cassette, and CD. (Do not over sic (Finale is not used), and you will need Prominent vocal jazz directors from look the instrumental jazz recordings; they to (1) carefully check the measure num twenty-five states and six provinces in are as important to listen to as the vocal bers in both the vocal and the rhythm Canada were surveyed and asked to sub recordings. ) section parts to be certain they match up mit a list of (1) ten of their favorite vocal UNC Press Vocal Jazz Catalogs: call 303- (2) verifY the correct spelling of the chords jazz charts, (2 ) ten of their best teaching Professional Success We prepare you for the real world. School of Music Alumna Jennifer Welch, Soprano 1997 National Wmner, • Offering High School Diploma, B.M., Metropolitan Opera Auditions College Arts Diploma, M.M. • Scholarships and assistantships available NORTH CAROLINA Alumnus Derrick Lawrence, SCHOOL OF THE ARTs Bass-Baritone 1991 National Wmner, Training America's new generation of artists Metropolitan Opera Auditions Auditions are scheduled on campus and at sites around the nation. For more information, contact: North Carolina School ofthe Arts, 1533 S. Main St., Winston-Salem, NC 27127-2188. Admissions: (336) 770-3291 Summer Session: (336) 770-3204 Online: www.ncarts.edu The North Carolina School of the Arts is an equal opportunihJ institution of the UniversihJ of North Carolina. MARCH 1999 PAGE 69 music critic, and annotator. The book is a Leonard publication provides three origi labeling system that actually describes the Charles Scribner publication. The ISBN nal songs in two-part voicings with piano process. Students you choose to oversee number is 0-684-18522-9. accompaniment. The songs are tided the equipment will benefit from this in Blues, Blues, Blues, and Inflections. Con formation. Prentice Hall is the pub Jazz Concepts In A cepts are clearly defined and include, but lisher, and the ISBN number is Choral Form are not limited to, the blues scale, riffs, 0-13-433509-0. 1. VOcal Jazz Style by Kirby Shaw is a the use of scat syllables, glissandos, and Always keep in mind that you must must for every choral director who wants ascending smears. A demonstration cas research this idiom as thoroughly as you to teach authentic jazz inflections and ar sette is available, with one side being a would the works of Bach or Copland. ticulations. A teacher's manual provides full performance of the songs and the This process is not about entertainment; clear, concise definitions and SATB four other containing the rhythm section ac it is about authentic performance prac measure musical examples of eighteen companiment only. tices. Not all non-classical music sounds standard jazz inflections. A demonstra alike; so when you choose to program tion cassette is available; it offers the op A Helpful Book About The pieces, you must study the intricacies of portunity to hear vocalists and a rhythm Sound System every tune in order to intelligently and section perform the examples. It is re The Acoustic Musician's Guide To Sound respectfully teach the music. corded so the vocals can be turned off, Reinforcement and Live Recording by Mike Diana Spradling, National R&S Chair leaving only the rhythm section with Sokel, a professional sound engineer and Jazz and Show Choirs which to practice. Separate SATB singer's "gig" player, offers much enlightment to octavos are also available. These items are the untrained and unknowing. It is not a -C]- published by the Hal Leonard Corpora book for "dummies." However, it con tion. tains diagrams, illustrations, and a text 2. Junior Jazz, Beginning Steps To Sing written.for the musician and for the tech ing Jazz by Kirby Shaw offers younger nical crew. Appropriate vocabulary is used singers an introduction to the world of throughout the text, making it possible jazz inflections and articulations. The Hal for the yet-to-be-informed to have a Hinshaw Music Providing Quality Sacred and Secular Choral Literature since 1975 New Releases for January 1999 HMC1591 How Can I Keep From Singing (SATB) - arr. Ronald Staheli 1.75 HMC1592 The Promised Land (SAATTB) - arr. Ronald Staheli 1.75 HMC1593 Peace Like A River (SSAATTITB - arr. Ronald Staheli 1.75 HMC1614 Christ, Whose Glory Fills The Skies (SATB) - Robert Powell 1.25 HMC1615 The Donkey's Gift (SATB) - Robert McIver 1.50 Order from your favorite HMC1616 Song (SATB) - John Gardner 1.10 music supplier, or HMC 1617 God Is Love (SATB) - Ralph Manuel 1.25 contact us at: HMC 1635 Bless Us With Your Peace (SATB) - Kenneth Lowenberg 1.25 HMC 1636 A New Day, ANew World (SATB) - Dale Grotenhuis 1.25 Hinshaw Music, Inc. HMC 1637 A Sim pie Path I Walk Along (SATB) - Valerie Crescenz 1.25 P. O. Box 470 HMC1641 Gloria (SSATB) -J.s. Bach/ ed AlfredMann 1.25 Chapel Hill, NC 27514-0470 HMC1646 Hush-a-bye, Darling (TTBB) - arr. Bruce Trinkley 1.25 HMC1647I Want To Serve You, Lord (SATB) - Valerie Crescenz 1.25 (919) 933-1691 HMC 1651 Christ The Lord Is Risen Today (SATB) - Mark Williams 1.50 24hr Fax: (919) 967-3399 HMC1659 Sit Down Servant (SATB) - arr. Linda Twine 1.50 www.hinshawmusic.com HMC1663 In Paradisum (SATB) - Gabriel Faure / ed. John Rutter 1.25 HMC1665 What Can I Give Him? (SATB) - Paul Leddington Wright 1.50 HMC1668 Sometimes I Feel Like A Motherless Child (SAB) - arr. Jerry Ulrich 1.25 HPC7093 The Path To The Stable (SAB) - Hank Beebe 1.25 HPC7094 Woman Why Do You Weep? (SATB) - Hank Beebe 1.50 MARCH 1999 PAGE 71 AUDITION FOR CHANTICLEER photo hr Nil:! Winter AMERICA'S PREMIER A CAPPELlA VOCAL ENSEMBLE CHANTICLEER IS NOW ACCEPTING AUDITION TAPES & RESUMES FOR THE FOLLO\VING VOICE-TYPES: Countertenor· Tenor Baritone· Bass B:l~ed in San FnUlcisco, Chanticleer rumua]]y performs 20-25 Bay Area concerl~, and tours an average of 25 weeks across the U.S., Europe and Asia. Chanticleer's unique repertoire includes Gregorian chant, Renaissance, pop, jazz, gospel and contemporary commissioned works. Chanticleer has a total of 20 recordings released under the Teldec Classics International and Chanticleer Records labels. To apply for an audition, please send: • Acurrent resume • One high-quality cassette recording that contains: 1. One art-song or aria in a foreign language 2. One jazz or popular selection 3. Scales and arpeggios that demonstrate your vocal range • One photo • AIl materials submitted become the prop erty of Chanticleer, and will not be returned ~ Audition tapes and resumes due April 30, 1999 Call-backs will be notified by May 28, 1999 Call-backs will be held in S.E on June 26-28, 1999 In tbe evellt tbat tbere are no vacanciesjor tbe '99..200 season, call-backs will not be beld. HoweveJ; reSllmes & tapes will be kept ol/file. SEND TAPES & RESUMES TO: S.F. Chanticleer, Inc. 650 Fifth Street, Suite 311 San Francisco, CA 94107 415-896-5866 Equal Opportunity EmploJ1er PAGE 72 CHORAL JOURNAL HALLELUJAH! Timothy W. Sharp, editor A View of Mortality and Mozart: The Reconstruction little as possible and in a manner the work further "ghosted" by Mozart we feel is faithful to the character, pupil Xaver Sussmayr. The Requiem is of a Sacred Classic writing, voice leading, design, and generally known today in the version un N THE Prelude to Death Set to Music, structure of Mozart's music. We dertaken immediately after Mozart's death I Paul Minear states, have retained the historical by Sussmayr.3 From this beginning, this completions wherever they agree is how the work actually evolved. The In setting the human story to music, with the Mozartean idiom. 2 work in its traditional form consists of composers do more than embellish fourteen sections: that story with fancy embroidery. We know that Mozart's Requiem was They tell the story, and in telling commissioned by Count Franz von 1. Introitus Requiem aeternarn it, reveal thoughts that would Wallsegg-Stuppach, who desired a work 2. Kyrie Sequence otherwise remain undisclosed. And performed in memory of his wife, but 3. Dies irae to the degree that mortality is who also desired to claim the completed 4. Tuba mirum integral to that story, setting death Requiem as his own composition. Mozart 5. Rex tremendae to music becomes integral to the received the commission to "ghost write" 6. Recordare vocation of composers. There is, the work for the Count, but as it turned 7. Confutatis accordingly, nothing strange about out, Mozart's own death prevented the 8. Lacrimosa Offertory the fact that requiems and masses completion of the work. In order not to 9. Domine Jesu hold a central place in the history forfeit the commission fee from the 10. Hostias of Western music.' Count, Konstanze Mozart decided to have 11. Sancrus and Osanna In the case of Mozart's Requiem in D min01; KV 626, we not only get a glimpse of how one of the world's greatest com The 20th Anniversary Season! posers viewed mortality, but over the last two hundred years through composition, editing, and reconstructions, we have Summer gained insight into how a growing list of composers and musicologists, including Choral Freystadtler, Sussmayr, Eybler, Nowack, Beyer, Blume, Maunder, Robbins Landon, Druce, and most recently, Robert Levin, Holiday GREEN LAKE viewed Mozart. Mozart's most notable unfinished work July 18-24,1999 has once again been completed, this time F~d by recognized Mozart scholar Robert D. A relaxed, friendly setting in a OF MUSIC Levin. It is a compelling reconstruction. beautiful resort area of Wisconsin This most recent reconstruction of the Requiem began in 1987 in conjunction Sir David Willcocks, Jonathan Willcocks, conductors with a conducting seminar given by Paula Rockwell, clinician Helmuth Rilling and a symposium held with pianist and composer Levin. The Plainsong, Anglican Chant and Anthem International Bach Academy commis Conducting Techniques • Vocal Techniques sioned Levin to produce a new comple Prepare and perform an authentic English Choral Evensong service tion of the Requiem. According to the Final Concert with the Green Lake Festival Choir, Orchestra and Children's author's critical notes of the reconstruc Honors Chorus featuring Bernstein's Chichester Psalms, Vaughan Williams' A tion, Song o/Thanksgiving, Janika Vandervelde's 0 Viridissima Vil;ga, Jonathan Willcocks' Magnificat, Constant Lambert's The Rio Grande the completed version ... seeks to respect the rwo-hundred-year-old Green Lake Festival of Music history of the Requiem. We have P.O. Box 569· Green Lake, WI 54941·800-662-7097· [email protected] tried to revise not as much, but as MARCH 1999 PAGE 73 12. Benedictus and reprise of the chorus) and the orchestral basso continuo up to the Confutatis, as well as two bars Osanna part, as well as occasional motives for the of the soprano part by Joseph Eybler, as a 13. Agnus Dei orchestral accompaniment of the Kyrie continuation of the Lacrimosa. 14. Communion: fugue, the Sequence "Dies irae" up to the 4. Sussmayr's completion of the Re Lux aeterna "Lacrimosa," whereby the latter move quiem. Cum sanctis tuis ment breaks off after the eighth bar, and 5. A version of the Offertory by Abbe the Offertory "Domine Jesu" and Maximilian Stadler, which Levin states is The musical sources of the Requiem "Hostias." possibly a correction of Sussmayr's ver are the following: 2. The completed orchestration of the sion or was perhaps revised by Sussmayr. 1. Mozart's almost complete score of Kyrie fugue by Mozart's pupil Franz Jakob 6. A sketch sheet that contains contra the Introit, together with the complete Freystadtler and Sussmayr. puntal studies for the "Rex tremendae," sketch of the vocal parts (solo and 3. Partial completion of the Sequence as well as the beginning of an 'men" ------, fugue for the close of the Sequence, which Sussmayr did not include in his version of the Requiem. 4 Parts 2 and 3 were entered in Mozart's manuscript, which is why Sussmayr had to copy out Mozart's fragment as part of his own completion. A complete version of the Requiem, consisting of Mozart's autograph of the Introit and Kyrie and Sussmayr's completion of the rest, was sent out to be copied for the Count with Indiana State University's distil1guishedfatulty;coinprehensivecurriculum;state~of-the-' a forged signatute "di me W. A. Mozart art instruction; and new Centerfor Performing and Pine Arts combine to make the mpr 1792" in Sussmayr's hand on the Department of Music a great .choice for those pursuing acareer in music. first page of the score. 5 Sussmayr's completion of the Requiem Degree Pr()grams. has been challenged and criticized on sev . Undergraduate . Graduate .. eral counts over the last two hundred - Bachelor of .Music Education -Masterof Music in ChoralConducting years. These criticisms most notably in -Bachelor of Music in Performance • Master of Music in Vocal Perfor,mance clude the flaws of style and technique • Bachelor of Science Music/Business • Master of MlisicEducation .. that are foreign to Mozart's idiom (e.g., glaring parallel fifths in the orchestral ac companiment of the Sanctus), significant errors of voice leading in the orchestral accompaniment, as well as problems of instrumentation. And, as Levin points Voice aridChoi"a1 out, even knowing the soutces for the .' Division Faculty; various sections does not answer the fun Dr .. Peggy' Balensuela damental question as to whether any sec Dr.' Mark'. Carlisle tions of the Requiem that are ascertainably Dr. RobertHounchell not in Mozart's hand were based on his Philip Christiansen . ideas. (qlleen . Davis Major revisers prior to the Levin edi "David .' Mannell tion each took a different approach to completing the work. In his For More .Information. Contact: reorchestration of the work, the Franz Of. Richard Zielinski ·Oepartmimiof Music . Beyer edition (Kunzleman, 1973) only Indiana State University addressed the problems of instrumental .•. Terre Haute. IN 47,809 .... part writing. According to Patrick Phone: (812)237-2763" .. Fax; (812) 231-3009 Gardner, the Beyer version has seen some popularity among several conductors, E-mail:mizielill@;uby,intlstattedu '. 'http;f!wwW:inditate:ediIlmusic since it maintains much of what already existed in the "traditional" Sussmayr score.6 Beyer also provided alternate end ...... " .. ings for both Hosannas and offered cor- rections ofvoice leadings in the Lacrimosa, PAGE 74 CHORAL JOURNAL Sanctus, Benedictus, and Agnus Dei solely based on extant autograph material the work wherever they agree with the movements. of those who interacted closely with Mozartean idiom. Levin's reconstruction Richard Maunder's edition (Oxford, Mozart. The Robbins Landon edition of the work is based on Mozart's auto 1983) offers new material for the (Breitkopf, 1991) resolved the authentic graph manuscript, fragments, as well as Lacrimosa and the Agnus Dei, including ity problem by producing an edition that Sussmayr's completion of the score. the introduction of a fugue at the end of combines the Eybler, Freystadtler, and Levin departs from the Maunder edi the movement. In addition, he completed Sussmayr, frequently replacing Sussmayr tion by including the Sanctus/Hosanna the Amen fugue. He removes the Sanctusl with Eybler. As in the Beyer edition, there and the Benedictus, though his re-writ Hosanna and the Benedictus altogether, is no inclusion of the Amen double fugue, ing of the Hosanna makes it quite differ based upon his conclusion that those two and the only new material in the Robbins ent from Sussmayr's. Levin believes that movements were completely the work of Landon edition is that necessitated by the there is enough musical evidence that Sussmayr and do not stand up to the need for bridging the different sources Mozart can be credited for the ideas in artistic level of the rest of the Requiem. together. these sections. He concludes that the high (In a lecture given by Helmuth Rilling A radical edition of the work was of level of musical thought found in these prior to the performance of the Levin fered by Duncan Druce (Novello, 1993). movements shows that Mozart must have edition of the work at the Oregon Bach In addition to a substantial Amen fugue, shared his ideas with Sussmayr, either ver Festival, Rilling referred to one commen Druce offers a recomposition of the bally or through now lost sketches given tary that stated Sussmayr's writing could Lacrimosa, Sanctus and Hosanna, to him by Konstanze. be compared to a cow at the foot of moun Benedictus, Agnus Dei, and the Lux The more transparent instrumentation tain, looking up at the mountain-the Aeterna. (less thick) found in the Levin edition cow was Sussmayr's work, and the moun This brings us to the reconstruction of was suggested to Levin by Mozart's other tain was that ofMozart.7) Maunder's ver the Requiem by Robert Levin in the re church music works. While these are of sion is based entirely on autograph cent Hanssler publication and recording ten minor changes, they seem striking to manuscript and sketches by Mozart. of the work (Hanssler Verlag, 1992; those who have come to know the H. C. Robbins Landon offers one of Hanssler Classic recordings, 1992). Levin Sussmayr edition, especially since the the most authentic editions of the work has retained the historical completions of completion of Leopold Nowack's critical THE AUGSBURG CHOIRBOOK Sacred Choral Music of the Twentieth Century Kenneth Jennings, General Editor An invaluable resource! A major collection of choral music, selected from current, out of print, and new Augsburg Fortress octavos. Chosen for their significant contribution to sacred choral literature and their continued usefuhless, these carefully edited pieces create a volume filled with diversity. Dr. Jennings has included performance notes for each entry. The collection also features multiple indexes-lectionary, biblical, and seasonal. Purchase one for reference and multiple copies for your choir! ISBN 0-8006-5678-4 $24.95 EACH FOR ORDERS RECEIVED BY MAy 31, 1999. TO ORDER CALL 1-800-328-4648 Mention the following key code and group code to receive this price savings. Shipping and sales ta:'{ are additional. KEy CODE B33C / GROUP CODE 09 Augsburg Fortress MARCH 1999 PAGE 75 edition of the work in the Neue Mozart may be, the rescoring of the eight The Lacrimosa underwent some light Ausgaube (Barenreiter, 1965). Levin and one-half movements presents retouching and now leads into a non writes, the greatest task of a new version. modulating Amen fugue. The second half Sussmayr's violations of Mozart's of the Sanctus resolves the curious tonal as critical as the challenge of the style are manifest not only in discrepancies, and the Hosanna fugue now movements requiring completion numerous grammatical errors, but has the proportions ofa Mozartean church also through the use of an overly fugue. Levin states that he used the Mozart thick orchestral texture. This Mass in C minor, K. 427, as his model Marc 'Boucher weakens the ability of the choir and for this fugue as well as other stylistic _ /'rich baritone, superior stYle" solo voices to function as the elements. The second half of the Colwell expressive focus of the work ... the Benedictus was slightly revised and con ARTS MANAGEi\IENT first priority, then, was a more nected by a new bridge (four measures) to (519) 662-3~99 Fax: (519) 662-2777 transparent instrumentation, the shortened repetition of the Hosanna derived in the first instance from fugue in the original key ofD Major, not Mozart's other church music. The in Bb major as in the Sussmayr version. choir is placed in the foreground Structurally, the Agnus Dei was left un Ren~usen through the use of a two-part touched. Sussmayr's errors, however, have CHOR~CHOOL texture (unison violins vis a vis been deleted from the second and third Mark your calendar! ;.... July 20-24 and 27-31 unison viola and bass), or a three sections. At the close of the Cum sanctus Take their word for it· part texture with independent parts tuis fugue, the wording has been altered to for the two violins-which in reproduce the customary setting of the text. Read reviews about last summmer's successful Choral School as written Salzburg was necessary because In addition to the scholarly approach by the sixty-four participants .. violas were not used in the church in both detail and philosophy, the out 8 "The time spent with a man o(immense artistic integrity orchestra. standing characteristics of the Levin edi and a gift (or teaching was invaluable!~' tion include the superb reconstructions www.reneclausen.com1-888-Rene-Clausen and reorchestration of the work, the ~~f~ 1' Tour @orlsul1Iams It takffiaccomj/'tt1SfJt:U a11h .1A~A •• mUSICIan to understand the needs Complete choral productions with of accomplished musicians. profeSSional singers highlighting each part! A great concert requires hours of planning and Our library features works such as: preparation. So does a great concert tour. Our Requiem by John Rutter tours let you concentrate on what you do best The Faure Requiem - making music. We handle the rest, from se Vivaldi's Gloria curing performance opportunities to arrang Magnificat by John Rutter ing sightseeing and cultural experiences that The Mozart Requiem Handel's Messiah will enrich your experience. If you're thinking Gloria by John Rutter of touring, call ACFEA. And find out why so ... and many morel many of our clients call us for an encore. "The singers on your -tapes are wonderful! Grea-t phrasing. HaVing -the s-tudents prepare with your -tapes enabled me -to start at a much higher levell" 1-800-886-2055 Dr. Will Kesling World-renowned Choral Conductor OFFICE LOCATIONS: ACFEA Tour Consultants Guest Conductor, 1996 Utah All-State Mixed Choir San Francisco 1567 Fourth Street New York • Seattle San Rafael, California 94901 Call for free demo and Information I London • Prague Venice. Paris FAX (415) 453-6725 St Petersburg E-MAIL Berlin. Moscow [email protected] -e-mall:[email protected] • fax: 253 851-0289 Canberra WEB SITE www.acfea.com http://www.partpredominant.com 261739th 5t NW' Gig Harbor WA 98335-7965 PAGE 76 CHORAL JOURNAL THETennessee Valley stylistic integrity of the additional move 5 Levin, op. cit., 10. ments, and the lighter, more transparent G Patrick Gardner, "Troubadour," ACDA oJlcboir orchestration, which solves many of the Eastern Division Regional Newsletter, 6- technical problems, making it possible for 10. =r F the chorus to sing freely. Levin summa 7 Helmurh Rilling, Lecture, 1995 Oregon rizes, "We hope this version, modest as it Bach Festival, paraphrased by the aurhor. DIRECTOR is, reflects Mozart's spirit and allows the 8 Scott Dean, Lecture Notes, March 6, 1998, listener to experience this magnificent ACDA Northwest Division Regional SOUGHT torso in the framework of its historical Convention, Portland, Oregon. Quoted Growing community boychoir located tradition."9 Leslie Benjamin's articlel pro j ecr in Alabama, USA, seeks director to "Mozart's Requiem: A Stylistic start Summer or Fall 1999. NOTES Comparison of Sussmayr's Completion Near full-time to full-time position. 1 Paul S. Minear, Death Set to Music (Atlanta: and Robert D. Levin's Reconsttuction," Some benefits possible. Opportunity John Knox Press, 1987),4. Project Essay for the Master of Music for growth. 2 Robert D. Levin, CD recording booklet Degree, California State University, Responsibilities include development notes; W. A. Mozart, Requiem in D Fullerton, CA. and implementation of training and (Stuttgart: Hanssler Classic No. 98146, 9 Levin, op. cit., 11. perfonnance programs. 1992/1997), 11. Seeking individual with enthusiasm 3 Heinz Gartner, translated by Reinhard G. -C]- for this art fonn, ability to produce the Pauly, Konstanze Mozart Aftel' the highest quality music and work with children in a professional manner. Requiem (Portland: Amadeus Press, Sendforyour Direct applications or inquiries to: 1986),38. FREE! 1999 Lent and 4 Wolfgang Plath, "Uber die Skizzen zu 380 Mountainview Drive Mozarts Requiem" Bericht uber den Easter Pack! Russellville, AL 35653 USA Intemationalen musikUlissenschaftlichen Theodore Presser Company· Dept. I-CJ (888) 560-2060 (ask for Denise) I Presser Place • Bryn Mawr, PA· 19010-3490 (256) 332-8035 1 332-4036 fax Kongress Kassel 1962 (Kassel: 1%3). *-or- E-mail [email protected] Lifelong Friend WHERE WORDS FAIL, MUSIC SPEAKS Each day, we celebrote strong relationships in our lives, whether dromatic or understated, whether spoken or unspoken, whether romontic or filial. The men of Turtle Creek Chorale have put these celebrations into song. .:. Seven of the pieces belong to composer David Friedman, best known for his arrangements for Disney films and his collaboration with the late Nancy LaMott. The other pieces are all by mends of the TCC: Marvin Gaspard, Jane Marshall, Robert Seeley, and Joseph Jennings. TCC has also mode a music video of "listen to My Heart." The music tells our story. Perhaps it tells your story. FOR MORE INFORMATION P.O. Box 190137 l1li Dollos, TX75219-o137 l1li 214-528-0673 FAX IIil 1-800-746-4412 TOLL-FREE [email protected] II http://www.lurllecreek.org MARCH 1999 PAGE 77 HIGH SCHOOL CHILDREN'S CHURCH· "TbefiJ1este~e)y CHOIRS "Finest reper~~)d CH 0 IRS . 81' orgafllZe~ . "c/J!l),cI:.:S~~~:~;~s HOI RS most p t'" C conductors. I" ev I 'It/ren s even· /JiStol'iCsettings. J un e 16 - 21, 2000 ford:~iI'S!" August 1- 7, 2000 July 5 - 12,2000 SI. Giles Cathedral Festival Concert Vorl< Minster Westminster Hall Festival Evensong Festival Choir & Orchestra Canterbury Canterbury Canterbury Cathedral Cathedral Cathedral Festival Concert Festival Festival Concert Evensong Or. Eph Ehly Henry leck Individual Concerts Indianapolis Concerts Children's Choir British-American High School Fourth Annual International Third Annual British-American Church Choral Festival Children's Choir Festival (Video Available) Music Festival (Video Available) Featuring Festival Choir Concerts at York Minster Live in the shadow of majestic Canterbury Featuring Festival Choir Concerts at Britain's Cathedral, Beverley Minster and Westminster Cathedral where choral music began in 597 A.D. most historic locations of the Faith-St. Giles Central Hall in London with orchestra. Individual Festival Choir Concerts, Services and Workshops Cathedral, Edinburgh; Canterbury Cathedral, concerts at st. Martin-in-the-Fields, st. Paul's in Canterbury Cathedral and Final Festival Choir Westminster Central Hall with orchestra. Cathedral, etc. Custom itineraries can include Concert at Westminster Central Hall with Custom itineraries can include extensions e.xtensions with concerts throughout Britain orchestra. Individual choir concerts in to explore your denominational heritage! providing educational accountability by enhancing Canterbury Cathedral, st. Paul'sCathedral, and supporting your choral curriculum. st. Martin-in-the-Fields, etc. Optional extension Conducted by DAVID FLOOD, to Paris with a concert at CathedraleNotre Master of Choristers, Canterbury Cathedral, Conducted by DR. EPH EHLY, Dame de Paris and a major evening concert at and MICHAEL HARRIS, Univ. of Missouri, Eglise de la Madeleine. Pre and post-festival Master of the Music, St. Giles C~thedral and PHILIP MOORE, extensions with concerts throughout Britain. Master of the Music, York Minster Conducted by HENRY LECK, Indianapolis Children's Choir, and DAVID FLOOD, Master of the Choristers, Canterbury Cathedral HAVE You SEEN WHAT'S NEW? ®lX.ill'®R.D UNIVERSITY PRESS Bob Chilcott TODAY, THIS SPRING DEATH SHALL NOT DESTROY MY COMFORT Upper voices and piano Mixed voices and piano four-hands BUFFALO GALS 386040-6 $2.50 386051-1 $2.25 For mixed voices and piano 343231-5 $1.50 (tentative) IN MONTE OLIVETI Scott Nathan Louis Tenor solo and mixed voices GREEN SONGS ALL THE PRETTY LITTLE HORSES unaccompanied Four songs on environmental themes Upper voices and piano 386099-6 $1.85 Upper voices and piano 386144-5 $1.50 342631-5 $2.50 (tentative) LORD, WHEN THE SENSE OF SARAlEVO THY SWEET GRACE PEACE MAss Upper voices and piano Mixed voices and organ Upper voices and organ 386145-3 $2.00 386062-7 $1.60 351688-8 $6.50 SAINTS BOUND FOR HEAVEN Gerald Cohen Joel Martinson Mixed voices and piano four-hands CHRIST IS OUR CORNERSTONE 386056-2 $1.75 BEl ANA RACHEITS Mixed voices and organ (In God do I put my trust) WE'LL SHOUT AND GIVE HIM GLORY 386178-X $1.60 Solo voice with mixed voices Men's voices and piano four-hands unaccompanied I WILL EXALT YOU, 0 GOD 386059-7 $2.25 386163-1 $1.50 Mixed voices and organ Mixed voices and piano four-hands HINEI MA TOV/SHAALU SH'LOM 386179-8 $1. 75 386058-9 $2.25 Y'RUSHALAYIM HYMN CONCERTATO: WHEN MUSIC WAKES Solo voice with mixed voices MY SLEEPING HEART David Willcocks unaccompanied Mixed voices, congregation, organ, and FEAR NO MORE THE HEAT 0' THE SUN 386158-5 $1.40 opt. brass Upper voices and piano LIBAVTINI ACHOTI CHALA 386101-1 $2.75 342638-2 $1.20 (You HAVE CAPTURED MY HEART) FULL FATHOM FIVE Solo voice with mixed voices and piano Kevin Riehle Upper voices and piano 386159-3 $1.40 A CELTIC PRAYER 342639-0 $1.20 Mixed voices and organ IT WAS A LOVER AND HIS LASS 386082-1 $1.30 Libby Larsen Upper voices and piano I JUST LIGHTNING SHENANDOAH 342637-4 $1.20 Upper voices and percussion Mixed voices, flute, oboe, bassoon, and UNDER THE GREENWOOD TREE 386044-9 $2.50 piano Upper voices and piano 386167-4 $1.50 I WILL SING AND RAISE A PSALM 342636-6 $1.20 Mixed voices and organ 386043-0 $1.85 Frank Sargent, arr. WHO IS SILVIA? Upper voices and piano THE STAR-SPANGLED BANNER INVITATION TO MUSIC 342606-4 $1.20 Mixed voices and piano For unaccompanied mixed chorus 386070-8 $2.50 386165-8 $1.20 SO BLESSEDLY IT SPRUNG Mack Wilberg Mixed voices, oboe, viola, and harp Complimentary inspection copies of 386129-1 $2.85 COME, THOU FOUNT OF EVERY BLESSING any five of the above titles are available Mixed voices and organ on request. Circle your choices on a 386060-0 $1.75 copy of this advertisement and send to the Music Department at OXFORD UNIVERSITY PRESS 198 Madison Avenue, New York, NY 10016 ACDA PLANNED GIVING PROGRAMS What Your Will Reveals About You OUR WILL SAYS something love and concern for their welfare. And interests, values, and commitments. Be about you. First, it says you care bequests to organizations like ACDA En cause it says so much about you, it is Y about your loved ones. 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Phone: (203) 637-5115 PAGE 80 CHORAL JOURNAL TECHNOLOGY FOR THE CHORAL DIRECTOR Donald Oglesby, editor UNSUNG HEROES OF CHORALNET-Part I James D. Feiszli ChoralNet (http://choralnet.org) is the to find possible performance opportuni Erik Reid Jones is the Director of the Internet Center for Choral Music sup ties for your ensemble. Loudoun County Master Singers in Vir ported by ACDA and the International In the new ChoralNet interface, which ginia and an Adjunct Professor at Harford Federation for Choral Music. Volunteers was installed in December, ChoralNet Community College in Maryland. He work to create and maintain ChoralNet contents are categorized by the types of holds a Master of Music degree from the resources. ACDA members will recognize tasks choral directors do. The '~uditions" University of Cincinnati College-Conser many of these people, who are officers at section will be found with choral rehearsal vatory of Music. He is creating a unique all levels, Choral Journal staff, repertoire and methodology information. "Con resource that is being integrated with and standards chairs at all levels, and certs" and "Festivals" will be included with ChoralNet to bring new information and leaders of the international choral com performance information. Carl is cur features to the choral profession. munity. In this column we feature con rently working to revise certain areas to In the new ChoralNet interface tributors making ChoralNet a reliable and fit the new format. As most of those in ChoralMusic.org is now the "Repertoire" valuable online resource. Future install volved in ChoralNet activities, Carl does section of ChoralNet. Billed as a "coop ments will explore other aspects of this work on a volunteer basis and in erative trading post of information about ChoralNet and highlight persons respon addition to his full-time job. choral music, by choral musicians," sible for them. ChoralMusic.org was created so choral Erik Reid Jones conductors can find and trade informa Carl Ashley-ChoralNet Programmer ana Webmaster: tion about the music they use. All infor Competitions and Festivals ChoralMusic.org mation about repertory that had been Pages compiled, organized, and maintained on Minister of Music at the Westside Bap tist Church in Boynton Beach, Florida, Carl Ashley created and maintains the ACDAPages Events section of ChoralNet. Choral di From ChoralNet homepage, click on the ACDA logo to be transported to the rectors, festival promoters, and tour orga ACDA pages. The main page is your virtual national headquarters, much as the nizers use Carl's webpages to list auditions, Lawton headquarters is the center of ACDA activity in the real world. The ACDA concerts, performance events and perfor webpages provide services to the membership, chief among them being avenues of mance venues. Carl's work includes ev communication to ACDA functions and officers. erything listed under "Performance • On the "front door" of the ACDA virtual headquarters are email links to Events" on the main ChoralNet page and national office staff. You can send email directly to them with questions and the link under "Professional Develop receive prompt responses. On the left side of the screen is a column with ment" labeled "Conferences, Conven other links. tions, Symposia, and Workshops." • Want to introduce a friend to ACDA? You can access an online membership Carl holds degrees from the University form and print it out for them. of Florida and Westminster Choir Col o Division, state, and collegiate chapter web pages can be found by choosing lege. He began the "Events" pages from a '~CDA chapters." . desire to learn about webpage develop • There is a place for Repertoire & Standards Committee pages to be linked. ment, and he displayed that learned abil • National. an,d division conventions are described with links to convention ity by developing features, such as hotels, airline information, .and more. automated submission forms, online • A complete officers' directory is currently being created. Any large organiza search functions, and colorful graphics. tion finds it difficult· to maintain accurate information, because of our mobile Are you holding auditions for your society. Online pages allow members or officers to update contact informa community choral ensemble? List those tion, keeping it as current as possible . auditions on the "Choral Auditions" page. .• TheACDA membership directory, found under the "members only" link, Do you want to publicize your concerts? . offers an improvedse;rvice. If you have an email. address and are not in .that List them on the "Choral Concerts online database, you can. submit your email address from those pages. This Around the World" page, which can be area of ACDA pages is password-protected to keep junk mailers from access searched by date, locale, or other criteria. ingit. Are you planning a concert tour around a • The. Choral Jottrnalsite allows access to staff through an immediate, blank, specific timeframe and area? Go to the email page when you clickon that staff member's name. Advertising informa "Choral Festivals and Competitions" page tion, article submission guidelines, and addresses are available also. MARCH 1999 PAGE 81 Amazon.com, and recordings of works information related to repertory. It is a To go to the rich collection ofChoralNet through CDNow. In addition, a user can massive effort, and they will enlist a team Resources and Links, click on the but~ quickly add new pieces to the database, of assistants to help. ton in the upper left corner of the screen, and a school or ensemble can add its just under the ChoralNet Main Page but library to the collective knowledge. Brent Boyko-Creator of ton. Resources and Links: ChoralMusic.org is not intended, nor rec. music. makers. choral •. Connections I Repertoire can it, supplant MUSICA. MUSICA By 1995 Choralist grew to over 1000 •. Rehearsal· I Performance I Technical· (http://www.musicanet.org) is a compre subscribers, and it experienced what most Aids hensive catalogue of over 70,000 choral Internet email lists erxperience-a loss of • ReferenceJ. Education I Other Links •... works from all over the world. Each com purpose and focus due to the addition of position is described in a detailed, schol many new persons in a short time. The the ChoralNet Resource Site over the past arly manner so a choral searcher may look Choralist Advisory Group, people who five years has been assimilated into up compositions with little more than a had both interest and expertise in online ChoralMusic.org. It is anticipated that snippet of a melodic theme. A search in use, decided to create ChoralNet: a com the two entities will eventually share the MUSICA would give detailed informa bination of email lists and www resources. same URL (hrtp address). tion about the music itself: length, lan One of those lists would be simply an Imagine searching for a particular com guages, author of the text, difficulty level, online gathering place for choral musi position and finding not only the pub etc. MUSICA now has a CD ROM disc cians: ChoralTalk. To make it as acces lisher information but also 1) anything available commercially, which is far more sible as possible, we decided to create a ever mentioned on Choralist, ChoralTalk, comprehensive than what one can access newsgroup and allow messages to be read or ChoralAcademe about that composer at the online site. ChoralMusic.org, on on both forums. or piece, 2) recordings of it, and 3) the other hand, is an attempt to tie to Brent Boyko, an early subscriber to books relative to that composer. In gether existing online resources to pro Choralist, is an electronics engineer, work ChoralMusic.org a musician can browse vide as much information about a given ing in the Telecommunications Depart and add comments, reviews, MIDI files, composition as possible. It is supple ment of Lorna Linda University Medical score files, ChoralNet resources, Choralist mentary to MUSICA. A search in Center in Lorna Linda, California. Brent archives, books about composers through ChoralMusic.org might bring up record is responsible for the University Internet ings, books, or Choralist postings about connection, and the campus, fiber-optic that composition. network. He is active as a singer and in strumentalist in the music department of Allen H Simon - Proponent the Lorna Linda University Church of for Clear and Intultive Seventh-Day Adventist. Webpages Brent took the lead in drafting a Allen H. Simon, another ChoralNet proposal submitted to the usenet hierar volunteer, joins Erik Jones in his work. chy for approval. He monitored the Allen holds advanced degrees from progress-there is an internet-wide elec Westminster Choir College and the Uni tion process-and the eventual establish Complete choral productions with versity of Arizona. He conducts the Bay ment of rec.music.makers.choral as part professional singers highlighting each part! Area Lutheran Chorale in the San Fran of the newsgroup offerings on the Our library features works such as: cisco area and is software author of "Ex Internet. Then Brent did the program plorations: A New Approach to Music ming to create an automatic "gateway" Requiem by John Rutter The Faure Requiem Fundamentals using the Macintosh" between r.m.m.c.and ChoralTalk. Persons Vivaidl's Gloria (Mayfield Publishing Co.) and "The Mu who subscribe to ChoralTalkreceive email Magnificat by John Rutter The Mozart Requiem sic Maid" (Signature Music Software). messages in their mailboxes that were Handel's Messiah Allen was the primary force behind posted to r.m.m.c., and anything they Gloria by John Rutter ... and many more! the newly designed ChoralNet interface. send to ChoralTalk gets posted to the He worked months with David Topping newsgroup. Brent has maintained that "The e;ingere; on your tapee; are wonderful! Great phrae;ing. Having the e;tudente; prepare with your and James Feiszli to re-think, re-organize, gateway since 1995 with no disruption of tapee; enabled me to e;tart at a much higher levell" and re-write the htrnl code and to change service. Dr. Will Kesling the entire structure of ChoralNet. Allen As you explore and use these World-renowned Choral Conductor Gnes! Conductor, 1996 Utah All-State Mixed Choir spent much time analyzing the existing ChoralNet resources, you will find email structure and making suggestions for the links some of these people on their re Cali for free demo and informatloni website that resulted in a more intuitive spective pages. Please drop them a note to and easily navigated ChoralNet. say thanks for their work. Now that the new interface is installed e-mail: [email protected] • fax: 255 851-0289 (to rave reviews), Allen is assisting Erik -C]- http://www.partpredominant.com 261759tfi 5t NW' Gig Harbor WA 98555-7965 Jones in collecting and linking online PAGE 82 CHORAL JOURNAL VTribute. continuedfrom p. 33.) (From Executive Director, continuedfi'om p. 2.) "Why are there not a lot of young By 1979 ACDXs membership was 9,300; the vision, passion, and devotion of past conductors out there emerging as suc by 1984 we had grown to 11,000; there and present leaders, ACDA flourishes. cessors to Robert Shaw?" After a long were 14,800 members in 1989; and in Together we have built our professional pause, his answer was both stunning 1994 ACDA members numbered 17,000. organization into an organization that and predictable: "There are few young In twenty years we have more than makes all of us very proud. I expect this conductors who are willing to work doubled our membership. great organization to continue its growth hard enough to achieve success!" This response revealed one of the real "se As ACDA moves into the twenty-first in members and in quality. I look for crets" behind Robert Shaw's lifelong century, I am confident we will continue ward, with great expectations, to helping achievements: his work ethic. to grow, as interest in choral music as a ACDA move into the next millennium. But there is one area of musical vocation and avocation grows. Because of Gene Brooks endeavor that set Robert Shaw apart from most other choral directors. He was the first major American choral Learn to Sing Well! conductor to earn recognition as a pro fessional orchestral conductor, and his Order a Six-Cassette Vocal Study Album influence on young choral conductors authored by a Nationally Known VOCAL TECHNICIAN striving for a similar status was monu RAYT. HOLCOMB mental. After years of outstanding work with the Collegiate Chorale in New York City (a group he founded Basic ....0015 for "ocal R'reeClom~' , in 1941) and later as conductor of the San Diego Symphony (1953-58), he Visa or Master Card accepted served for twelve years as associate con 142 Pinnacle Club Court, Mabank, Texas 75147 ductor of the Cleveland Orchestra un $89.95 plus $5.00 for s/h der the great George Szell. His Also, write, call, fax or E-mail about a Vocal Freedom Seminar appointment as musical director of the www.vocalfreedom.com e-mail: [email protected]. Phone: 903/451-9569. Fax: 903/451-9579. Atlanta Symphony in 1967 and his regular guest appearances with major orchestras in the U.S., confirmed that a talented choral conductor could in fact become a successful leader of a professional orchestra. A recently re corded series of major works for cho It takES aI}h1' .IA~A rus and orchestra is a significant legacy accomj/1J1SfJt:U •• of his musical achievements in this area. To these aspiring conductors, . mUSICIan Robert Shaw was the standard of ex cellence. to understand the needs Early in his career Shaw expounded a musical "credo" that clearly placed of accomplished musicians. his art within a broad humanistic con text. This concern for the human con A great concert requires hours of planning and dition was evident in his teaching, preparation. So does a great concert tour. Our writing, and the many commencement tours let you concentrate on what you do best addresses he was invited to give over - making music. We handle the rest, from se the years. On one such public occa curing performance opportunities to arrang sion he stated: ing sightseeing and cultural experiences that will enrich your experience. If you're thinking In a world of political, of touring, call ACFEA. And find out why so economic, and personal many of our clients call us for an encore. disintegration, music is not a luxury but a necessity, not simply because it is therapeutic, 1-800-886-2055 nor because it is the "universal language," but because it is the OFFICE LOCATIONS: ACFEA Tour Consultants San Francisco 1567 Fourth Street persistent focus of man's intel San Rafael, California 94901 ligence, aspiration, and good New York • Seattle London • Prague will. Venice • Paris FAX (415) 453-6725 St Petersburg E-MAIL The choral art has lost a great leader. Berlin • Moscow [email protected] Canberra WEB SITE www.acfea.com Ray Robinson is Distinguished Professor of Choral Studies at Palm Beach Atlantic College. MARCH 1999 PAGE 83 (Letters, continued from p. 22.) • These numbers reveal a hard, cold retallllllg male singers-to the O'Toole's ideal, where the women's cho reality. (p. 25) det1iment of female singers. (p. 27) rus reigns supreme and no woman is made • The choral profession is desperate to feel inadequate by unfair audition pro to have boys sing. (p. 25) O'Toole spends much of the latter part cesses, one need look no further than • Being female, I find it emotionally of her article bemoaning the status of single-sex out on "twelve years of valuable challenging. (p. 26) women's choruses in the so-called "Cho educational experiences" (p. 14), those • I experience anger andfrustration. ral Hierarchy" (p. 15). She explains how same valuable educational experiences that (p.26) having a balanced mixed-choir as the top supposedly shortchange girls. She later • Amid this flood ofmixed emotions. ensemble of a school discriminates against contradicts herself by recommending that ... (p. 27) women because fierce competition for a junior high school boys and girls be sepa • ... method professor can effect small number of spots shuts out many rated because of their different levels of positive change at the grass-roots interested female singers. She suggests that vocal and emotional development. level by suggesting new choral one solution to this problem is to make I do agree conductors need to provide configurations and caring about the women's choir the top choir in the a place for interested female singers to women who elect to sing in a choir. school (p. 24). However, she does not sing, that they should be sensitive to the (p.27) seem to be bothered by the fact that this repertoire they choose, and that there is a • The choral profession has spent a policy would discriminate against men. A lot that can be done to promote women's great deal of effort recruiting and solution she does notwant to suggest is to choirs. But I am disappointed in this bring more men into choral singing, article's approach to these issues. O'Toole's thereby closing this gap. After all, a bal intentions may have been good, but in LUMINA MUSIC anced SATB choir can be thought of as a stead of providing an innovative, inspir symbolic representation of gender-equal ing essay, her article is more on par with Featuring enduring, meaningful texts set to provocative, original music. society. (That is, if you don't consider feminist propaganda. Buy one. Copy forever. that much of the repertoire places the www.luminamusic.com melody in the soprano part.) Alice Day For a choral program that reaches Exeter, New Hampshire ~UILD AlIBRARY OF LHORAL EXPERTISE Through the IllediuIll of video, A CDA on Location brings you the expertise of distinguished choral conductors as they lecture, rehearse, and perforill. -v-0> lUI JnrlIl. e -:J1l focuses on teaching and learning in the children's choir with the Glen Ellyn Children's Chorus and its music director emerita, Doreen Rao. Rao demonstrates the principles of developing musicianship and self Name: ______esteem through choral music experience. Adilless: ______-V-0> l'I Ul1nrl!l e :2 is an interview with City: ______State: Zip Code: the late Howard Swan, 1987 ACDA National Convention Honoree. Swan reviews the history of American choral music during the first half of the Videotape Quantity PI'ice Subtotal twentieth century, discusses the state of choral music in church and school, and gives learned Volume I @ $37.50 $_- advice to the young choral conductor. Volume 2 @ $37.50 $_- -V-0> ]hLn 1nrl!l e .3 features Jester Volume 3 @ $37.50 $_- Hairston, internationally renowned composer, arranger, conductor, and 1989 ACDA National Total Payment Enclosed: $ Convention Honoree. In this interview, Hairston -- traces the history of African-American spirituals Send check or money order, payable to ACDA, to: in the United States, gives suggestions for Videotapes· ACDA • P.O. Box 6310 • Lawton, OK 73506-0310 interpretation, and demonstrates the use of rhythm and dialect in this genre. Videotapes are shipped immediately upon receipt oforder. PAGE 84 CHORAL JOURNAL COMPACT DISC REVIEWS Richard J. Bloesch, editor Samuel Barber and less flowing line. But in order to Prayers ofKierkegaard, op. 30 appreciate the overall efforts put forth on RECORDING Bela Bartok this disc, I thought it would be enlighten COMPANIES THIS ISSUE Cantata Profana ("The Nine Enchanted ing to compare the individual works con G~sparo Records,lnc. Stags''), Sz. 94 tained herein with one other recent and Allegro Corporation, agent Ralph Vaughan Williams accessible CD of that certain composi . Box 600 Dona nobis pacem tion. Jaffrey, New H~pshlre 03452 Atlanta Symphony Orchestra and Chorus. Barber's Prayers ofKierkegaard is some Telarc Records Carmen Pelton, soprano; Richard what rare on recordings. Its contrasting 23007 Commerce Park Road Clement, tenor; Nathan Gunn, baritone: styles, frequently changing tempos and creveland, Qhio 44122 .. Robert Shaw, conductor. meters, syncopated rhythms, detailed ex Recorded: November, 1997 pressive markings, and wide-ranging dy Pelton on the Telarc CD seem most fit Telarc CDB0479; [DDD]; 71:00 namics make it a challenge for even the ting for the soft, gentle, long-breathed finest choruses and conductors. The re scoring by Barber. The soloist on the Koch HE CHALLENGING composi cording used for comparison here is the CD, however, renders it in more operatic tions on this disc all come from 1991 CD by Koch International (3-7125- fashion: bigger, heavier, more scoops, and T the middle decades of this cen 2H1) of the Chicago Symphony Orches a wider vibrato. This difference in so tury and contain texts of a spiritualistic tra and Chorus, conducted by Andrew prano solo sound can also be found, and humanistic element that are espe Schenck. though to a lesser degree, in the soprano cially dear to such a conductor as Robert The fact that the Koch CD was re sounds of the choirs. Shaw is not afraid to Shaw. The opening set is drawn from corded in concert is apparent from the ask for less vibrato and more evenness of four prayers by the Danish theologian, low-level background noises in various tone from his sopranos, and it results in S0ren Kierkegaard (lB13-55). The fol soft sections. Perhaps it also explains why an overall improved choral sound. lowing selection is based on a pre-Chris the opening chant for male voices is not A discredit to the Telarc CD, however, tian, hence "profane," Romanian story as rhythmically unified or "blended" and which is apparent while listening and read that, on a certain level, demonstrates es balanced as is the case on the Telarc CD. ing the full score, is that the composer's cape into a greater world where man re Another quickly revealed contrast that footnotes regarding balance, volume, use lies on his own abilities. Bartok intended holds true for the remainder of the work of consonants, and suggestion of plain it to be one of three planned cantatas that is that of tempos. Schenck, rather consis song style are not explicitly observed. would express the ideal of brotherhood tently, chooses speeds that are less than These matters are better realized on the for the neighboring nations of Romania, what Barber has marked in the score, Koch CD. Overall, the preferred render Slovakia, and Hungary. The final work, whereas Shaw is usually consistent with ing of this work is found on the Telarc written between the two world wars, is a those markings. release. cry for peace. The texts, extracted from Another distinct difference comes in The next work to be compared is the Catholic Mass, the Bible, and Walt the choice of soprano soloists for the sec Bartok's Cantata Profana. Once again it is Whitman poetry, serve as a warning of ond prayer. The sweet, clear tones of the Chicago Symphony Orchestra and the tragedy of war and a message of hope for humanity. To find all three of these works pack The perfect solution for a perfect performance! aged together, with good liner notes by Nick Jones, is a good reason to own this SONG-LEARNING TAPESTM disc. Add to this the fact that they are ©1988 by Hammond Music Service performed by Robert Shaw, using his Rehearsal tapes help choirs learn music 5 times faster! "home" musicians in Atlanta, and you Perfect for learning oratorios, requiems, cantatas-any major work! have another major selling point. In terms AND-inexpensive rehearsal tapes for All-State & Regional Honor Choirs! of choral tone, diction, balance, and at Each tape has a grand piano playing a specific voice part in the foreground, tention to detail, virtually no one excels all other parts, accompaniment and metronome in the background. Directors: call, e-mail or write for a FREE catalog, demo packet/tape, and prices Shaw. Perhaps the only drawback that results from his quest for perfection of HAMMOND MUSIC SERVICE Toll Free: 800/628-0855 diction and metrical precision is that of P.O. Box 585 Idyllwild CA 92549 • FAX: 909/659-0798 • E-mail: [email protected] ten each syllable tends to receive equal Visa and MasterCard Accepted weight, resulting in a somewhat stilted MARCH 1999 PAGE 85 Chorus, this time conducted by Pierre Regarding the soloists, each pair of the Telarc CD, it sounds as ifthe engineer Boulez and recorded on a 1992 Deutsche tenor and baritone soloists on both discs favored the choral "miking," perhaps to Grammophon CD (435 863-2) that will is to be commended. The high, dramatic aid Shaw's translation, even though it is a serve as a study in contrast. tenor role is one of the main reasons this bit detrimental to the orchestral fabric. The most obvious distinction is in the work is so difficult to render. I suppose in The final factor, which also favors the realm of language. The choristers from terms of age and experience, with their earlier CD, is the general reading of the Atlanta are using an English translation concomitant tonal maturity and depth of score. Shaw opts for a safer, more con that Shaw revised from the original trans color, the nod goes to John Aler and John trolled performance. Boulez is much more lation he prepared when conducting the Tomlinson on the Chicago recording. aggressive in tempos, dynamics, and ar American premiere of the work in 1952. This takes nothing away from the excel ticulations. He.achieves more of the wilder The Chicago choristers sing in Hungar lent voices of Clement and Gunn on the effects that befit such an eerie, rustic story. ian and sound remarkably well-coached Atlanta CD. The last work on this disc, Dona nobis in their use of decisive consonants and In terms of overall sound, the orches pacem, closely rivals the 1992 recording colorful vowels. Shaw's translation is ad tra is more present, more "alive" on the by conductor Richard Hickox and the mirable, but any version becomes incom Deutsche Grammophon CD. Individual London Symphony Orchestra and Cho prehensible in many places, due to the instruments, especially in the important rus to be found on EMI Classics (CDC 7 contrapuntal writing, complex rhythms, percussion section, seem to be "miked" 54788 2). The most curious aspect that and magnitude of the orchestra in this for better clarity as well. The sections of emerges upon listening to each is that, score. The Hungarian sounds flavor this very loud dynamics are also captured more while the EMI disc was recorded in a work much better, especially in the solos. thrillingly on the Chicago recording. On studio, it has the acoustical properties of is your chance to purchase your own copy of Rock Choral, the video. 43 of the world's top choral groups performing amidst the spectacular beauty of Newfoundland and Labrador, Canada. Over 1500 voices strong, they came from 10 countries to participate in Festival 500, Sharing the Voices. This one-hour performance documentary chronicles their stories. Bring the celebration into your home. Order Rock Choral today and experience a once in a lifetime event that will leave you applauding again and again. 1-877-355-4555 To order, call toll free in North America or visit our website at www.rockchoral.com Visa, Mastercard, Amex accepted. $9.95 Shipping and handling charge. PAGE 86 CHORAL JOURNAL Bureau De Change Cambio Wechsel Foreign Exchange o Next time you tl avel, exchange cultures as well as currencies 0 •• Unparalleled Concert Tour Opportunities ... where cultural exchange comes first Perform with the Prague Collegium, at Canticum Novum (Caracas), or at the European Cultural Month (Exclusive to FAF Participa1lts!) Friendship Ambassadors Foundation 800-526-2908 • [email protected] • www.faf.org a 501 {c}3 not-for-profit, tax exempt, arts services agency with offices and affiliates worldwide • a trusted travel partner since 1971 All tours fully tax deductible as allowed by law for al/ participants ilN 0 one could have had as good a time as we did."- Virginia Davidson, Conductor, NY TJ'eble Singers, 1997 a work being sung in a cathedral. This on the EMI version but also the faster affirms the purpose of life: to worship may be partly due to the fact that the pacing of the Telarc version. Both CDs God, to appreciate His creations, and to chorus is supplemented by the Choristers are equally recommended for an appre love life itself Music is the art that binds of St. Paul's Cathedral, London, with their ciation of this impressive work. the ideas together, much as different pieces special edge of boys' voices. The Telarc David Shaler of cloth sewn together form the quilt fea version, on the other hand, was recorded University ofIowa tured on the front CD cover. His music in Atlanta's Symphony Hall, but in com Iowa City, Iowa and Bel Canto Company's performance parison has a very present and homog are generally very positive and upbeat. enous sound, as if it were the one taking Even when the tempo is slow or the mood place in a studio. Dan Locklair darker, there is always an undercurrent of The other distinct difference between Holy Canticles vibrant energy that reflects this philo the two recordings concerns the matter of Holy Canticles, Alleluia Dialogues, sophical theme. tempos. Hickox, in all but the second of Instant Culture, Cats, BreakAway!, Dona The musical centerpiece for the disc is the six movements, chooses speeds from Nobis Pacem, Proclaim the Lord, A the title work, Holy Canticles (unaccom twelve to almost thirty metronome mark Christmas Carol Three Christmas Motets panied, SSAATTBB), commissioned by ings slower than Vaughan Williams has Bel Canto Company; David Pegg, Bel Canto Company, a forty-voice pro indicated. Shaw is consistently much conductor fessional ensemble from Greensboro, closer to the composer's markings. Ad Recorded: 1996 North Carolina. In all three movements, mittedly, some of the slower tempos Gasparo Records GSCD-325; 59:22 the composer uses a variety of techniques by Hickox are convincing, such as in the that recur in the remainder of the record "Dirge for Two Veterans," where the ten HIS COMPACT disc's title is ing. Musical contrast is achieved through sion builds gradually before finally reach slightly misleading because it of double choir antiphonal effects, many ing an impressive climax. Still, there is T fers an unexpected variety of sa divisi voicings, fast versus slow tempi, much to be said for staying true to the cred and secular choral selections by rhythmic accent versus legato, soloist ver composer's intentions, as Shaw does in American composer, Dan Locklair. Ini sus choir, and vertical harmonies against this work overall. tially, the works seem interesting but un fluid but disjunct melodic lines. Locklair's The choice boils down to general aes related. However, after repeated hearings, vertical style seems to help emphasize im thetic preferences for one version or the the pieces begin to "speak" intellectually portant text, as does his affinity for other. I enjoy the spaciousness of sound and emotionally. Locklair's music subtly sforzando and messa di voce treatments of MARCH 1999 PAGE 87 key words. In movement one, Locklair chords that "land" on and make dynamic own this piece; it speaks emotionally like sets the "Magnificat" text, oddly juxta changes to the tone clusters surrounding none of the others. It implores "grant us posing Latin in the male voices against important words. At times, flabby soprano peace" without being maudlin and capi the women's English translation. Bel tone spoils the effect of these clusters, talizes on the group's beautifully strong Canto Company puts a strong foot for tainting an otherwise very musical per sense of line. The engineering is some ward in this first difficult section, with formance by Bel Canto Company. how different from Dona through the rest solid intonation and good blend. Move The other sacred works on the disc use of the disc, and the blend becomes no ment two sets the "Nunc Dimittis," now many of the same techniques but each ticeably better. Though some clarity of all in English. Here the split voicings func has its own characteristics that set it apart text is lost, the trade-off is worth it. tion as a double choir in a rhythmic, from the others. Alleluia Dialogues (motet Two of the three secular works included vertical, yet slower, peaceful style that for unaccompanied SATB double choir on this recording make statements about mystifies with its antiphonal call and re and optional handbells) again employs the stresses Of our daily lives in modern sponse between male and female sections antiphonal technique and develops a re society. It is through these that Locklair or between soloists and smaller choir sec petitive main theme of open fifths. De instructs us to break the confinements of tions. Somewhat disappointing is the poor spite the energetic singing, this theme narrow-minded, harried, contemporary blend of tenbr and soprano soloists caused seems uninspired, and the handbells pro culture in order to find a more relaxed by duelling vibratos in what would other vide a welcome tonal uplift in the middle way of life. Break Away (motet for SATB wise have been a beautifully satisfYing duet section. "0 Magnum Mysterium" from choir with piano) uses sforzandi, dynamic at movement's end. The last canticle is the Three Christmas Motets (SATB divisi changes, imitation, and word painting be the English translation of "Te Deum unaccompanied) is a lovely treat and cre tween female and male sections to offset a laudamus," or "we praise Thee, 0 God." ates an ethereal tonal aura. It is not as text that admonishes us to "take a taste of The singers divide into two separate harmonically or rhythmically complex as the day, use your power to soar, and take double choirs again for antiphonal effect. the other pieces, but it effectively uses time for pleasure." A similar theme per Locklair uses four- and eight-part tone section against section imitation. Here vades in the choral drama for two SATB clusters to highlight specific text, writing David Pegg evokes a lusciously warm choirs, soloists, and piano, called Instant sound from the singers, especially in the Culture. There is some spoken dialogue, final pianissimo. Proclaim the Lord fully and the choir is split into two characters, communicates the emotional exuberance Authority and Composer. The Authority of the text "proclaim the greatness of the represents the superficial faction of soci Beaut/fuL ..• powerjul•••• eclectlc. .•• See and Hear the music online! Lord our God; He is the Holy One," but ety that wants culture on their own terms Website: www.GladdeMusic.com Dom/Nobis Pacem (motet for SATB choir, while the Composer represents the artis Email: [email protected] unaccompanied) is the piece that shows tic, intuitive, non-practical side of man Bel Canto Company at its best. They kind. The two choirs are the essential elements of the drama, and the piano effectively heightens the tension and pro ~~#.l.A4T~~! vides musical commentary. CHOATE ROSEMARY HAll In the last secular work, On Cats (a cycle of five songs for SATB choir and SUMMER ARTS CONSERVATORY piano), Locklair reminds us that laughter JUNE 27-JULY 30, 1999 is one of life's dearest pleasures. These Be a part of a truly interdisciplinary approach to arts educa five, funny songs are musical vignettes tion. Students learn to create and collaborate while working about the strange natures of various fe in the beautiful LM. Pei-designed Paul Mellon Arts Center. lines. For the audience to understand the The facility sits in the middle of a 400-acre residential humor, the songs demand crisp enuncia campus and houses two theaters, recital hall, music class tion, and Bel Canto Company does not rooms and practice rooms, arts studios, dance facilities, and disappoint. an art gallery/lounge area. Conservatory culminates in arts Overall, David Pegg and Bel Canto festival. Company perform these difficult pieces Intensive five-week programs for students entering grade 7-12: admirably. Locklair's affinity for marcato • Choral music-theory/ composition, solo & ensemble recitals singing, disjunct melodies, and taxingly • Playwriting-elements of script writing, screen play development, film/play labs wide dynamic ranges calls for ultimate • String Ensembles-orchestral and ensemble rehearsals, theory/composition, recitals vocal flexibility. The stacked whole-tone • Theater-acting styles, movement, musical theater clusters, even in a totally tonal context, • Visual Arts-ceramics, painting, photography, art seminars demand precise intonation, and with few exceptions the singers rise to the chal • New York City weekend trip • Scholarships available. lenge. Bel Canto Company's voices seem just right for the thick texture the PAGE 88 CHORAL JOURNAL _ . I1lle TempOwa(cll .-' The Tempowatch tells you composer desires. Despite a few seating what the tempo is while problems in the soprano section, this A repository of historical material related you are to the 70·year career of group emits a tight ensemble sound (es conducting, pecially in the male sections), unlike many teaching, Fred Waring and the groups of highly trained singers, who tend listening or Pennsylvanians to sing like soloists. This compact disc is composing. Materials available to researchers and music educators definitely worth more than a few Fred Waring's America listenings. Toll Free 1-888-803-6287 The Pennsylvania State University Special Services Building Marsha Core Bobnak [email protected] 1127 Fox Hill Road University Pari<, PA 16803-1824 School District ofHaverford Township (814) 863-2911 FAX (814) 863·2574 ~ind ~t ~ast! with Havertown, PA VISIT OUR WEBSITE! www.allthingsmusical.com http://www.libraries.psu.edul The Complete Music crsweb/speccol/waring.htm -C]- Education Resource Web Site All Music Products, Services, Events, Classifieds - on Searchable Databases! Toll Free 1-888-803-6287 rc~ .... ~ .•... ~. ' ....••... '. . JudyBropl1y,i .. . ,.' Q!:ioral Arts SocietY of Washington ,~;' ·'·WdrtcJVvide··:eXp~rienc~.· ., :<,Promptreplies . . Perfectly orchestrated tours ..' .' .. Freequotes. . . Extremely. detailed .andp~rsonC!li4ed . Concert.engag'ements ·if·· needed . . . Competitive prices Excellent. references. '.available· .... .,Tel:800882{)025···;Fax:703329~6777·· . [email protected] . ... :...... ,. .\MJ\fVy:elpeH~~r}~corrl.:, "•.•..• , ,' . .6T:gSiSt~g~nDiJ\I~,Alexa.hdri(rVA·2?3J:()::'· MARCH 1999 PAGE 89 HIGH SCHooL CHILDREN'S CH.URCH i1 llest : "Tbefi "Cb!ll'cblll:IS!C'~ CHOIRS "Finest l'epei10 CH 0 IRS, el' Ol'gafllze~e~ent C H 0 IRS t pl'estlglOt " , GOllclllCtol'S ,an '" ., eV I 'lcll'en s .' 1110S t'" biswiG settings. June 16 -21~ 2000 fOl'cl:~il'S!" August 1 -7,2000 even· July5-12,2000 St. Giles Cathedral Festival Concert York Minster Westminster Hall Festival Evensong Festival Choir & Orchestra Canterbury " Canterbury Cathedral Cathedral Festival Concert Festival Concert Dress Rehearsal with Orchestra St Martin-in-the-Fields Or. Eph Ehly Westminster Hall Henry Leek Individual Concerts Festival Concert Indianapolis Concerts with Orchestra Children's Choir British-American High School Fourth Annual International Third Annual British-American Church Choral Festival Children's Choir Festival (Video Available) Music Festival (Video Available) Featuring Festival Choir Concerts at York Minster ,Live ifl the shadow of majestic Canterbury Featuring Festival Choir Concerts at Britain's Cathedral, Beverley Minster and Westminster Cathedral where choral music began in, 597 A;D; most historic locations of the Faith-St. Giles .Central Hall in London with orchestra. Individual Festival Choir Concerts,Services and Workshops Cathedral, Edinburgh; Canterbury Cathedral, concerts at St. Martin-in-the-Fields, St. Paul's in Canterbury Cathedral and Final Festival Choir Westminster Central Hall with orchestra. Cathedral" etc; Custom itineraries can include Concert at Westminster Central Hall with Custom itineraries can include extensions extensions with concerts throughout Britain orchestra. Individual choir concerts in to explore your denominational heritage! providing educational accountability by enhancing Canterbury Cathedral, ,St. Pau\?sCathedral; and supporting your choral curriculum. st. Martin-in-the-Fields, etc. Optional extension Conducted by DAVID FLOOD, to Paris with a concert at Cilthedrale Notre- Master of Choristers, Canterbury Cathe,dral, conductedbyDR. EPH EHLY, de Paris and a major evening cOQcert at and MICHAEL HARRIS, . Univ. of Missouri, de.Ja Madeleine. Pre and post-festival ,'Master of the Music, St. Giles Cathedral and pHILIP MOORE, extenSions with concerts throughout Britllin. Masierofthe Music, York Minst~r ,. BOOK REVIEWS Stephen Town, editor Sally Herman The next two sections comprise the In Search of Musical Excellence: Taking bulk of the text and focus on "SimplifY B()()KPUBLISHERS Advantage ofVaried Learning Styles ing Concepts for Expressive Singing" and THIS,ISSUE Dayton, Ohio: Roger Dean Publishing "Elements of Expressive Singing and the Company, 1994. 127 pp. $25. ISBN: 0- Musical Score." The "Concepts" section Roger Dean Publishing Company 89328-118-2. A companion video is also includes rules of diction, rhythm, and The. ·Lorenz Corporation, agent ,xxx available from the publisher. phrasing. The "Musical Score" section, Dayton, Ohio the longest of the text, applies the previ ALLY HERMAN produced a book ously stated rules in great detail to score Seren Books that provides "suggestions for prac samples. The final section, "Expanding xxx tical applications that guarantee a Your Personal Teaching Horizons," serves xxx, S xxx higher level of performance" (p. vii). To as a summation of the guiding principles xxx this end, she presents detailed and con Herman advocates. cise guidelines for teaching rhythm, sight Herman's clear, comprehensive text in St. Olaf College reading, articulation, and development of cludes detailed, definitive guidance to ef ..P.O. Box 470 ensemble musicality. ficient rehearsal techniques. Verbal and Northfield, Minnesota Herman, at the time of publication photographic imagery illustrates intended choral director at Fox High School near concepts effectively. A reference section St. Louis, structures her text in five sec detailing those works cited would be help vision for a successful choral experience. tions. The first of these, "Finding Time ful for readers who desire information on DavidJ Greennagel for Experimentation," details the impor the temperament identification approach. Florida International University tance of strategic planning that will allow An index would also assist the reader in Miami, Florida adequate rehearsal time to achieve a higher uncovering the wealth of "how-to" sug level of artistry. Topics include: Good gestions contained within. Planning, Teaching Sight-reading, and In Search of Musical Excellence is an Joseph M. Shaw Using Gestures Instead of Words. Each excellent text for the beginning high The St. Olaf Choi1': A Narrative topic has efficiency in instruction and school or church choir director who may Northfield, Minnesota: St. Olaf College, content mastery as its goal. feel unprepared or lacking in a personal 1997.712 pp. $22.95. ISBN: 0-9640020- Although the text is subtitled Taking Advantage of Varied Learning Styles, only the second section, "Learning Styles and Their Indications," addresses this com ponent. The section is an explanation of the personality-temperament approach to learning advocated by Kiersey and Bates. This concept, popular during the late 1980s, measures, through a self-diagnos tic instrument, each student and deter mines a particular temperament with PERfORM ""ON BROADWAY "99" NEXT SUMMER! specific perceptional frameworks and be Choose from 4 Uniquely Intensive Musical Theatre Workshops haviors. For example, a person identified Work technique with Broadway directors & coaches. Perform in a fully-staged showcase as SP (sensitive/perceptive) is "one who at Broadway's Circle in the Square Theatre. Be seen by Broadway casting directors' and agents. must be free, not obligated, to do as and Subscribe to SING! Bill Reed's Guide for Singers & visit us at www.singersonline.com. when he wishes (p. 34)." An NT (intui Your Broadway debut is iust a click away! tive/thinking) person "will ask a lot of Ages 15-adult. Minors chaperoned. questions and will quickly lose respect for Moster classes & discounts available for musical theatre educators. those who are not logical in reprimands Some workshops by ouJilion only. LimileJ space. (p. 40)." Herman provides a copy of the You've dreamed about it. Now c/o it. diagnostic tool, with information for or dering copies. She suggests utilizing the . space Is Still Available! Apply Today! . test with classes to provide guidance for To Apply Call Toll Free 888-SING-NYC (888-7.46-4692) • NYC (212) 802-87.08 " adapting instructional strategies. '_ Or Website Application It Info: ~ .. .. MARCH 1999 PAGE 91 1-9 (Hardcover); 0-9640020-2-7 approach to choral music. members during performances, as in one (Softcover). Written from extensive primary sources case, a fully assembled clarinet. Typical of and meticulously footnoted, Shaw traces the personal level of information con HE ST. OLAF Choir: A Narra the ensemble's beginning as the choir at tained in the text is the relating of an tive, by Joseph M. Shaw, is a de St. John's Lutheran Church in Northfield occasion when John Finley Williamson T:tailed, delightful history. Shaw fo- and the subsequent arrival of F. Melius and his Westminster Choir and the St. cuses on the people involved in the devel Christiansen at St. Olafin 1903. As with Olaf Choir were both scheduled to per opment of this respected ensemble. The biographies of succeeding directors (Olaf form at separate concerts in Sacramento reader witnesses events unfolding in terms Christiansen, Kenneth Jennings, and, cur on the same evening. "Dr. Williamson of beliefs and actions of individuals who rently, Anton Armstrong), Shaw provides immediately canceled the Westminster created the St. Olaf Choir. The reader an extensive bibliographic examination of concert and took his choir to hear the St. experiences the birth and development of F. Melius Christiansen's life prior to his Olaf Choir" (page 220). this well-known choir from a small, arrival at St. Olaf This background pro Included in this readable text are in Lutheran college in Northfield, Minne vides the reader with valuable insight into dexes containing tour itineraries, program sota. The author describes the century the approaches that each director brought literature dating back to 1912, and a sub long journey from the viewpoint of a choir to the choir. Tours, concerts, and newspa ject and photographic index. Shaw pro member. per reviews are painstakingly detailed duced a text that brings to life the human Shaw, an alumni of St. Olaf and re throughout the text. Well-identified pho element of the choral art in the St. Olaf tired professor of religion at the College, tographs and plates of programs are plen tradition. structures his account of the choir by fol tifUl, along with countless reminiscences David J Greennagel lowing the sequence of directors and of by former members of the choir. A num Florida International University the concert tours. These tours were an ber of memories recounted involve non Miami, Florida essential venue for "spreading the word" musical traditions of the choir. Among of founder F. Melius Christiansen's these is the passing of objects between Paul Spicer Herbert Hotuelk Bridgend, Wales: Seren Books, 1998.204 Choral Music for Rent pp. 14.95 pounds. ISBN: 1-85411-232-5. Reasonable Rates ~ AUL SPICER, a British choral di soiiiJY rector and teacher, is one of the Most standard and many "off-beat" titles Pworld's foremost authorities on the from Baroque to Vaughan Williams. life and music of Herbert Howells (1892- Symphonic choral music a specialty. 1983). His just-published Howells's biog Most in quantities of 150 or more. raphy is a long-overdue examination of a composer best known for his English ca Low cost. thedral music. As such, it complements Catalog with prices available. Christopher Palmer's Herbert Hotuelk: A Celebration (1996, Thames Publishing), a Phone: (212) 247-3878 Fax: (201) 948-4878 documentary study now in its second edi tion. While Spicer's work has not the de finitive proportions of a major study, it is Directors - an appropriate work at this date, fifteen We created HEARFoNES'" because we love good years after the composer's death, with just singing. Using this new tool, singers manage their the nascence of hindsight to put Howells own vocal quality, thus improving the consonance into perspective. Spicer's work is concise, superbly written, fulfilling, and enjoyable, of the ensemble .. , Here's how they work: with enough detail and nuance about • Accurate acoustic reflectors guide sound to singers' ears Howells to bring his personality to life. • Singers hear their real voice rather than the acoustics of the room Herbert Hotuells is a labor of love from a • Intonation and vocal alignment can be improved on the spot by the director sympathetic biographer. This authorita • Simple, affordable HEARFoNES'" make better singing easier! tive account of the life and work of Howells in an important contribution. call toll-free 888-886-9312 or visit us at www.hearfones.com Howells is presented as a complex man of tremendous energy, enthusiasm, Thank you ego, and insecurity. His personality is PAGE 92 CHORAL JOURNAL illuminated through various means: ex Over and over throughout his book, evident nevertheless. The reader is pointed cerpts from his letters and diaries, quota Spicer maintains (righdy) that Howells to Howells's love (need?) for name-drop tions from various interviews Spicer was influenced by the people he met and ping, to his all-consuming attraction to conducted with those who knew Howells the places for which he was writing. Spicer women, and to his social climbing. Spicer during his lifetime, brief snippets from also says that Howells "culled his lan notes too the number of Howells's works contemporary concert reviews, articles, guage from a rich variety of sources" (p. that were withdrawn after mediocre or and transcripts of BBC radio concerts 12), and throughout the book repeatedly poor reviews, or even after less-than- and programs. A further wealth of con proves his point. temporaneous evidence is included, all The Celtic aspects of Howells's hu admirably woven into the fabric of Spicer's manity, while successfully expounded by narrative. Spicer, are not as evident as his sure style Spicer points out that Howells kept a and superior ability as a composer. Spicer diary throughout most of his adult life. recounts many anecdotes, such as Howells you are The diaries, small black books chocked writing a song or correcting a proof in the conducting, with notations in Howells's careful script, midst of activity that would distract most teaching, are full of name-dropping, notations others. He cogendy makes the case for listening or about world events, and incidents in Howells's facility in composing for in composing. Howells's personal life. These diaries are struments and voices alike. (Spicer dis Spicer's principal primary source. Recol cusses Howells's instrumental works, Toll Free 1-888-803-6287 [email protected] lections of Howells's surviving daughter, pieces not as commonly known in the Ursula, are significant additions. 1990s as Howells's choral works for the Howells's life is traced chronologically Anglican church, with surety and enthu ~ind ~t ~ast! with from his childhood in rural Glou siasm.) A corollary to Howells the great www.allthingsmusical.com The Complete Music cestershire to London and the Royal musician regards Howells's vanity and Education Resource Web Site All Music Products. Services, Events, College of Music, then through his pro "thin skin." Spicer does not make ovett Classifieds - on Searchable Oatabases! fessionallife as teacher of composition at attempts to dramatize this point; it is Toll Free 1-888-803-6287 the same school, as well as posts at St. John's College, Cambridge, and the St. Paul's Girl School in London. Chapters THE ACDA NATIONAL CONVENTION IS OVER are organized around major milestones in Howells's life, and the entire arrangement -BUT THE MUSIC LIVES ON! brings into focus the various peaks and A SPECIAL THANK YOU TO THE FOLLOWING PERFORMERS valleys of the composer's personal and artistic journey. His relationships with fel Amabile Youth Singers, Ontario, Canada low composers such as Vaughan Williams, ARE YOU SLEEPING BROTHER JOHN? (Jorma Panula) WTC1001 Finzi, and Gurney are important elements Chapman University ChOir, Orange, CA in setting time and place in the narrative. AVE MARIS STELLA (Javier Busto) WJMS1008 Three themes emerge as Spicer writes of Howells. The first major theme, and Ensemble Singers of the Plymouth Music Series, Minneapolis, MN the least tangible, is ofHowells as a Celtic EL HAMBO (Jaakko Mantyjarvi) WW1264 KARIN BOYE'SEVENING PRAYER (Egil Hovland) WWH101 musician. Spicer paints Howells as a com THOU WHO ART OVER US (Eskil Hemberg) WW1263 poser who draws on a well of Celtic spiritu ality and mysticism. After discussing salient Thurman White Middle School Madrigal Singers, Henderson, NV points from Davies and Bowie's Celtic Chris GOLDEN SLUMBERS (Else B. Aas) WJMS1004 tian Spirituality (1995), Spicer says: Magnum Chorum, St. Paul, MN QUIET RAIN (Hildor Lundvik) WH102 The dual significance of this in relation to Herbert Howells as a St. Olaf Choir, Northfield, MN Celt is, fIrst, the importance of place WATER NIGHT (Eric Whitacre) WDW1008 and its (originally) religious University of Mississippi Concert Singers, Oxford, MS relationship with the people; and I WAS BORN TO SING IDziedot Dzimul (arr. Alfred Kalnina) second, the artistic characteristic that is experimental, allowing foreign influence, but at the same ~a1t MARCH 1999 PAGE 93 encouraging words from a fellow com Similar instances of insight are common poser. throughout the biography. Certainly the clearest theme is that of That Spicer was Howells's pupil at the Michael, Howells's son. Michael died of Royal College during the composer's final polio in 1935, and his loss clouds and days might cause concern about his ob colors the remainder of Howells's life jectivity. Does the author's close associa "Professionally tailored gowns his relationships with others, his choice tion with the composer cloud his ability of lasting beauty." of texts for music, his choice of solo in to be fair? While the biography is indeed struments, his daily life, and travel plans. a loving tribute, it includes enough un FREE Throughout the second and third parts flattering detail to appear forthright. catalog and of the book, mention of Michael is made Spicer includes honest analysis of the fabric samples. with tremendous frequency, showing how strengths and weaknesses of individual Since 1955 ... his presence constantly stays with the great works, not to mention the composer's LYRIC composer. flawed personal life. CHOIR GOWN co. One of the successes in this book is A thorough bibliography of sources Spicer's ability to take an incident in cited is included. The comprehensive gen p.o. Box 16954-AZ Jacksonville, FL 32245 Howells's life and use it as the basis for eral index also lists Howells's composi CALL TOLL FREE further discussion of the composer's per tions mentioned in the book. Significant 1-800-847-7977 sonality. Rather than bombard the reader photographic illustrations add to the com with reams of psychological evaluation, prehensive nature of Spicer's biography. Spicer includes interpretation and com Jeffrey Carter mentary in each chapter. After mention Lawrence, Kansas of Howells's adjudication activities in 1939, for instance, Spicer writes two para -CJ- graphs about Howells's strengths as an adjudicator as perceived by others, in cluding contemporaries undertaking the MUSIC same lackluster task (pp. 114-115). TOUR 5 INC. 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PAGE 94 CHORAL JOURNAL DENNIS KEENE Artistic Director, The Dennis Keene Choral Festival; Artistic Director and Conductor, The Voices of Ascension Chorus & Orchestra. FOR SINGERS AND CONDUCTORS: We are happy to announce PETER the second season ofThe THE MOST IMPORTANT BAGLEY Dennis Keene Choral Festival, Professor of AND INNOVATIVE CHORAL a major new institute, offering Music and Director of INSTITUTE TO BE LAUNCHED singers, conductors, and auditors an expanded selection Choral IN MANY YEARS Studies, The University ofwork shops, masterclasses, of Connecticut; Music lectures, private lessons, rehearsals and concerts. Director of the Eastern Based at Kent School one ofthe most beautifol rural settings in Connecticut Symphony New England, the Festival will provide a place where professional and Orchestra Chorus. amateur singers and conductors work side by side in pursuit ofthe highest levels ofthe choral art. VANCE The Festival offers two differing but complementary week-long GEORGE experiences. Participants may choose to attend Week L Week II or both Conductor of weeks. the San Francisco Symphony SINGERS Chorus. New, expanded offerings this year. Sing in five public concerts of your choice, including Bach's St. Matthew Passion with Dennis Keene at Alice Tully Hall, Lincoln Center, New York City. Sing in the new, elite Festival Chamber Choir, ROBERT or the larger Dennis Keene Festival Chorus. Attend workshops, classes, private PAGE lessons, and rehearsals taught by our distinguished faculty of conductors and Music voice teachers. Director and Conductor, CONDUCTORS The Men delssohn Choir of Extensive, expanded program offerings for those who wish to conduct and for Pittsburgh; Professor of audi ing conductors. Conduct the all-professional Voices of Ascension, the Music and Director of Festival Chorus, the Festival Chamber Choir, Cerdorrion and Charis chamber Choral Studies at Carnegie choruses, and the Dennis Keene Chamber Orchestra. Conduct in public concerts. Mellon University. Artend workshops, lectures, conductor meetings, masterclasses. Work directly with Dennis Keene, Robert Page, Vance George and Peter Bagley. Tbe Detlllis Keetle Cboral Festival FOR A BROCHURE OR FURTHER INFORMATION: 511 Avenue ofthe Americas, #99 Call: (516) 842-76141 E-Mail: [email protected] 1 Website: www.keenefest.com New York, N.Y. 10011-8436 The perfect solution for a perfect performance! SONG-LEARNING TAPESTM ADVERTISERS ©1988 by Hammond Music Service INDEX Rehearsal tapes help choirs learn music 5 times faster! MARCH 1999 Perfect for learning oratorios, requiems, cantatas-any major world AAABACA ...... 20, 46 AND-inexpensive rehearsal tapes for All-State &Regional Honor Choirs! 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Box 6310 First Lutheran Church (Greensboro, NC) ...... 63 Fred Waring's America ...... 89 Lawton, Oklahoma 73506 Friendship Ambassadors Foundation ...... 87 Telephone: 580/355-8161 Gladde Music Publications ...... 88 Green Lake Fesrival of Music ...... 73 Hammond Music Service ...... 85, 96 Hinshaw Music Company ...... 71 CHORAL REVIEWERS Holy Names College ...... 14 Indiana Srare University ...... 74 ACDA members wishing to review choral music should contact: Interculrure Foundarion ...... 52 Richard Nance International Seminars in Music ...... 19 Inrernarional Workshops ...... 15 Department of Music Inrropa Inrernarional/USA, Inc...... 58 lames Adler, Composer ...... 45 Pacific Lutheran University leffers Handbell Supply ...... 46 Tacoma, Washington 98447 Kapellmeister Enrerprises, Inc ...... 30 LT Sound ...... 94 Lorenz Corp...... 68 Lumina Music ...... 45, 52, 84 BOOK REVIEWERS Lyric Choir Gown Company ...... 94 Manager Sofrware ...... 67 ACDA members wishing to review books abour choral music should contact: Mark Fosrer Music Company ...... 38 Stephen Town Mark Foster Music Tours ...... 28, 94 Matterhorn Travel ...... 55 Department of Music Music Workshops Inrernarional ...... 89, 93 Musica Mundi, Inc...... 11 Northwest Missouri State University Musica Romanica ...... 28, 30 Maryville, Missouri 64468 Nexrep ...... 92 New York Choral' Society ...... 92 Telephone: 816/562-1795 North American Music Fesrival ...... 39, 60 North Carolina School of the Arcs ...... 69 Oxford University Press/Music ...... 7,79 Parr Predominant Recordings ...... 76, 82 COMPACT DISC REVIEWERS Paul Mellon ArtS Cenrer ...... : 88 ACDA members wishing to review compact discs should contact: Presbyterian Association of Musicians ...... 70 R. Geissler, Inc...... 80 Richard J. Bloesch Ray T. Holcomb ...... 83 Regency Cap and Gown ...... 31, 63 School of Music Rene Clausen Music Co ...... 76 University ofIowa SDG Records ...... 38 San Diego State University Choral Workshop '99 .... 57 Iowa City, Iowa 52242 Scarecro\v Press ...... 30 Shawnee Press ...... 54 Telephone: 319/335-1603 Singers on Stage ...... 91 Southwestern Community College ...... 63 Southwestern University ...... 58 CHORAL JOURNAL Suzuki Music Corporation ...... 34, C3 Tennessee Valley Boychoir ...... 63, 77 SUBMISSION INFORMATION Texas Tech University ...... 56 Articles submitted for publication in the Choral Journal should meet established Theodore Presser Company ...... 45, 77 Trinity Lurheran Seminaty ...... 30, 46 specifications. Although the length of articles varies considerably, submissions generally Triple Disc ...... 62 consist of ten to twenry ryped, double-spaced pages. Referenced material should be Turtle Creek Chorale ...... 77 indicated by superscript and end notes. All submissions must include six copies, accompa UCLA Chorale ...... 13 Universi,y of Hartford ...... 36 nying artwork if available, and a one- to two-sentence ptofessional identification of the University of North Texas ...... 94 author. For complete writer's guidelines or to submit articles, write to: Managing Editor; ViaMedia ...... 48, 66 VoiceCare Network ...... C2 ChoralJournal; P. O. Box 6310; Lawton, OK 73506-0310. Walton Music Corp ...... 93 Washington State University ...... 45 Wenger Corporation ...... 35,65 ChoralJournallayout and production: Susan Gower Wirre Travel ...... 17 World Libraty Publicarions ...... 31 World Projects, International Music Producrions ...... 21,46 PAGE 96 CHORAL JOURNAL · . SB~uJ~il'1fjoil1teelit1ft4es (~Uit ~'[:/: .. ·~ .... '.L\.·:/ ~-l-N~U;L(C,t~~~s Beautiful Yet Cost Effective Ways To Share The Music! 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