Official Publication of the American Choral Directors Association Volume Forty Number Four

NOVEMBER 1999 CHORALJO Carroll Gonzo Ann Easterling EDITOR MANAGING EDITOR

COLUMNS ARTICLES From the Executive Director ...... 2 From the President ...... 3 ACDA's Forty-Year Journey ... 9 From the Editor ...... ; ...... 4 by Russell Mathis

Student Times ...... 63 Scott Dorsey, editor Hallelujah! ...... 67 Timotliy W. Sharp, editor

Research Report ...... 71 Lawrence Sclienbeck, editor

In Retrospect ...... 74 Job: An Oratorio by Peter Maxwell Davies ...... 29 Compact Disc Reviews ...... 77 Ricliard J. Bloesch, editor by Jon Thompson

Book Reviews ...... 79 Stephen Town, editor

Choral Reviews ...... 83 Richard Nance, editor

Guidelines and Application for Performance at 2001 National Convention ...... 44 A New Edition of Guidelines and Application for Raymond W. Brock Student Poulenc's Gloria: Composition Contest ...... 48 Call for Interest Session Proposals .... 51 Review and Errata List ...... 35 by Joe Hickman Candidate Biographies ...... 52 Repenoire and Standards Committee Reports ...... 57 Newsbriefs ...... 66

Advertisers Index ...... 96

Cover designed by Anthony Saldivar.

NOVEMBER 1999 PAGE 1 THE AFFILIATED FROM ORGANIZATIONS

EXECUTIVE DIRECTOR INDIANA CHORAL DIRECTORS ASSOCIATION President - Scott Avery 109 East Tyner ECENTLY, THE AMERICAN Choral Directors Association and the world Warsaw, Indiana 46580 of choral music lost two dear friends and great supporters, Theron Kirk, San Treasurer - Paula J. Alles R Antonio, Texas, who passed away on October 1, 1999, and Paul Hill, Wash­ 1471 Altmeyer Road ington, D.C., who passed away on September 27, 1999. Jasper, Indiana 47546 Theron Kirk's life was devoted to choral music as conductor, composer, and IOWA CHORAL DIRECTORS ASSOCIATION teacher. A life member of ACDA, he served our organization as president from 1968 President - Aimee Beclunann-Collier to 1970. His presidency carne during ACDRs youth, and during his term of office, 766 45th St. ACDA enjoyed the phenomenal growth that continues today. Theron was instrumen­ West Des Moines, IA 50265 tal in setting the high standard of leadership that continues to the present time. Treasurer - Bruce A. Norris 404 Maple Street Countless numbers of today's choral musicians, whether teachers or singers, have been Mondamin, Iowa 51557 privileged to sit under his teaching, to perform under his baton, or to sing one of his AMERICAN CHORAL DIRECTORS more than one thousand compositions. He leaves a magnificent legacy to future ASSOCIATION OF MINNESOTA generations of choral conductors and singers. President - Robert W. Sieving 269 Park Avenue South Paul Hill, also a life member of ACDA, was a staunch advocate of professionalism St. Cloud, Minnesota 56301 for choral singers. Founder of several professional choruses, Paul traveled across the Treasurer - Susan ZemIin nation and around the world, not only with his ensembles but also as guest conductor 1029 Paul Parkway, NE, #304 for many well-known choruses. In addition to his ACDA affiliation, Paul served two Blaine, Minnesota 55434 terms as president of the board of directors for the organization known today as MONTANA CHORAL DIRECTORS ASSOCIATION Chorus America. He will be long remembered for his contribution to the choral art. President - Dean Peterson Both of these gentlemen were giants in their field. Their lives and contributions 409 Stephens Avenue will be more fully celebrated in the December issue of the Choral Journal. Missoula, Montana 59801 Treasurer - Larry Swingen 216 Eighth Avenue SW Division Conventions Rapidly Approaching Sidney, Montana 59270 At the writing of this column, final touches were being put on the preregistration NEBRASKA materials for the seven division conventions being held in February and March 2000. CHORAL DIRECTORS ASSOCIATION Please watch for your division's information and register early. President - Sharon M. Smith 2503 Country Club Avenue Omaha, Nebraska 68104 Important ACDA Material Treasurer - Donald J. Alcorn In addition to the usual great selection of articles and columns, this issue of the 416 E. 15th Choral Journal contains much important information concerning ACDA business and Grand Island, Nebraska 68801 opportunities. Inside you will find guidelines and application for auditioning to OHIO CHORAL DIRECTORS ASSOCIATION perform at the 2001 national convention in San Antonio, guidelines and application President - David M. Bell for entering the Raymond W. Brock Memorial Student Composition Contest, request 2065 Resor Road for interest session proposals for the San Antonio convention, and information Fairfield, Ohio 45014 concerning the candidates for national president, Eastern Division president, North- Treasurer - Bob Hartigan 8770 Landen Drive (See Executive DiI'ect01; page 23.) Maineville, Ohio 45039

STATEMENT OF MEMBERSHIP TEXAS The American Choral Directors Association is a nonprofit professional organization of choral directors CHORAL DIRECTORS ASSOCIATION from schools, colleges, and universities; community, church, and professional choral ensembles; and President - Marsha Carlisle industry and institutional organizations. Choral Journal circulation: 18,000. Annual dues (includes 10318 Royal Coach subscription to the Choral Journal): Active $55, Industry $100, Institutional $75, Retired $25, and San Antonio, Texas 78239 Student $20. One-year membership begins on date of dues acceptance. Library annual subscription rates: U.S. $25; Canada $35; Foreign Surface $38; Foreign Air $75. Single Copy $3; Back Issues $4. Treasurer - Kelly Moore ACDA is a founding member of the International Federation for Choral Music. 4021 Timberidge Drive ACDA supports and endorses the goals and purposes of CHORUS AMERICA Irving, Texas 75038 in promoting the excellence of choral music throughout the world. WISCONSIN ACDA reserves the right to approve any applications for appearance and to edit all materials proposed for distribution. CHORAL DIRECTORS ASSOCIATION Permission is granted to all ACDA members to reproduce articles from the Choral Journal for noncommercial, educational President - Carl E. Chapman purposes only. Nonmembers wishing to reproduce articles may request permission by writing to ACDA. 2849 Sheldon Drive The Choral Journal is supported in part by a grant from the National Endowment for the Arts, a federal agency. Oshkosh, Wisconsin 54094 Recognizing its position of leadership, ACDA complies with the copyright laws of the United States. Compliance with Treasurer - Janet L. Herrick-Stuczynslci these laws is a condition of participation by clinicians and performing groups at ACDA meetings and conventions. 2225 Wedemeyer Street © 1998 by the American Choral Directors Association, 502 SW Thirty-eighth Street, Lawton, Oklahoma 73505. Telephone: Sheboygan, Wisconsin 53081 580/355-8161. All rights reserved. The Choral Journal (US ISSN 0009-5028) is issued monthly except June and July. Printed in the United States of America. ~ Periodicals postage paid at Lawton, Oklahoma, and additional mailing office. POSTMASTER: Send address EdPress changes to Choral Journal, P.O. Box 6310, Lawton, Oklahoma 73506-0310.

Volume Forty Number Four

PAGE 2 CHORAL JOURNAL NATIONAL FROM OFFICERS THE PRESIDENT PRESIDENT Milburn Price School of Music. Samford University Birmingham. Alabama 35229 Happy Anniversary, ACDA 205/870·2778 (voice); 205/870·2165 (fax) smpric·[email protected] ORTYYEARS HAVE now passed since thirty-five choral directors meeting in VICE·PRESIDENT Kansas City; Missouri, established the American Choral Directors Association James A. Moore and adopted its first constitution and by-laws. Important anniversaries provide School of MM!~~~ie i::::: ~5aG7~t University F 9031935·7963 (voice); 9031938·0390 (fax) opportune occasions for reflection and projection. [email protected] Russell Mathis's article in this issue of the Choral Journal provides an insightful PRESIDENT·ELECT David Stutzcnberger review of major developments in ACDA's evolution from those formative events to the School of Music. University of Tennessee Knoxville. Tennessee 37996 present, when our professional organiza­ 4231974·8608 (voicel; 4231974·1941 (fax) tion for choral directors now includes over TREASURER Ma.,;ine Asselin 20,000 members. When I first heard this Music Department. Bridgewater Stare College Bridgewater, Massachusetts 02325 material as it was presented at the Leader­ 508/697·1377 (voice); 508/697·1729 (fax) [email protected] ship Conference in Lawton last June, and EXECUTNE DIRECTOR upon reading it again as it appears in this Gene Brooks P.O. Box 6310, Lawton, Oklahoma 73506 issue, I was struck by several things: 580/355·8161 (voice); 5801248·1465 (fax) [email protected] First, from its inception, our organiza­ CENTRAL DIVISION PRESIDENT Hilary Apfelstadt tion has been dedicated to the idea that School of Music, Ohio State University there is always more to be learned about Co\~~b~s~I~~ioR43~1O 614/292·9926 (voicel; 614/292·1102 (fax) the art of choral conducting. Whatever [email protected] the individual director's educational back­ EASTERN DIVISION PRESIDENT Frederic Ford ground and experience, new insights can Bridgewater~Raritan High School P.O. Box 6569 be gained from hearing excellent choirs Bridgewater, New Jersey 08807 908/231·8660 (voice); 908/231·0467 (fax) perform quality choral music well, from [email protected] listening to scholars and practitioners NORTH CENTRAL DIVISION PRESIDENT Steve Boehlke share their knowledge, and from reading Rosemount High School 3155 144th Street, W. the results of recent scholarship and news Rosemount. Minnesora 55068 612/423·7542 (voice); 612/423·7511 (fax) of recent events. [email protected] Second, ACDA has benefited from strong leadership at all levels of the organiza­ NORTHWESTERN DIVISION PRESIDENT Constance Branton tion. We have been served by persons whose interests were not self-serving, but who Somh Junior High School 805 Shoshone Street invested their time, energy, and expertise for the sake of the choral art. A corollary to Boise, Idaho 83705 208/338·5377 (voice) that point is that today, considering the size to which we have grown, it takes many [email protected] persons investing those resources for ACDA to remain vibrant, relevant, and growing. SOUTHERN DIVISION PRESIDENT Lynne Gaclde Third, from the beginning the Choral Journal has been an integral part of ACDA. 18644 Avenue Capd Lutz, Florida 33549 Though initially its role was primarily that of a newsletter, this periodical has evolved 8131909·1099 (voicel; 8131909·8262 (fax) [email protected] into a professional journal that blends research, scholarship, and current information SOUTHWESTERN DIVISION PRESIDENT in a manner in which we can all take pride R. Paul Drummond Swinney Conservatory of Music Fourth, and perhaps most important, ACDA has never become self-satisfied or Cemral Methodist College Fayette, Missouri 65248 stagnant as an organization. Its leaders and membership have been open to adjust­ 6601248·6323 (voice) [email protected] ments in programming, procedures, and organizational structure to meet the converg­ WESTERN DIVISION PRESIDENT ing demands of a continually growing membership and an increasingly complex Ron Kean Music Department, Bakersfield College cultural environment. 1801 Panorama Drive Bakersfield. California 93305 Where do we go from here? I offered some preliminary thoughts on this matter in 805/395·4547 (voicel; 8051395·4078 (fu.,) [email protected] my column in the September issue of the Choral Journal (p. 3, 60). The more I think INDUSTRY ASSOCIATE REPRESENTATIVE about our future together in ACDA, the more convinced I become that "collaborative Kent Smith Heritage Festivals visioning" is crucial. In ACDA's earlier, formative years, it was possible for a visionary P. O. Box 571187 Salt Lake City, Utah 84157 801/263·3445 (voice); 8011265·2314 (fax) leader to chart important new directions during his or her term as president. However, [email protected] we have grown too big, too multi-faceted, too complex for any single individual to PAST PRESIDENT'S COUNCIL Lynn Whirten assume that role, no matter how well-informed and insightful that person might be. College of Music, University of Colorado Boulder, Colorado 80309 Therefore, it is important (in my judgment) that we find ways to involve a variety of 303/494·6648 (voice); 303/492·5619 (fax) [email protected] persons in the process of charting our future. The National Board, National R&S Chairs, Divisional Treasurers and R&S Chairs, State Presidents, and members of our Maurice Casey Colleen J. Kirk Harold A. Decker Theron Kirk various national committees have important ideas to contribute. But we also need to William B. Hatcher Diana]. Leland ] ohn Haberlen Russell Mathis find ways to hear from the membership more effectively. (As we approach another Morris D. Hayes H. Royce Saltzman Charles C. Hire Hugh Sandets national election year, "grass roots activity" will be a popular theme!) More about this \'(Iarner Imig David Thorsen Elwood J. Keister in a later column. Milburn Price

NOVEMBER 1999 PAGE 3 FROM EDITORIAL THE EDITOR BOARD EDITOR Carroll Gonzo Department of Music, University of Texas Celebrating ACDAs Fortieth Anniversary 25 East Campus Drive Austin, Texas 78712 512/232-5665 (voice); 5121232-5666 (fux) [email protected] ASSOCIATE EDITOR Nina Gilbert University of California-Irvine Music 292. Building 714 Irvine. California 92697 949/824-3854 (voice); 949/824-4914 (fux) [email protected] MANAGING EDITOR Ann Easterling P.O. Box 6310 Lawron, Oldahoma 73506 580/355-8161 (voice}; 5801248-1465 (fux) [email protected] EDITORIAL ASSISTANT Susan Gower 316 Musrang Circle San Amonio, Texas 78232 HIS ISSUE OF the Choral Journal is a celebration of ACDXs fortieth anni­ 2101495-0833 (voice}; 210/495-0838 (fux) versary. The pictures on the cover represent some of the early leaders of [email protected] EDITORIAL BOARD MEMBERS ACDA. Russell Mathis, a charter member of ACDA and president (1974- Richard J. Bloesoh T School of Music. University oflawa 77), presents a remarkable cl;lronicle of our history. Based on personal experience in Iowa City, Iowa 52242 the organization, interviews with past presidents, and videotaped interviews of past [email protected] presidents, Professor Mathis begins by focusing on how the concept of ACDA became David L. Brunner Department of Music. University ofCentra1 Florida a reality in the minds of those early visionaries who first conceived of a national choral P.O. Box 161354 Orlando. Florida 32816 organization. The history of ACDA reveals that the organization began in a small [email protected]

frame house in Florida and evolved into a national professional society with headquar­ Christine D. de Catanzaro School of Music. Georgia State University ters in Lawton, Oklahoma. Mathis gives a fascinating account of our past presidents 331 Glendale Avenue and how each contributed to the amazing growth and development of the American Decatur. Georgia 30030 [email protected] Choral Directors Association. Russell Mathis's article is a tribute to our forty-year Sharon A. Hansen journey and helps explain why ACDA is a strong, vibrant national organization with Department of Music, School of Fine Arts University of Wisconsin-Milwaukee international influence in choral music. P.O. Box 413 Milwaukee, Wisconsin 5320 Also in This Issue [email protected] Victoria Meredith Poulenc's Gloria is a favorite of many choral directors and enjoys continued Faculty of Music. Talbot College performances throughout the world. Joe Hickman examines a new edition of the University of\V/estern Ontario London. Ontario N6A 3K7. Canada Gloria and provides a review and errata list. In addition to his own sleuthing for [email protected] errors, he draws on the work of others, particularly Lee Barrow's and John Rutter's Richard Nance Department of Music, Pacific Lutheran University discovery of score errors. Tacoma. Washington 98447 Readers are encouraged to read the national president-elect designate candidates' [email protected] Donald Oglesby biographical statements. They are also reminded that, while January may seem far in School of Music, University of Miami the distance, the time to submit all division convention material is now, if it is to be Coral Gables. Florida 33124 [email protected]

included in the January issue of the Choral Journal. Robert Provencio California State University-Bakersfield Looking Ahead 9001 Stockdale Highway Bakersfield. California 93311 The December issue will include an interactive article by Anthony Palmer, titled [email protected] "Ethnic Musics in Choral Performance: A Perspective on Problems," along with Lawrence Schenbeck Departmem of Music, Spelman College Joseph Schmidt's article, ''A Composer's Dilemma: Andreas Hammerschmidt and the Box 316.350 Spelman Lane SW Lutheran Theology of Music." Atlanta, Georgia 30314 [email protected] Timothy W. Sharp School of Music, Belmont University Carroll Gonzo Nashville, Tennessee 37212 [email protected]

Stephen Town Departmem of Music, Northwest Missouri State University Maryville. Missouri 64468 [email protected]

COORDINATOR OF STATE NEWSLETTERS Perry White 2726 S. Pickard Ave. Norman. Oklahoma 73072 [email protected]

PAGE 4 CHORAL JOURNAL NATIONAL June 20-26, 2000 R&S CHAIRS Prague

NATIONAL CHAIR Czech Republic Barbara Tagg 215 Crouse College/Syracuse University Syracuse, New York 13244 315/443-5750 (voice); 315/488-1155 (fux) [email protected] BOYCHOIR Randall Wolfe Cincinnati Boychoir 4740 Samuel COUrt Mason, Ohio 45040 513/396-7664 (voice) [email protected] CHILDREN'S CHOIRS Rebecca Rottsolk Northwest Girlchoir 728 Twenty-fim Avenue Seattle, Washington 98112 206/329-6225 (voice); 206/329-9925 (fux) rro[[[email protected]

COLLEGE AND UNIVERSITY CHOIRS William McMillan Deparrment of MusidUniversity of Texas at EI Paso EI Paso, Texas 79968 915/747-6630 (voice) [email protected] COMMUNITY CHOIRS Charles Facer Greenwood Laboratory School Southwest Missouri State University 901 South National Springfield, Missouri 65804 417/836-6356 (voice) [email protected] @lfH crghvdta @Kcl/cte @I. @tickson ETHNIC AND MULTICULTURAL PERSPECTIVES Czech Philharmonic World Voices Anthony T. Leach Pennsylvania State University Children's Choir of Minnesota University Park, Pennsylvania 16802 814/865-6521 (voice); 81((/865-7140 (fux) ar! [email protected] JAZZ AND SHOW CHOIRS Diana R. Spradling Western Michigan UniversitylSchool of Music Kalamazoo, Michigan 49008 616/387-4751 (voice) [email protected] JUNIOR HIGHI MIDDLE SCHOOL CHOIRS @lame.s~itton Kathleen Anderson 1551 Parkview Avenue American Boychoir San Jose, Califomia95130 650/526-3570 x447 (voice); 650/965-9278 (fux) [email protected] MALE CHOIRS Clayton Parr Vandercook College of Music 3140 S. Fedefal Sr. Chicago, Illinois 606 I 6 312/225-6288 (voice); 312/225-52I1 (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 1 st Prize in each category - 25,000 Czech Koruns 816/882-7558 (voice); 816/882-3368 (fux) . [email protected] 2nd Prize in each category - 12,500 Czech Koruns TWO-YEAR COLLEGE CHOIRS D. Brent Ballweg Collin County Community College 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 USA EUROPE California Institute of Technology Mail Code 2-58 136 Lawrenceville-Pennington Road Budecska 27 Pasadena, California 91125 Lawrenceville, NJ 08648-1413 12000 Prague 2, Czech Republic 626/395-6260 (voice); 626/795-8731 (fux) [email protected] 800-288-3242 (420) (2) 225-14483 609-896-9330 (in NJ) Fax: (420) (2) 225-12449 YOUTH AND STUDENT ACTIVITIES Scort W. Dorsey Fax: 609-896-3450 E-mail: [email protected] Department ofMusidMount Union College E-mail: [email protected] Web: htlp:/Iwww.adinternational.cz Alliance, Ohio 44601 330/823-2181 (voice); 330/823-2144 (fux) Web: htlp://www.aditours.com [email protected]

NOVEMBER 1999 PAGE 5 -.. ------~~- ----.----.------.-."""""\----~~~ .. _- .

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by Russell Mathis

First organizational meeting in Kansas City, Missouri, February 1959. Pictured (left to right): J. Clark Rhodes, Elwood Keister, Curt Hanson, Harry Robert Wilson, Wayne Hugoboom, Archie Jones. Warner Imig, also present, took the photograph.

In The Beginning ing the same hackneyed literature, knowing in their hearts some­ Imagine, if you can, a time when choral conductors had thing was not right. infrequent opportunities to hear choral performances, a time Warner Imig, Dean Emeritus of the College of Music at the when there was no television, no compact discs, limited occa­ University of Colorado, recalls this period in our history and sions to talk to others in their profession, and the most acces­ tells how, as a young teacher, he occasionally took time off to sible choral performances were radio broadcasts of Fred Waring's visit an Omaha high school where the choral teacher was Pennsylvanians on the Chesterfield Hour. There was the rare superlative. Her choirs were excellent; the choral literature was symphony broadcast of Beethoven's Ninth Symphony or Verdi's of fine quality; and her teaching and conducting methods were Requiem, as well as a few excellent touring college choirs, so one illuminating. Welcoming Warner into her classroom, she opened might occasionally hear an inspiring choral performance. How­ new avenues of thought for him. ever, the local civic, high school, and church choirs were gener­ College methods courses, on the other hand, often included ally all that was available. Choral recordings were limited in reading assignments, followed by class discussions of model number and fidelity, fragile, and by today's standards, clumsy. choral groups. If the students were fortunate to have either Long-playing records were important. A few professional orga­ participated in or heard a fine choir, they might have some idea nizations were offering some help: the Music Educators Na­ about what was being discussed in class or what they had read tional Conference gave some attention to in-service training, in their assignment. The number of useful textbooks and lis­ but these sessions often lacked the specialization that was tening opportunities was limited. Obviously, neither potential needed. authors nor publishers believed there was much market for If conductors taught in a rural area, they were isolated and, how-to books about choral music. Consequently, choral direc­ as such, automatically became the resident musical authorities; tors went to professional meetings and listened to talks about the responsibility was enormous. Choral conductors did not the teaching profession: sometimes the speaker even men­ have access to choral models, so they limped along, doing the tioned the music program. best they could, with little help or understanding as to why Like many other aspiring choral specialists, I needed help, they were unable to do better. Conductors who entered soloists guidance, and encouragement-not all the students in the and ensembles in the state contests, and who received high remedial room dumped in my advanced choir. It was some­ ratings, were considered to be outstanding teachers. However, what comforting when I learned I was not unique in my simple these conductors continued to make the same mistakes, employ- desire to know more, but it did little to improve my teaching, musical skills development, and understanding of the choral Russell Mathis is a charter member of the American Choral art. Directors Association and has served ACDA in several capacities, including President (1974-77). Founders of ACDA Choral conductors, such as Elwood Keister, Harold Decker

NOVEMBER 1999 PAGE 9 and Warner Imig, talked about founding enthusiastic about the formation of the a national choral organization that would A casual street-corner proposed organization; a few included the support the finest choral music and mu­ suggestion that the new association hold sic-making, through word and deed. conversation in Amarillo, meetings in conjunction with an estab­ A casual street-corner conversation in lished organization. Amarillo, Texas, early in 1957, resulted in Texas, early in 1957, While many people talked about such a self-appointed committee creating a na­ an organization, it was Landers's letter tional choral organization. Archie Jones, resulted in a self­ that served as the call to action. The final Robert Landers, and later, Maynard Klein, roster of the first steering committee in­ began by developing a list of distinguished appointed committee cluded the following people: choral directors who were leaders in edu­ cation, church, and other professional creating a national choral Archie Jones-University of Texas choral music areas. Robert Landers-United States Air The final list consisted of fifty-eight organization. Force choral directors who each received an ex­ Charles Hirt-University of planatory letter (dated December 4, Southern California 1957), authored by Robert Landers, con­ determine if a recipient was (1) interested Harry Robert Wilson-Teacher's ductor of the Singing Sergeants. It out­ in becoming a charter member, (2) will­ College, Columbia University lined a plan (patterned after the American ing to submit names for a steering com­ Warner Imig-University of Bandmasters Association) for establish­ mittee, (3) willing to send names of choral Colorado ing The American Choirmasters' Associa­ directors who should be included as char­ Elwood Keister-University of tion, an honorary organization to include ter members, (4) willing to propose con­ Florida 175 members. The 1957 letter also con­ vention sites and dates, and (5) the R. Wayne Hugoboom-Marshall tained a proposal that Landers, Jones, and inevitable "other" category. Landers re­ College, Florida Klein act as a temporary Executive Com­ ceived replies from all fifty-eight choral James Aliferis-University of mittee. Additionally, the letter sought to directors. The majority of the replies were Minnesota. SUMMIT TOUR &TRAVEL "THE STANDARD IN EXCELLENCE"

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PAGE 10 CHORAL JOURNAL Vice-President-Elwood Keister Because of failing health, Maynard Klein, A constitution that Secretary-Treasurer-Earl Wilhoite who had been named a member of the Board Members-R. Wayne Executive Committee, did not participate defines the purposes and Hugoboom, Harry Robert in organizing the final committee. structure ofan Wilson, and Warner lmig Before the steering committee was in place, Archie Jones challenged newly ap­ association is the bedrock A constitution that defines the pur­ pointed members to: develop a set of put­ poses and structure of an association is poses; create a much larger membership the bedrock upon which all else is built, list; make decisions about a new mem­ upon which all else is and Harry Robert Wilson authored the bers' list; and determine the type of think­ final version of the organization's ten pur­ ing that should go into forming a national built. poses. Each purpose was discussed and choral organization. revised (if necessary) before the entire as­ Archie Jones was largely responsible sembly. To this day, these purposes have for writing the first draft of the constitu­ The creation of the association was remained largely unchanged. tion and bylaws. He accomplished this accomplished in two long sessions. Also discussed at this meeting was the after careful study and review of the docu­ Among matters settled was the adoption possible affiliation of ACDA with an es­ ments of the American Band Masters As­ of a name for this newly assembled group tablished music organization. The editor sociation and the College Band Directors of choral conductors. Don Malin, of Mills of Music Life suggested that his periodical Association. Early in 1959 , Jones sent co p­ Music, Inc., and Elwood Keister proposed become the voice ofACDA. This motion ies of the proposed constitution and by­ the title 'mnerican Choral Directors As­ was rejected because the publication was laws to the new members for evaluation sociation (ACDA)." A motion was made, deemed too general. Realizing that some and recommended changes. At this time, a vote was taken, and ACDA was born. type of publication was necessary to keep the founders were considering forming Membership was determined not to the membership informed, it was agreed an elitist group with membership by invi­ be exclusive or honorary. Dues for active that a bulletin titled the Choral Journal tation only. members were set at $6.00, and other edited by R. Wayne Hugoboom, be pub­ These early planners identified and iso­ rates were established for various non­ lished three times a year. lated the musical and pedagogical prob­ active classifications. With the creation of lems endemic in American choral music dues, the organization now had a little The First ACDA Convention education: poorly trained choral conduc­ money with which to conduct its busi­ On March 16 and 17, 1960, the young tors. They recommended the development ness. The constitution and by-laws were ACDA held its first national convention and adoption of a new music teacher refined, and a nominating committee sub­ at the Ambassador Hotel in Atlantic City, preparation curriculum for those who de­ mitted the following slate of officers: New Jersey, with the support of MENC. sired to work primarily with choral President-Archie Jones The program, planned by R. Wayne groups. Why? Often, existing meager cho­ ral music methods coutses were added to the instrumental program as an after­ thought. This practice was in place because it was not uncommon for a school music teacher to direct both bands and choir. ACDA Becomes a Custom Concert Tours Professional Organization Experience in over 40 countries on 5 continents! The first convention of this fledging choral organization was held in conjunc­ You prepare the MUSIC - We'll prepare the WORLD! tion with the Music Teachers National Association and not, as one might sup­ Tuscany International Children's Chorus Festival pose, with the Music Educators National Henry Leek 2000 July 3 - 9 Conference (MENC). Warner Imig said Jean Ashworth Bartle 2001 July 2 - 8 of this first national choral meeting, "It was a cold Tuesday," February 2, 1959, at 'Sydney Sings' Children's Chorus Festival 9:00 A.M. when thirty-five choral direc­ tors assembled in Room 400 of the Kan­ 2001 July 11-16 sas City, Missouri, Municipal Auditorium Musica Mundi, Inc. 101 First Street, Suite 454 • Los Altos, CA 94022 to establish an association. Some steering Phone 650 949 1991 • Fax 650 949 1626 1-800-947-1991 committee members were apprehensive, E-mail: tours@musicamundLcom http://www.musicamundi.com but general enthusiasm carried the day.

NOVEMBER 1999 PAGE 11 Hugoboom and Harry Robert Wilson, to lend his support was Roger Wagner. port. included concerts, demonstrations, panel He attended those early ACDA conven- From the outset, ACDA worked to discussions, reading sessions, and two gen- tions, appearing on several convention involve choral directors of both sexes. eral business sessions; these types of ses- programs, at a time when involvement Along with their male counterparts, such sions still form a part of today's ACDA and support from highly visible choral leaders as Elaine Brown and Helen convention programs. conductors was badly needed. A short Hosmer took an active part in shaping The founders were well aware of the time later, Robert Shaw and Margaret the young organization. ACDA was never, need for maintaining high pedagogical Hillis gave of their time and talent. The except for its earliest days, allowed to be­ and musical standards, and what could be participation and presence of such choral come a college-directors-only group, for gained by including and encouraging fa- luminaries made other choral conductors Curtis Hansen and Mary Ruth Palmer, mous choral conductors to participate. aware that the American Choral Direc- both of whom served as officers, were One of the most prestigious conductors tors Association was worthy of their sup- high school directors. ------'------"------'------=--, A continuing issue at the Atlantic City convention was affiliation with an estab­ lished organization. After a lengthy; some­ 'DfSCOVett tn1S lNlQlJe selues OF COOJU.L WO~1lS e~cn times heated, discussion, it was decided \VItn ONe O~ ~~e cONCettt~e 1NStlttrneNtS. the next meeting would be held with the North Central Division of MENC in Chicago. From the outset, MENC's Ex­ Jacob~vshafMrurv ecutive Secretary; Vannette Lawler, and the MENC officers were encouraging and welcomed ACDXs participation in their convention program. we vIVlost 'Triumphant 'Bird With the cooperation of MENC, the interest of the publishers, and the enthu­ siastic support of its membership, ACDA became a firmly established organization at the 1960 Atlantic City Convention. This first convention elicited much fa­ vorable comment. The sessions were judged new, practical, and exciting. Egon Kraus of Cologne, Germany, concluded his comments as a panel member at one of the sessions by saying, "1 have learned more in twenty-four hours than in a year at home." Presidential Legacies Mixed Chorus, Viola Concertante & Piano Archie Jones completed a second term as national president, and Elwood Keister was elected the second national president ARCANA - Images from Tarot PROVERBS OF HELL of ACDA. Keister awarded the first ACDA choral composition prize, ap­ w. Trumpet, Hom, Bassoon & w. Marimba, Light Percussion 10' Trombone 14' MAKE A JOYFUL NOISE pointed state chair persons (note that state HIS FLUID ARIA w. Clarinet, Trumpet, 2 Horns, chairs were in the organization chart be­ with Bass Clarinet 9' B. Trombone & Percussion 6' fore their division counterparts because SONGS FROM THE GOLIARDS PRAISES FROM THE CORNERS of the belief that ACDA should be a grass­ With Solo Cello 15' OF THE EARTH roots organization), the granting of THE MOST TRIUMPHANT BIRD with Organ & 3 Percussion 15' ACDXs first honorary life memberships, with Viola & Piano 14' continued the Program Exchange, and SONGS IN SEASON SAMPLER CASSETTE saw the designation of ACDA as an asso­ witn Contrabass & Piano 23' AVAILABLE $ 6' ciate organization of MENC. This rela­ tionship eventually caused great friction. At that time it seemed wise to remain an hOWLet p)tess mUSlC 2741 S.W. Fairview Blvd. affiliate of MENC, but as ACDA pros­ Portland, OR 97201 Phone/Fax 503,227,6919 pered, the membership desired greater au­ tonomy, and therein was the problem.

PAGE 12 CHORAL JOURNAL Warner Imig became our third presi­ sumption; it was no wonder we got a "In retrospect, the Atlantic City Conven­ dent from 1962-64. He tells of the infor­ great buy. tion of 1960 was considered the First mality of the voting process at that time: Some confusion arose concerning the Biennial Convention, with the 1962 all those in attendance at a national meet­ correct numbering of the conventions meeting designated as the Second Bien­ ing were handed a ballot. The marked when biennial convention scheduling was nial Convention." ballots were counted and the final tally adopted at the Chicago convention of Regardless of their numbers, the con­ announced. It was fast, economical, and 1962. Before that, the conventions were vention programs followed a similar pat­ relaxed. Under Warner's leadership held annually. As a result of rescheduling, tern of concert hours, reading sessions, ACDXs first divisional chairs were ap­ the Third Annual Convention of ACDA symposiums, lectures, and business ses­ pointed, state activities were increased, in 1962 was followed by the Third Bien­ sions. Attendees were strongly in favor of major constitutional changes were en­ nial Convention held at Philadelphia in the concerts and reading sessions. Not acted, and a concerted effort to increase 1964. Author Ned De Journett wrote, quite so popular were the symposiums, membership was bearing fruit. Perhaps r------his most important action was re-appoint- ing R. Wayne Hugoboom as editor of the Choral Journal. SMOKY MOUNTAIN The National Board spent much of their meeting time deliberating two is­ MUSIC FESTIVAL 2000 sues: publication of the Choral Journal-­ 2 or 3 nights in how often? how large? how should it be financed?-and planning national con­ GATLINBURG. TENNESSEE ventions. The growing membership, with May 12-19 May 5-6 May 19-20 the consequent development of district Competition in: and state activities, resulted in a struc­ Concert Choir • Men and Women's Chorus tural imbalance. It was imperative that a Madrigal Choir. Jazz Choir • Show efwir vehicle be devised so the entire member­ Festival Director: Dr. W J Julian ship could be informed of association ac­ Director oj Bands Emeritus: University of Tennessee, Knoxville tivities. The early version of the Choral 1-800-553-1032 (423) 693-5470 Journal-"so important to the member­ (423) 938-0246 [fax} E-mail: [email protected] ship then and now"-evolved into a Call between the hours of monthly periodical. 9:00 a.m. - 5:00 p.m. Eastern Daily it became more apparent how In OUT 18th year, the experienced, pennanent staff insures a lucky we were to have Wayne Hugoboom smooth-running weekend in the heart of the beautiful Smoky on ACDXs administrative staff. Because Mountains, Thejestil)al includes either a two or three night of health problems, Wayne retired from package with accommodations in afirst class Gatlinburg motel; his teaching position at Marshall College adjudication by nationally knownjudges; trophies to winning and began serving ACDA far beyond any­ groups; and plaques to aU participating groups. thing we had anticipated. Until his death TOTAL COST: $106 per student (2 nights package) Wayne was Mr. ACDA. The association's $130 per student (3 nights package) first office address was Wayne's home. Adjudicators will be chosen from thefollowing: The second address was a tiny, two-bed­ Dr. Charles Ball, Duncan Couch. Dr. Ken DaVis. Dr. Epb Ely. Dr. Ken Fulton. Dr. David Greenlee, Dr. Mel Ivey, Dr. Craig Jessop. room tract house in Tampa, Florida. Weston Noble, John Ribble. Dr. Charles Smith, Dr. Robert Stoll, Dr. Wayne was assisted by J. Clarke Rhodes, David Stutzenberger. Dr. Eric Thorson and Dr. George Umberson. our fourth president, in convention plan­ ning and in other matters. Both men were Areas of Interest: kind and capable; it was our good fortune ( I Concert Choir I Madrigal Choir ) Men's Choms ( J Women's Chorus ) ShowCholr I Jazz ChOIr they were in the service of ACDA. It was ( ) Senior HIgh School J Junior High School ) Middle School a small miracle that such efficiency came [ 1 Elementary School from a constricted office setting. Office W~~dfu~k.d ______space was allotted on need rather than Nwne ______what the builders of the house had in Schoru ______mind. Reaching into a kitchen cupboard, Address ______you didn't know whether you would find

a box of crackers or a membership list. Phonp~ ______~ ______This quaint little house was built on a Mail tOe Dr. WJ Jallml, 5MMF. 601 Weatbotouih JI~, bODlUe, TN 37909 cracked slab near a drainage canal with a well that produced water unfit for con-

NOVEMBER 1999 PAGE 13 lectures, and demonstrations. It should ventions were generally selected on the tions was often a multi-choir event. The be remembered that many of the mem­ basis of a recommendation by a national 1962 Chicago convention closed with bers had not studied style, repertoire, mu­ officer or committee member, rather than Roger Wagner conducting the University sic history, or conducting techniques through submission of an audition tape. of Illinois and the University of Colorado in-depth, areas necessary for today's cho­ It became easier to secure excellent choirs choirs in Oms Catulli Carm£na and Ralph ral conductors. Sometimes the members to perform at the conventions because of Vaughan Williams's Mass in G Minor. were simply not up to the level of the the growth of membership, the increas­ Business sessions, though necessary, material presented, but they stayed with ing respect for ACDA, and the concomi­ were kept to a minimum in frequency it, learned, and became wiser. tant prestige that those choirs would and time. Often, the Executive Commit­ Choirs performing at these early con- attain. The last session of these conveil- tee met while the general membership ------, was enjoying the performance of a choir at a general session. The 1962 convention yielded some organizational changes. ~ Festiv~1 a~d ,'" Competition for .. Among the changes voted on by the mem­ treble Choirs ofchildren , bership were: ages 15 arid under 1. The adoption of a biennial il!' i -Formal and election system, with officers elected informal concert in even-numbered years at the opportunities , ' , 'UnitirlQ national convention and board - Renowned international jurors & choir-in-reside~c~!';' lHE'W0RL19IN members elected in odd-numbered years at regional meetings; -, Formal and informal concert opportunities ,~ ,.S()NCJ\'[ 2. The Past President of ACDA - Housing, meals and local transportation would serve as First Vice-President arranged by the Festival for a term following the presidency; and For Festival information: 3. P rovisio ns to incl ude a DeS Moines Children's Chornses 525 East Ninth, Snite B representative from the Music Des Moines, IA 50309 USA Publisher's Association or the Music Industries Council. The National (515) 262-8312 • Fax (515) 262:-8359' Board would be enlarged to include [email protected] • www.dmcc~org a representative with voting rights A p ro du c t ion 0 f D M C C, I rt~"., Anlerican Music from the business industry group.

As a result of cooperative planning, the first ACDA-sponsored individual meetings were held during five of the six MENC Divisional Conventions in 1961. Perform in the oldesttheater One ACDA session was included in the in the Americas, exquisite format of the Eastern and Western Divi­ auditoriums, and splendid sion meetings. Reports about these meet­ colonial era cathedrals, before ings were all positive. Many choral immense, appreciative audiences. conductors were first introduced to ACDA through these meetings. Ambassador Tours has the unique In 1963 four of the six divisions held experience and knowledge to make day-long activities prior to MENC's events. The other two divisions held meet­ your concert tour in Brazil a reality. ings within the framework of MENC's meetings. Additionally, these division Contact us «i)) JorJurther meetings often had jointly sponsored ses­ details: sions. Each of the regional meetings was AMBASSADOR TOURS attended either by the National President 148 East Michigan Avenue or the Secretary-Treasurer of ACDA. By Kalamazoo, MI 49007 the time the last meeting in the divisional 1-800-274-7035 series had taken place, there was no doubt E-mail: [email protected] that many music educators had been fa­ http://www.ambassador-tours.com vorably exposed to ACDA, and the organi-

PAGE 14 CHORAL JOURNAL zation was gaining national influence. Officers during 1964-69 voluntarily so; his example inspired other choral di­ During these early years, the state or­ devoted much time and effort to develop rectors to tour and study in Europe. He ganizations lacked consistency in leader­ and guide ACDA. J. Clark Rhodes, Presi­ and his distinguished choir served as an ship. In some states, things ran smoothly, dent 1964-66, Harold A. Decker, Presi­ exemplary model. An example of learn­ while in other states presidents were fright­ dent 1966-68, and Theron Kirk, ing through performing on a global level, ened if a two- or three-day convention President 1968-70, left a legacy of clari­ was the series of Institutes of European was suggested. The majority of state chair­ fied governmental procedure, improved Studies headquartered in Vienna that were persons took their responsibilities seri­ convention formats, and expanded ser­ well-attended by selected U.S. choirs and ously, but a few did not like to "walk the vices to the membership. Decker pushed conductors. walk," even though they liked to "talk the hard to get ACDA to think globally. He Harvey E. Maier served as treasurer of talk." Most perplexing was the occasional was not the only person at this time to do ACDA from 1964 to 1970. His great chairperson who disappeared in mid-term. From 1964 to 1968, virtually every phase of ACDA activity was altered or expanded. More emphasis was placed on local activity, which was a great help to the National Headquarters, as well as re­ moving the stigma of "big brother," or Illumina- "big sister." During these years, we had two full-time national employees. Several members of Wayne Hugoboom's family The Newest would help when the workload got too heavy. Eventually, these part-time people were assigned regular tasks and paid small of30 Recordings salaries. In 1964 the movement to affiliate be­ gan with the acceptance of the Texas Cho­ from John Rutter ral Directors as an affiliate of ACDA. Affiliation expanded ACDNs influence and spotlighted activities sponsored by on the Collegium the Association. Leaders in affiliated states and organizations were often suspicious and reluctant to include ACDA. Their Records Label. members observed the process of prob­ Illumina (COL 125 on CD lem-identification and solution between other affiliates and ACDA. Some mem­ Only) Produced by John bers of potential affiliates were afraid of Rutter and recorded in the losing autonomy. Others thought their magnificent acoustics of the financial problems would be solved. It Lady Chapel of Ely Cathedral, took a great deal of diplomacy to accom­ this recording marl

NOVEMBER 1999 PAGE 15 contribution was to put ACDA on sound Pinkham was not allowed to enter financial footing. Employees and national In March 1969 the the meeting unless he produced, an officers started receiving reimbursements MENC membership card! for association business expenses. Those Executive Board receiving remuneration had to be finan­ Walter Collins later wrote, cially responsible. Harvey was tough and announced a decision to able, and the right man for the job in When MENC saw fulling member­ those years. He never lost sight of the hold national and ship numbers and that ACDA was need to support activities at the state and growing, the natural tendency was to division levels. Sometimes, things could regional conferences say, "All right, you've got to start acting not be done at the monetary level they like an associate member or else." wished, but Maier's financial acumen independent ofMENC. made it possible for ACDA to develop Theron Kirk recalled, many events and programs. two, b) occur at the same time as MENC The main thing that happened An Independent ACDA conventions, or c) focus on one subject during the time when I was In March 1969 the Executive Board area. In the original agreement, it had been president wasn't a goal of mine at announced a decision to hold national stipulated that members of ACDA had to all. That was when we had to bring and regional conferences independent of belong to MENC. While I have no proof about the change in convention, MENC. It was added that ACDA desired to the contrary, I question whether all our JUSt prior to the MENC conven­ to keep close contact with MENC. early members belonged to MENC and tion, to an independent and The problem came to a head when ACDAsimultaneously. MENC feared that completely disassociated convention many divisions and states followed the if this upstart ACDA affiliate was success­ in respect to time and place. California plan and held conferences just ful, there would be a rash of mini-conven­ before the MENC conventions. MENC tions by other affiliates. At the same time that the affiliation was starting to lose members and experi­ For several years before the actual break battle was going on with MENC, ACDA encing a drop in income. Its leaders would from MENC, ACDA presidents took a was experiencing an affiliation conflict not admit that their five-day meetings good deal of flack from MENC officers. with The Texas Choral Directors Associa­ were expensive to attend and took more Both Harold Decker and Theron Kirk tion, the Southern California Vocal Asso­ time than public school administrators were recipients of unpleasant remarks and ciation (SCVA), and later, Montana, Iowa, were willing to subsidize. It was anything threats. Harold Decker said, Nebraska, and Indiana choral directors. but a concentrated event. Southern California Vocal Association had The early ACDA conventions were At the Seattle ACDA-MENC been one of the first to affiliate, and then planned never to a) last more than a day or convention our guest speaker, Daniel found itself in conflict with California state law. That state would not allow the SCVA to collect ACDA dues legally. The Puget Sound Choral Conductors At Stage Accents, outfitting your group to look sensational is easy. We Guild was the second affiliate to leave offer a full line of trend­ ACDA. Because their membership in­ setting performance apparel for cluded only a small part of the state of concert choirs, show chOirS and stage Washington, people outside that area were bands. With so many styles to choose having trouble belonging to ACDA. That from, you will be able to find the ; style that's the perfect match for your problem was resolved when the Puget group's unique personality. Sound group agreed to be just one area in Give us a call for your free the state, and memberships could be in­ 84 page color catalog of unique dividually accepted for ACDA statewide. performance fashions or check us out The rapid and continuous member­ on-line atwww.stage-accents.com You'll find that our combination of ship growth necessitated biennial revisions distinctive designs, competitive of the constitution and by-laws as well as pricing and great qualty will amaze an increase in paid staff. The Tampa head­ you, and your members will'be grate­ quarters was staffed by two employees, ful for making them Wayne Hugoboom and Phyllis look so good for so little! Newberger, with the aid of part-time workers. On January I, 1970, the mem­ l.800.63l.1611 bership totaled 3,165, but by January I, www.staqe-accents.com 1980, the number of members had in­ creased to 10,600. Limited office space,

PAGE 16 CHORAL JOURNAL compounded by personnel increases, was and the membership showed appreCIa­ One of the most significant events in causing critical problems for the growing tion by their presence. • the decade of the 1970s was the Biennial American Choral Directors Association. In the beginning we had some· basic Celebration of July 1976, planned by During the 1970s, the association was convention etiquette to teach. For ex­ ACDA members and held at Interlochen, guided by six presidents, Theron Kirk ample, if a choir was chosen for a concert Michigan. In addition to the $53,000 (1968-70), Charles Hirt (1970-72), session, a program should be planned that budget allotted from ACDA funds, the Morris Hayes (1972-74), Russell Mathis stayed within the time limits, did not National Endowment for the Arts con­ (1974-77), Walter Collins (1977-79), extend stage time, and suited the choir in tributed $25,000. The theme was Ameri­ and H. Royce Saltzman (1979-81). A its repertoire-not the six most difficult can choral music, and James G. Smith constitutional revision in 1975 switched compositions. This was not to be a com­ compiled a special anthology of Ameri­ the terms of office from even- to odd­ petition. Auditors were not allowed to can choral music, titled The New Liberty numbered years, necessitating a three-year enter a session whenever they wished, and Bell. Conductors for the reading sessions term for the officers who had begun in sessions began and ended on time. included Salli Terri, Robert deCormier, 1974-Mathis and Gene Brooks, Secre­ A glance at the attendance figures from Iva Dee Hiatt, Gregg Smith, Frank Pooler, tary-Treasurer. Brooks was not a candi­ 1971 to 1999 demonstrates the popular­ Charles Hirt, Elaine Brown, and Sonya date for the office in 1977 because he was ity of these conventions (Table 1). Garfunckle. appointed National Executive Secretary at the Bicentennial Celebration at Interlochen, Michigan, July 6, 1976, upon YEAR ATTENDANCE LOCATION the retirement of R. Wayne Hugoboom. Charles Hirt wrote, "ACDA will main­ 1971 1,600 Kansas City tain the affiliation with MENC but will 1981 4,200 New Orleans no longer use the MENC convention as 1991 4,469 Phoenix the mother ship to carry us aloft." Hirt 1999 5,732 Chicago sent out a letter asking members to send him their thoughts and dreams for ACDA Table 1 and, of course, to describe what they thought an independent ACDA conven­ tion program should contain. Armed with Master's Degrees in Music this material, Hirt conferred with President-Elect Morris Hayes, and they with the scholarly and came to the agreement that Hayes would musical resources of be named chair of this first independent convention. Leonard Van Camp was ap­ pointed program chairman. The Emory University Muehlebach Hotel in Kansas City was and the city of chosen as the convention center, and Mor­ ris received a small sum from the Na­ tional Treasurer for convention expenses. Atlanta That money went largely for telephone ORGAN PERFORMANCE: Timothy Albrecht calls, printing, and postage. CHORAL CONDUCTING: Eric Nelson No one knew what to expect. Would anybody show up? At first, registration SACRED MUSIC: Don E. Saliers was slow; then members began to come GENEROUS SCHOLARSHIPS in a steady flow. The chosen performing PLUS FULL~TUITION REMISSION choirs were excellent. A session for minis­ ters of music had more appeal than an­ For information, contact: ticipated. At that convention and Stephen Crist, Director of Graduate Studies continuing to this day, ACDA members Department of Music, Emory University, actually attended the convention. The lo­ cal shows, bars, and other attractions never Atlanta, Georgia 30322 have lured the main body of those in Phone: (404) 727-6445 attendance. Web: http://www.emory.edu/MUSIC/

Choral directors really wanted to learn; OrnER GRADUATE FACULTY: Dwight Andrews, Ben Arnold, they knew one of the best and fastest Lynn Wood Bertrand, Barclay Brown, Marian Dolan, ways to achieve this was to go to an ACDA Steven Everett, William Flynn, John Anthony Lennon, convention. The standard was established, Bonnie Pomfret, Charles Schisler

NOVEMBER 1999 PAGE 17 Invited choirs ranged from Doreen ACDA's National Rao's Glen Ellyn Children's Choir to the We were publishing a Headquarters on the Move Gregg Smith Singers. A choir of 182 high magazine, actively Gene and I had the unenviable but school and college singers representating necessary task of working with the loyal fifty states was chosen to sing a commis­ developing relationships Tampa staff to prepare to move the office sioned work by Lukas Foss, who rehearsed contents and equipment to Lawton, Okla­ and conducted his American Cantata. with musicians around homa. This was a do-it-yourself move; for There was international representation a time, everything was housed in Gene's by individuals from Sweden, Estonia, Ger­ the world, and servicing garage. It certainly underscored the real­ many, and a British choir from Reading ization that the headquarters had been University. When President Mathis fell a growing membership. understaffed and operating in an unac­ ill, Morris Hayes served as host and as­ ceptably small space. Moreover, we were sumed temporary leadership with the able publishing a magazine, actively develop­ assistance of other national officers. ing relationships with musicians around During this convention, an event oc­ everything about the organization was no the world, and servicing a growing mem­ curred that would have a long-lasting in­ longer there to tell which file drawer bership. Parenthentically, presidents fluence on ACDA The announcement would yield the pertinent information for Decker, Hayes, Hirt, Mathis, and Execu­ of Wayne Hugoboom's impending retire­ a given concern or problem. tive Secretary Brooks, had spearheaded ment due to increasing ill health caused a No matter how glorious the eulogies, short-term international projects. Men­ profound concern regarding the stability the memorials in Wayne's honor were not tion should be made that Morris Hayes, and future of ACDA Wayne's death on going to bring him back. Fortunately for and later in the decade, Presidents Royce April 2, 1977, was even more shocking. the membership, Gene Brooks, who was Saltzman, Walter Collins, Colleen Kirk, ACDA, a very successful association, was serving as national Secretary-Treasurer, and one of the next generation's leaders, suddenly faced with the realization that had applied for the Executive Secretary Diana Leland, worked vigorously to de­ at its headquarters in a small frame house position and was appointed. velop various international organizations to in Tampa, Florida, the person who knew maintain direct contact with choral leaders. New! for Lent and Easter 2000

HMB218 Requiem (David Huff SATB) This piece has 8 movements: Introit, Kyrie, Sanctus, Benedictus, Offertory, Pie Jesu, Agnus Dei and Communion. The instrumentation is HMB218A, and is scored for string ensemble or string quartet chimes and organ. Performance time 22 min. 13 sec.

""''''''''''''ow,,,,,.,'''''''''''''''' ... ''' HM0177 Easter Fantasy (John Gardner) This Organ and Brass piece is based upon five tunes associated with Easter:

Organ with Brass Christ Is Risen and four hymns: Gelobst sei Gott, 0 filii etfiliae, a well known tune from Lyra Davidica and Weisse Flaggen. John Gardner HMC1666 Jesus, Refuge Of The Weary Jesus, Refuge Of (Lloyd LarsonlSATB) A beloved tune The Weary (Abbot's Leigh) by Cyril Taylor, with Savonarola text Lloyd Larson combined with very sensitive arranging. ~~~~~~ Hinshaw Music, Inc. p. O. Box 470 Hinshaw Music, Inc. Chapel Hill, NC 27514-0470 (919) 933-1691 24hr Fax: (919) 967-3399 www.hinshawmusic.com

PAGE 18 CHORAL JOURNAL With all this activity, adequate space the east and west coasts. Collins's cam- in touch with the grass-roots member­ had to be found for ACD~s national paign helped to change the attitude and ship and working to achieve a balance offices. We needed a building suitable for thinking of the NEA board, which started without lowering choral standards. our growing organization immediately. to give consideration to music and musi- H. Royce Saltzman followed Walter After discussing and examining several cians who operated freely between the Collins as President. The international sites, Gene Brooks went to the McMahon professional and nonprofessional catego- choral picture continued to be of major Foundation of Lawton and requested ries, as defined by NEA. interest to Royce. He believed it was not money for a headquarters building, know- Walter was called upon to calm the enough that U.S. choirs toured Europe, ing that, for the most part, the founda- troubled waters between the jazz show- or that European choirs performed at an tion awarded grants only to projects that choir directors and the exponents of more ACDA convention. Dialogue was needed would be constructed in Comanche traditional types of choral music. Part of on a regular basis among the various di­ County; Oklahoma, where Lawton was his success was an insistence on keeping rectors. He managed to get the leaders of the county seat. Upon reassurance that ,------=----=------=------=------we would indeed build in Lawton, the foundation donated $100,000. Then we learned from our architect that the size of J ,,>-, "" the building we needed would cost double >IM1IClBISII~~~< '~4~lilim < the original gift, so Gene made a second ~, request of the foundation for an addi­ I i r- if tional $100,000, which was granted. The building was constructed on a plot ofland that Cameron College made avail­ able at a very small charge. Because of a savings-investment program initiated ear­ lier by Secretary-Treasurer Harvey Maier, we were able to purchase furnishings. Consequently, we moved into the new building without debt and established a relationship with the McMahon Founda­ choral tion that lasts to this day. The Founda­ tion and its board of directors have remained staunch friends of the Ameri­ conducting can Choral Directors Association, for which ACDA is most grateful. Graduate Programs ACDA's Growing Pains President Walter Collins was greatly • Maste(s and doctoral degrees concerned that the membership ofACDA • Choral ensembles available to graduate continue to grow. As he observed, there is power in the number of members. He conducting students worked closely with the Executive Secre­ • Teaching Assistantships and Scholarships tary on several successful mail campaigns. The first leadership conference, while pri­ marily the creation of President-Elect Royce Saltzman, was strongly supported by Collins and Colleen Kirk, both of whom made contributions to the project. By the time the Leadership Conference Contact: became a reality, Royce had started his Choral Program term as president. Michigan State University Walter Collins, with the support of East Lansing, Michigan 48824-1043 the National Board, wisely began to build 517/355-2140 CHORAL a stronger bridge between ACDA and the http://www.choral.msu.edu CONDUCTING National Endowment for the Arts (NEA). With a few exceptions, the NEA had des­ Charles K. Smith Director of Choral Activities ignated choral support monies to profes­ sional choruses, which existed mainly on

NOVEMBER 1999 PAGE 19 ACDA to agree that funding was needed nization and unwaivering passion for to get the visualized organization started. The first Leadership ACDA, she brought order to the sprawl­ ACDA invested seed money in this ing committee structure of ACDA. She project. Thus began the International Fed­ Conference came about wrote and edited a monthly Leadership eration of Choral Musicians. Several past Newsletter as a sounding board for com­ presidents are charter members of this because the officers in mittee' chairs and the state and national group. One final thought about Royce officers. When asked to list important Saltzman: the idea of holding double con­ state and division personal experiences in ACDA, she named vention sessions began at the Dallas con­ seven that she had either caused to hap­ vention. Royce was convention chair, positions were not equally pen or had the good fortune to witness: assisted by Jane Hardester. The first Leadership Conference came skilled in carrying out • The Ecumenical Service in the New about because the officers in state and Orleans St. Louis Cathedral. division positions were not equally skilled their duties. • The performance of Beethoven's in carrying out their duties. Much of the Missa Solemnis, conducted by Rob­ trouble was caused by inexperience and ert Shaw. ignorance. The typical training period cerned about the development of a well­ • A dialogue between composer Gor­ consisted of receiving a shoebox of records informed, grass-roots constituency. don Binkerd and conductor from one's predecessor. Colleen J. Kirk, ACDA President Howard Swan. An application was made to the NEA, (1981-83), was the first woman elected • An evening of entertainment by and for the second time, we received a to the presidency. Colleen, an able ad­ show choirs on a riverboat. grant to help fund the first Leadership ministrator who, with her love of choral • The entire Bicentennial Conven­ Conference. Perhaps the most important music and many years of training class­ tion, with Charles Hirt leading result was that the delegates went back to room music teachers and general choral group smgmg. their divisions and states with the mes­ specialists, brought new dimensions to • A concert by "Singing City," under sage that the national officers were con- the presidency. Through her skill in orga- the direction of Elaine Brown.

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PAGE 20 CHORAL JOURNAL • A Swedish Radio Chorus concert, has not been continued but is of great under the direction of Erik Erikson. Kirk believed the time importance to us: recording on video tape a history of ACDA through the eyes of After her experiences attending, plan­ had come for concert the national presidents and selected out­ ning, and directing our national conven­ standing choral musicians. Copies ofsome tions, she believed the time had come for hours to be presented in of these interview tapes are still available concert hours to be presented in an envi­ an environment more to the membership through the headquar­ ronment more conducive to listening than ters office, but to the best of my knowl­ that found in a hotel ballroom with a edge, after four presidential videos, the percussion obligato of silverware and conducive to listening project was ended. Three of the presiden­ dishes. She proved the point by getting tial tapes are in 'the national archives, but Robert Shaw, The Atlanta Symphony, and than that found in a the fourth has disappeared. Much of the five college choirs to combine in a perfor­ information for this article concerning the mance of Beethoven's Missa Solemnis in hotel ballroom with a history ofACDA was gathered from those the New Orleans Theatre of Performing videos. Arts. Colleen has been influential in the percussion obligato of Following David's term, Canle the elec­ international movement and continues to silverware and dishes. tion of our second woman national presi­ be recognized and called upon as an elder dent, Diana J. Leland (1989-91). Diana stateswoman for all manner of advice and was the first president whose specialty service to ACDA. was vocal/choral music in the lower divi­ Maurice T. Casey served as ACDA money. The McMahon Foundation pro­ sions of our public schools. As I was col­ president from 1983 to 1985. At this vided the financial gift that made the lecting material for this project, I time ACDA was experiencing a period of project a reality. contacted Diana (as I did all of the living relative calm. When asked, Maurice could David O. Thorsen becanleACD~s fif­ past presidents) for her views about hap­ think oflittle he did as the head officer of teenth president. His term lasted from penings during her term. She supplied ACDA that would make interesting read­ 1987 to 1989. Dave started a project that answers to my questions and some of her ing. He was the president who presided over the splitting of the North Central ,~, • i " ' M 1 '~l I ~ i \ I ;! Division into the present-day active Cen­ I' ~~¥allalll~, f'r:~~ ~ollm ~Ie*amaer: ama tile: tral and North Central Divisions. He was also the man in charge when the matter t . ~~altarWinmimg ,Racif'ic 'efto~ale! j ~ I "i ~ '" ~ j < 1 of gay chorus performance at conventions was broached. He continues to this day bringing peaceful solutions to problems. When Hugh Sanders was elected presi­ MUSICA dent for the 1985-87 term, the Associa­ A collection of a cappella music by American composers. tion acquired a leader who was an able including John Alexander. Rene Clausen. James Hopkins. Charles Ives. Morten Lauridsen and Randall Thompson. conductor and a good listener. Any mem­ ber could gain Hugh's ear, though it should not be supposed that he suffered the occasional fool gladly-he was just Also available - good at not letting it show. Unquestion­ And­ ably, his love of all races and nationalities Available This November! was encouraging to the international growth of the Association. Tis the 'Season! Choirs under Hugh's direction were , Record~d live at ttie representative of the man. They presented ,-Orange

NOVEMBER 1999 PAGE 21 answers will be incorporated here; how­ ever, she did not mention some of the most important motivational factors she brought to her term of office. Because of her professional area of spe­ cialization, she was an inspiration for the grade school, middle school, and junior high school teachers. Now more time is devoted to these choirs on our conven­ tion programs. One reason is that choirs at this level have increased in numbers and singing skills. A second reason is that they needed to be heard. Presidents Leland and Thorsen pro­ vided the impetus to hire a professional evaluation firm to assess the workings of ACDA. This kind of adjudication is im­ portant for what it does and does not find. I remember the head of the firm giving the final report, stating that he had very little negative to say. As an example, he said that in his experience most orga­ nizations asking for his services had ma­ jor financial problems; ACDA did not. In short, through our own efforts the work of the Association was being handled effi­ ciently. We dare not be smug, bur it is reassuring to be told that we are on the right track. Diana's presidency saw the develop­ ment of other creative ideas, including securing a third NEA grant and activat­ ing new scholarship and awards programs. The Choral Journal was changing and growing, as was every facet of ACDA. After Wayne Hugoboom's death a succes­ sion of able editors was chosen from the membership. It was obvious that the work of the Journal was becoming more time­ consuming, while we were operating on a part-time basis. A position of advertising manager was established, for ads helped to defray a large part of the production costs. Diana Leland tells that during -her term, ACDA received a grant for sup­ porting salaries and administrative costs. This grant was used, among other things, to pay the editor on a half-time basis. In the beginning there was a small group of people who critiqued articles submitted to the Choral Journal. This group expanded to become the Editorial Board. The members of that board do­ nate their time and skills by reading submitted articles to provide recommen­ dations to the editor regarding possible publication. They also help decide in what

PAGE 22 CHORAL JOURNAL direction the magazine should go. For ventions, but we lose camaraderie. What succeeded: from the beginning the lead­ example, will it be solely scholarly or a can be done to regain some of this profes­ ers and members were not afraid to dream. strictly what-is-new and how-do-you-do­ sional intimacy? This is just one of the This is not the same as fantasizing. it-publication? The addition of color and problems that call for continued study. Dreaming is a kind of full-blown imag­ increased picture content resulted in While I worked on this version of our ing. We saw not only what might be, but greater reader interest. The improvement history, I reached some conclusions and, also what could be. Do not be afraid to in quality of the state and division publi­ as a result, have a few recommendations dream. The architect sees the building cations has resulted in articles valuable to for your consideration. ACDA has suc­ long before it is built. us all. From time to time, some have been ceeded because the elected leaders have reprinted in the Choraljournalbecause of had a passion for the choral art. Politics -C]- their universal appeal. has been remarkably absent: let us keep it When William B. Hatcher became that way! Every person who has served as president (1991-93), the focus of con­ president of ACDA has emerged a wiser (Executive Dh·ect01; continued from page 2.) centration for ACDA had changed some­ and more able leader from the experie~ce western Division president, North Cen­ what. Attacks on the fine arts from gained in his or her term ofoffice. Though tral Division president, and· Southwest­ political and professional education we may talce different routes, from the ern Division president. We urge you to groups were becoming common. To ad­ beginning we have known that the vote for the candidate of your choice. We dress that problem, Bill established the strength of ACDA comes from the total also urge all choirs interested in perform­ ACDA Advocacy Commission. membership. Our affection for choral ing at the San Antonio convention to Welcome additions to ACDA include: singing is a unifying factor, impossible to submit an audition tape. the Student Conducting Competition (for find anywhere else or to duplicate. Those several years monitored by Guy Webb); times when ACDA has been internally Gene Brooks at long last the addition to the national troubled were when we lost sight of our headquarters staff of an archivist and the major concern: serving our art. establishment of the archive; and in 1991, Finally, I share with you perhaps the a Leadership Conference which, in light most important reason why ACDA has of the attacks on music in the schools, gave attention to the need for strategic planning. John Haberlin became president M.M. in Music Education (1993-95) when many of the programs initiated by Bill Hatcher were tooling up. John often found himself not so much with Kodaly Emphasis inventing a program as activating one. This kind of activity called for oly Names College, located in the Oakland hills, consitutional revisions and editing. Con­ H offers a unique program of graduate study for stitutional revisions do not come over­ musicians, music teachers, and choral conductors. night like mushrooms in spring. They Participants study with Hungarian master teachers and must be carefully thought out and writ­ distinguished American faculty in the oldest Kodaly-inspired ten before presentation to the member­ program in North America. Classes begin with the HNC ship for adoption. (John proved to be a Kodcily Summer Institute, July 5 - 21, 2000. Study in other capable and fair leader in mediating this OAKE-endorsed summer courses may be transferable. kind of discussion.) The same is true for awards. Naming an award is perhaps the • The degree may be completed in one year. easiest part of the process. John served • $6,000 Kodaly Fellowships are available for 2000-20Dl. ACDA well in carrying on the day-to day • Fellowship application deadline: March 1, 2000 business and getting worthy new pro­ • Application deadline: May 1, 2000 grams started. Music education is a growing field. Tlte HNC Kodflly Program Incomplete Cadence receives more requests for our graduates titan we Call fulfill. As I try to visualize some of the pos­ sible problems and joys that lie ahead for ACDA, it seems pertinent to recognize HOLY NAMES COllEGE that with our remarkable growth in mem­ Anne Laskey, Director of Kodaly Program 3500 Mountain Boulevard, Oakland, California 94619 bership and programs has come a dimi­ Phone: 510/436-1234 Fax: 510/436-1438 nution in collegiality. Double and triple Email: [email protected] sessions may be our only solution for con-

NOVEMBER 1999 PAGE 23 Archie Jones Elwood Keister Warner Imig President 1959-61 President 1961-62 President 1962-64

J. Clark Rhodes Harold A. Decker Theron Kirk President 1964-66 President 1966-68 President 1968-70

Charles C. Hirt Morris D. Hayes Russell Mathis President 1970-72 President 1972-74 President 1974-77

Walter S. Collins Royce Saltzman Colleen J. Kirk President 1977-79 President 1979-81 President 1981-83

PAGE 24 CHORAL JOURNAL Maurice Casey Hugh Sanders David Thorsen President 1983-85 President 1985-87 President 1987-89

Diana Leland William Hatcher John Haberlen President 1989-91 President 1991-93 President 1993-95

Lynn Whitten Jim Moore Milburn Price President 1995-97 President 1997-99 President 1999-01

Architect's drawing of ACDA national headquarters, Lawton, Oldahoma. It was completed in Spring 1978.

"NOVEMBER 1999 PAGE 25 Central HolidaYS

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The festival is designed for choir directors, choir members, church musicians and any­ one interested in choral performance.

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ADLER, Samuel Verses from Isaiah Libavtini achoti chala (You have for congregation and mixed with captured my heart) from the cantata Awake! Do not cast us off forever organ or organ and brass with "Y'higad'ta Vvincha" for SATB and organ optional handbells for solo, SATB, and piano 3851679 1.00 3858371 5.95 3861593 1.40 V'higad'ta L'vincha (And you shall tell Chanukah Story Who can retell? your child) for unison and piano for SA and piano A Passover Cantata for upper voices, 3854309 1.00 3854295 1.10 clarinet, cello, and piano God's Promise CHILCOTT, Bob Full score 3862077 27.95 for SSA and piano or organ Vocal score 3862042 9.95 385581X 1.00 Miyemalel Clarinet part 3862085 5.95 Cello part 3862093 5.95 In Thine own image for SATB unaccompanied for medium voice and piano 3861860 1.30 3852330 1.00 SALTZMAN, Peter Mi zeh hidlik Psalm 40 (I waited patiently for SATB and piano Chanuka, 0 Chanuka for the Lord) 3861879 1.30 for upper voices, piano, and optional for SATB and organ S'vivon instruments 3851687 1.00 Vocal score 3860678 1.60 for SATB and piano Bass part 3861240 3.00 Praise the Lord ye servants of God 3861887 1.30 for SA and piano Percussion part 3861259 3.00 3854279 1.00 COHEN, Gerald Go down, Moses Some laughter, some tears from "Birth of Soul" for upper voices and piano Bei ana racheits (In God do I put my for SATB unaccompanied trust) 3860686 1.95 A greatcoat; Gone, gone; Fiddler for solo and SATB unaccompanied The Lord is my shepherd 385497X 1.00 3861631 1.50 There's a tree for SATB unaccompanied 3854988 1.00 Dayeinu! 3861232 1.60 Tum, balalaika from the cantata "Y'higad'ta Vvincha" Miyemalel for two-part voices and piano 3854996 1.00 for SATB unaccompanied 3862050 1.85 Come, join in our dance 3861461 2.50 3855003 1.40 Ha lachma anya Spin, dreidel, spin from the cantata "Y'higad'ta Vvincha" for SA and piano for upper voices unaccompanied 3854287 1.00 3862069 1.10 Complimentary inspection copies of any five octavos listed above are avail­ Twelve Songs ofPraise Hinei ma tovlShaalu sh'lom Y'rushalayim able on request. Circle your choices for unison voices and organ on a copy of this advertisement and for solo and SATB unaccompanied 3857898 2.50 send to the Music Department at ... 3861585 1.40

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ARSISAudio 138 Ipswich Street Boston, MA 02215 SPECIAL OFFER FOR CHORAL JOURNAL READERS: All CDs @ $12.95 each plus shipping ($3.00 savings off list price) phone 1-800-777-1919, identify code CJ1299, offer good until Jan 1.2000 ~HSIS ARSIS is a registered trademark of ECS Publishing, Boston, Massachusetts Job: An Oratorio by Peter Maxwell Davies

by Jon Thompson

It is unusual in our century for a major composer to com­ notion of setting the story ofJob to music came to realization. pose in one of the large-scale musical genres: opera or oratorio. It is thus with anticipation that many in the choral world have The Text awaited the new oratorio from Peter Maxwell Davies. Job, a The text of the oratorio was assembled by the commis­ ninety-minute work for fout soloists, choir, and orchestra, is a sioner, David Lemon. He was attracted to the modern verse tout-de-force that is not easy to perform, but rewards the translation of American writer Stephen Mitchel1.4 Mitchell, efforts of those who would get to know it. whose other translations include the Tao te Ching and selected Maxwell Davies has composed works for large and small poems of Pablo Neruda, has rendered the story ofJob's journey vocal ensembles, from the London Symphony Chorus to the from riches to rags, and back to riches, in a readable way that is St. Magnus Cathedral Singers. Job was written for the 160- still faithful to the original Hebrew. voice Vancouver Bach Choir and a modest orchestra, with Lemon, whose idea for a musical setting ofJob was sparked by woodwinds and brasses generally in pairs. The oratorio was William Blake's illustrations of the book ofJob,5 set himself to the commissioned by the University of British Columbia Depart­ task of condensing Mitchell's version of the story to a manageable ment of Music CUBC), with funding provided by Vancouver length. In so doing, he reduced the nine rounds of arguments music philanthropist, David Lemon. It was first performed on between Job and his friends to just three; however, the arguments May 11, 1997, at UBC's Chan Centre for the Performing Arts, of each friend are represented in the oratorio's text.6 with the composer conducting. J The premiere of this work was The characters of the drama are not assigned consistently to critically acclaimed, introducing the possibility that Job will particular voices, though it is generally true that the words of join compositions like A Child of Our Time and the W"flr God are enunciated by the choir and those of Job by tenor or Requiem on the brief list of twentieth-century oratorios to baritone soloists. As Maxwell Davies has acknowledged in his become entrenched in the choral/orchestral repertoire. composer's note to Job, "by and large Job and his friends are As early as his university days, Maxwell Davies was drawn to solo voices, and the chorus has God's words, but by no means the book ofJob and the questions it raises. 2 Carl Jung's Answer exclusively-where I felt it appropriate, and the text was suit­ to Job 3 further stimulated the young composer's interest in the able, I allowed the text to blossom over all available sources." ancient tale, as did post-war newsreel images of German con­ The friends ofJob are not identified in the score; each is merely centration camps with their vivid depiction of human suffer­ designated as "friend." This designation heightens the sense ing. Despite this prior interest, it was not until David Lemon that it is not the particular details of the story that matter, but made a formal invitation to the composer that his long-held rather, the philosophical argument about suffering. Maxwell Davies confirms this in his note to Job: "I saw the whole drama Jon Thompson is Assistant Professor of Music at Trinity as one that occurs inside Job's head, as an internal drama." Western University, Langley, British Columbia, Canada. The details ofJob's losses are not chronicled here; the musings of Job and his friends predominate. The Lord, who speaks to

NOVEMBER 1999 PAGE 29 Job at the beginning of the oratorio, seems sertions is that "Job is certainly a hero, The first is a quasi-plainsong opening, to be, in the words of David Lemon, and his final words 'I am dust' are not music that informs much of what follows self-abnegation so much as a proud and in the solo parts (Figure 1). This genera­ ... a somewhat smaller kind of god grateful admission of humanity; a part of tive motive comprises interlocking minor than the "Unnameable" who the Unnameable's creation." and diminished chords. The diminished eventually appears. In the last stages The text to Job is a thought-provoking chord, with its minor third and tritone, of the internal drama the dialogue .meditation about why suffering exists. It provides the source of much of the me­ becomes more and more pithy, offers few answers, but does attempt to lodic writing in the work, in the same culminating in Job's words pose the questions in insightful ways. way Tippett's A Child afOul' Time is shot "Therefore I will be quiet. I am through with the sound of the minor­ dust, I will, I am." The Music seventh chord. The music of Job is relentlessly un­ Job is challenging music, exerting par­ One of Lemon's most interesting as- settled, with few recurring musical ideas. ticularly strenuous demands on the four soloists, and with difficult passages for the orchestra. Though the choral music ~==== trf P would tax most choirs, it should be within

I I I the grasp of a good university or commu­ "" ""'--.-/"'" ..". '--" I Ev(e) - ry year, the an - gels came to test - i - fy be - fore the Lord, and a - mongst _ them nity choir. The musical demands are di­ minished by the facts that the choral h.. = trf P h. P outbursts are generally brief and that there is some repetition of musical material. '"' I Ev(e) - ry year, the an - gels came to test - i - fy be - fore the Lord, and a - mongst them The vocal ranges are not excessive, and at Figure 1 one point the tenors are given an easier option Cossia"). ril. 11101to ______'- ______The striking phrase "Where do you -=- pp -=. I~ff~ come from" is an example of a recurring -=-P '" '" '" phrase in the chorus (Figure 2). Begin­ J J. J hJ. ~J·--l~l ning on a G in all four parts, the lines fan out into full-textured writing for up to eJ Where, where, where have you come _ from? come _ from? come_ from? where? __ eight parts. With slight variation of text -='/~ff~ and rhythm, this motive returns twice, "ff =-1 -=-p~PP '" '" helping to unify a work that allows the eJ p~'-..../.~. listener little repose. The composer ex­ r ~r I~r r I\.r~r Where, where, where have you come _ from? come_ from? come_ from? where? __ plains in his note, =-1 -=-P -=-pp -='/~ff~ "ff... to Jr-J J. .. • '" '" '" There are few points of re­ capitulation where the listener can ------J " Where, where, where have you come _ from? come _ from? come_- from? ~here?l~ feel on safe and familiar ground. I ff =-1 -=-P -=-pp -='/~ff-< felt that this suited the nature of the .~ 1r-11.1 '" '" '" text, and of the unfolding drama, '" I I I I I I which I have tried to point up in come _ from? where? __ Where, where, where have you come from? come from? such a way that, in spite of the lack Figure 2 of usual signposts, an audience will find Job compelling enough for stage w/Zi.\7Jer CD LentoJ=54 ready identification: this relative ,./" P..,. ..,. ..,. 6 disorientation is an essential eJ component of the experience.? the ac eus - ing an - gel. P..,. ..,. 6 " Modern choral techniques are em­ eJ the ac - eus - ing an - gel. ployed when it suits the composer's ..,. ..,. ..,. " - P..,. 6 dramatic intent. An example is the Sprechstimme stage whisper in the early was the ac - eus - ing an - gel. bars of the first movement (Figure 3). "" - P..,. ..,. ..,. ..,. 6 The rhythmic variety in the oratorio is almost boundless. The most complex "" was the ae eus - ing an - gel. rhythms are reserved for the orchestra and Figure 3 solo vocal parts, but the choir is called

PAGE 30 CHORAL JOURNAL upon at times to sing intricate passages University Press, 1958). 6 David Lemon, in the program notes to the (Figure 4). At other times, the composer The Book of job, trans. Stephen Mitchell first performance of job. makes his point with great simplicity, as (San Francisco: North Point Press, 1979). 7 Composer's note to job. in the impish passage in which a dimin­ 5 Blake's twenty-one engravings, which depict S Maxwell Davies interview, May 10, 1997. ished seventh chord is repeated by the various scenes from the life ofJob, feature 9 Daily Telegraph, November 27, 1997. choir for an entire page in an evocation of musical instruments, at times a cat-and-mouse game (Figure 5). prominently. The last one, which depicts -C]- The instruments support the choir by a celebration, shows] ob playing the harp, reinforcing and elaborating its music. Ac­ while his family members play other cording to Maxwell Davies, his purpose string and wind instruments. was both practical-the orchestral dou­ bling reassures the choir in some angular JLJ passages-and artistic. The weaving of

the instrumental parts amid the choral right, all right, all right, all right, all right! ones is like "lattice-work," to use the ff composer's word.s

The instrumental writing in Job has > been the subject of particular praise from right, all right, _ all right!

music critics. In a glowing review, Brian ff> Hunt of the Daily Telegraph commended the fine string writing and the right. all right. all right. all right, all right, all right, all right, _ all right! "Haydnesque pictorialism" of the oboe ----~======ff> parts.9 Maxwell Davies, unlike Vaughan f Williams and others, has orchestrated his music so the choir and soloists can be right, all right. all right, all right, all right, all right. all right, _ all rightt heard easily without oversinging, and the Figure 4 all-important words can be conveyed clearly to the audience. "",-" pp ppp

eJ Conclusion Like a cat toy - iog with a mouse. With characteristic intrepidness, Peter pp ppp Maxwell Davies has tackled a difficult " eJ ':' ':' ':' topic in an uncompromising musical style. Like a cat toy - ing with a mouse. Yet, Job is a rewarding work that displays pp ppp careful craftsmanship and is strikingly dra­ " r ....., ...... matic in performance. It is hoped that, ~ r ~a cat toy - ing with a mouse. through performance and study, choral PI? ppp conductors will familiarize themselves with this oratorio by one of the most " Like a cal toy- ing with a mouse. eminent composers of our time. The vig­ orous exploration of challenging new Figure 5 works such as this one can form the basis for addition to the choral repertoire, ben­ efiting composers, singers, and audience. Tour With Your Choir NOTES and pelf01111 in the Great Cathedrals and Histone Churches. I The performers for the premiere included • Brazil • Great Britain • Europe soloists Valdine Anderson, soprano; • Frauce/Spain • Australia, New Zealaud &: Fiji Linda Maguire, mezzo-soprano; Paul Travel with the professionals who have been Moore, tenor; Kevin McMillan, baritone; coordinating concert tours for 30 years. the Vancouver Bach Choir, Bruce Pullan, director; and the CBC Vancouver ((i)) Orchestra. 2 Interview with Peter Maxwell Davies, May AMBASSADOR TOURS 10,1997. 148 E. Michigan Avenue / Kalamazoo, MI49007 1-888-830-4448 (toll free) FAX: 616/349-7674 3 Carl G. lung, The Collected Works ofe. G. http://www.ambassador-tours.com jung, vol. II (Princeton, N.].: Princeton

NOVEMBER 1999 PAGE 31 Gonducfor is Q1Ize be • Tim Brimmer ACondll(]tOl"s Guide to • James Quitman Mulholland the Chol'itl-Orchestml • Eric Stark WOI'ks of .1.8. nil(]1t Office of Admission at 1-888-940-8100 Jonathan D. Green BUTLER 4600 Sunset Ave., IndianapoliS IN 46208 2000 632 pp. 0·8108-3733-1 $56.00 UNIVERSITY www.butler.edu With a focus on the works of J.S. Bach, the latest volume in an on-going series of books surveying the choral-orchestral repertoire. ACondllctOl"s Gllide to Choral-O.'chest"itl Works , 1wenticth Centlll'~l Santa Fe PART II: THE MUSIC OF RACHMANINOV THROUGH PENDERECKI Desert Chorale Jonathan D. Green 1998 320 pp. 0-8108-3376-X $40.00 "... a continuation of the author's Critic's praise Dennis Shrock's first season as Artistic Director previous study of 20th century works with English texts ... evalu­ ates each work in terms of "Ten minutes into the Desert Chorale's [ope11ing concert oj the season] it became clear that potential performance problems, rehearsal considerations, and Dennis Shrock is an excellent new music director. It was a realization bright as daylight, level of difficulty for both the buttressed by Jirst-rate singing Jrom intelligent musicians given strong leadersbip. " choir and orchestra ... also pro­ (The New Mexican, 6/29/99) vides a helpful list of music publishers and distributors. " "Shrock is carrying t/lis ensemble onto a new plane oj musicality. Responding to the inJormed -INSTRUMENTALIST elegance oj his approacb, the chorale is delivering consistently stylish and polis/led singing." (Albuquerque Journal, 7/11/99) AConlillctOl"s Gllide to Choml-OrcllCst"itl WOI'ks "From a strong stmt, the e11semble has gone OH to JUlt/,er solid pelfor111ances. Much credit is due to the Chorale members. This season offers a stellar group oj top-notcllmusicians .... PART I But Shrock was the keystone." (The New Mexican, 7/15/99) Jonathan D. Green 1994 322 pp. 0-8108-2712-3 $39.50 "New Artistic Director Dmnis Shrock aHd the Chorale members have settled in with each ".. .an excellent resource for ot/Jer so quickly aHd so smoothly tbat tl,eir pmtnership seems the Jruit oj years rather than embarking on the study and performance of twentieth­ months. Following Shrock's vision as it unJolds over the season is proving to be one oj tlJis century choral works in summer's great musical pleasures." (Albuquerque Journal, 7/18/99) English. '~CHORAL JOURNAL "... a mine of information for a ------... ~ : ~... ------choral conductor. .. strongly rec­ ommended for library shelves. " 2000 -THE CONDUCTOR Auditions for Summer (mid-June to mid-August) Send a resume and tape by December 31, 1999 with <> vocalizes demonstrating range and one aria or art song to: 110 0 I'd e1', mil Dennis Shrock Santa Fe Desert Chorale 1-800-462-6420 P. O. Box 2813 Santa Fe, NM 87504-2813 SCARECROW PRESS 4720 BOSTON WAY For more information: www.desertchorale.org/ LANHAM, MD 20706 (405) 325-4182 - [email protected]

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PAGE 32 CHORAL JOURNAL ~

~

~ 0 ll1!l. «Q) g.tl a. IP Ih:i ~~ «Q) _ .-:3 The Choral JOllrllal: An Index to Volumes 1-18. (1978) 170pp. by Gordon Paine

~oJrrnogrra.pEln ~o_ 4 A Classified, Annotated Bibliography of Articles Related to Choral Music in Five Major Periodicals through 1980. (1982) 233pp. by Lynn Whitten

~ O:ElLl ([J) grr a. JP> TI:Ll ~ 0 _ 5 Singing in English: A Manual of English Diction for Singers and Choral Directors. (1988) 109pp. by Richard COX

~./lI([J)TI1'l ogrra. p frn ~ 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

~ 0lI1!l 0 g tl 2l P 11n ~ 0 _ '7 The Choral JOllrllal: An Index to Volumes 19-32. (1992) 134pp. by Scott W. Dorsey

~Ollill.ogr:;:-alP>Ih:i ~. 0_ 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

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PAGE 34 CHORAL JOURNAL A New Edition of Poulenc's Gloria: Review and Errata List

by Joe Hickman

At long last, there is a new edition of the conductor's score symphony orchestra admitted to having created, to save library and orchestra parts for the Poulenc Gloria. In December 1996, staff time, a new set of parts that he kept on the shelffor use Salabert issued a new edition of the conductor's score, labelled when the work was to be played. He rented the Salabert parts "revised and corrected." In spring of 1999, in recognition of and paid royalties to fulfill the terms of the copyright act, but the Poulenc centennial celebration, a new set of orchestral the orchestra in question played from this corrected set, and materials was made available through G. Schirmer, the rental the box of music from Salabert was never opened. agency for Salabert. In 1997 Salabert reprinted the choral and In 1986 in anticipation of a collaborative performance with piano vocal scores, but there is no evidence of corrections in the North Carolina Symphony and University of North Caro­ those publications. Happily, the new orchestral materials fol­ lina at Wilmington choir, Jeffry Moyer (former North Carolina low the same format (rehearsal numbers, etc.), allowing for use Symphony librarian) and I collaborated on an errata list, which of new orchestral materials with the old vocal and choral was subsequently published by the American Choral Founda­ scores. tion and circulated among the Major Orchestra Librarians' The history of performance ptoblems with this magnificent Association.3 In 1987 Lee Barrow responded with some addi­ work is well-documented in the recent article by Lee Barrow in tional information, some disagreements, and a helpful adden­ 4 the April 1999 issue of the ChoralJournal, I although there is no dum to this list in the same publication. Soon after that, I mention there of the attempt by the American Symphony received a letter from John Rutter regarding his use of these lists Orchestra League librarians' project to share needed informa­ in the preparation for a recording of the work, providing an tion about such problem works as this. 2 Orchestra librarians additional list of his observations and issues with the materials.5 are charged with the responsibility of resolving conflicts that Many of the "corrections" found in the three lists men­ threaten to waste precious rehearsal time. Many of the early tioned are opinions that might better be titled "issues." In any discovered mistalces were incorporated into a corrected version, case, they represent decisions for consideration by performers which was rented for years. However, unresolved problems of the Poulenc Gloria. Some almost certainly are mistakes that remained, including wrong notes, missing dynamic and articu­ demand resolution; others are suggestions that arguably create lation markings, incorrect accidentals, etc. improvement in the results. In particular, John Rutter's sugges­ So extreme was the problem that one librarian of a major tions for the addition of articulation markings and occasional touching-up of the scoring are very sensitive to the style of Joe Hickman is Associate Professor of Music and Director of Poulenc's orchestration, while offering suggestions that consti­ Choral Activities at the University of North Carolina at tute real improvements. Wilmington, where he has been since 1979. Hickman holds a The 1996 revised and corrected score addresses many of Doctor of Music degree in choral conducting from Indiana these issues. In fact, there is compelling evidence that the lists University, where he was assistant to Julius Herford. mentioned above came to the attention of the Salabert editor. The orchestral parts are almost certainly computer-generated

NOVEMBER 1999 PAGE 35 extractions from the revised and corrected and parts [4] + 1 (VIa, Vc, Cb): Add dynamic mf score. This all but eliminates the possibil­ Beginning of movement V, Oboe II reads: [5] + 3 (EH): 5th note D, not C-sharp. ity of disagreement between score and (see Figure 1). (c.£ alto). parts and allows the conductor to study It should read: (see Figure 2). [5] + 2,4 (Chorus): Rhythm here should the work, list needed changes and edito­ agree with [7] + 2,4. rial modifications, and incorporate these Page-turn problems [6] - 1 (Chorus): Text underlay should into the orchestral parts with confidence. l. In viola and cello parts there is a be: (see Figure 3). The publisher reduced hundreds of is­ page turn between [63] and [64] that will [8] + 4 (Timp): 1st note: (add trem.) (see sues to a few dozen, and in doing so, involve some dropout of inside players. Figure 4). improved the situation immeasurably with However, the tempo is slow and the dy­ [10] - 1 (Tenor): F-sharp should be an this work. Lee Barrow provided impor­ namic (Ppp) allows this to be done with octave higher. tant insights into the genesis of the work minimal effect. [10] + 3 (Cb): Div. appears to need unis. that suggest how the mistakes appeared 2. In Clarinet I, there is a page turn arco. in the 1960 publication. With the confi­ between the end of movement III and the [14] + 4 (Bass): mf dynamic to match dence that the new score and parts agree beginning of movement IV (marked other parts (there is one important disagreement), this attacca) that may need attention. [15] + 1 (Ob I & II): rhythm should author would like to suggest the follow­ read: (see Figure 5). ing issues for the consideration of any For less experienced c£ [15] + 2, [13] + 1, and [15] + 1 in conductor who wishes to prepare this orchestras 1960 edition. work for rehearsal and performance. Many instruments are used very spar­ [16] + 3 (Sopr. & Bass): Last syllable of ingly by the composer, and parts corre­ "Gloria" omitted. Disagreement between score spondingly are full of empty measures. [18] + 1 (FI II): Probably should be oc­ Multiple rests are used only when the tave higher. [18] + 1 (VIn II): Insert natural before C Beginning of movement V, Oboe II reads: meter stays the same, and it almost never does. However, it would be well to con­ in both parts (courtesy accidental). ~ Oboe2 2 sider the addition of thematic cues in [18] + 1 (VIa): Lower part: last note C, parts with many measures of rest. not B. I 41 [18] + 3 (Ob I & II): Should read (cfVIn Figure 1 ~pecific issues for II, VIa.) (see Figure 6). consideration (Conductor's [20] - 1 (Timp): last note would be better It should read: score and parts) as F not G. ~ Oboe 2 First measure (EH): Slur seems in dis­ [20] to [21]: Notated for Soprano in score (Db. I) agreement with articulation in strings. but for Mezzo-Soprano in chorus part. 41 t I Ii () [2] + 1 (Hns, Tpts): Slur between 3rd and [21] + 3 (Strings): Marked remove mute Figure 2 4th notes? on final eighth rest. Could he have meant there to be also a fermata on that rest? Another solution? [6] - 1 (Chorus): Text underlay should be: [18] + 3 (Ob I & II): Should read: (cf. Vln [22] + 3 (Alto): Last note should be quar­ II, VIa.) ter note, or (Bass) last note should be Ob. I & II eighth note; Add dynamic mf in CI I, '1 It:J:z:i'1 I Alto and Bass. bo - nae vo - lun - ta - tis 41 [22] + 3 (Cb) Add markingpizz. Figure 6 [23] + 3 (Cb): Add dynamic p. vo lun ta - tis [23] + 5 (Hn I & II): Should be tied to [29] + 2-3 (Bsn I): Should read: next measure. Figure 3 I. Solo (Bsn) ___ [24] - 4 (Bass): Add dynamic mf [8] + 4 (Timp): 1st note: (add trem.) liB II r--:::p &1111 r ""p ¥ t [28] to [36] (All strings): Should be marked "with mute." (Not in revised Timpani p 7JI I' lIr Figure 7 Figure 4 [29] + 3-6 (Sopr solo): dynamic markings should read: [15] + 1 (Ob I & II): rhythm should read: I. Solo Sopr. nf nf f Ob. I & II f 41#1 f If yJ J¥ If If yJ J) '1 I 'f )'1 J)'1 )1 r 41 ii¥ r Do - mi - ne De - us Do - mi - ne De - us Figure 5 Figure 8

PAGE 36 CHORAL JOURNAL score.) [61] - 2 (Cb): Add dynamic mf [32] - 2 (Bass): last beat should be same as [29] + 2-3 (Bsn I): Should read: (see Fig­ [61] + 5 (Ob I & II): Third note natural Vc. ure 7). (courtesy accidental). [29] + 3-6 (Sopr solo): dynamic markings [63] + 1 (Cb): Add "'with mute." should read: (see Figure 8). [65] + 2 (Fl I & II): Last note should be Figure 9 [32]- 2 (Bass): last beat should be same as eighth note. (c£ next measure with both Vc. (see Figure 9). measures coL SOpl:) [44] - 4,3 (CI II): The C-Hat on beat 2 [32] + 1,2 (Bass): I disagree with Barrow, [66] + 3 (VIa): Should be in alto de£ conflicts with YIn. I. Suggested emenda­ who suggests that the text underlay in the [66] + 5 (Chorus): Add crescendo to this tion (Rutter): choral score is correct. measure. el.2 [39] + 1 (Bsn I & II): First note sharp [67] + 4 (Bsn I): Should read: (see Figure (also last note). 11). ,11,j t1t JfJj II,j tiT if j' t I [40] - 2 (Chorus): Insert tenuto lines over [68] + 1 (Bsn I): Add indication col pice Figure 10 each note. & voice. [40] + 1 (Tenor): Second note should [67] + 4 (Bsn I): Should read: probably be B (c.£ bass two bars later). Errata-Choral Score [41] - 1 (Chorus): Insert tenuto lines over [3] - 2,1 (Cue notes): Rhythm should j' each note. read: (see Figure 12). [41] + 2 (VIn I, II, VIa.): Add crescendo [3] + 1 (Bass): Dynamic should be mf Figure 11 after mf [4] + 1 (Tenor): Add dynamic p. [41] + 3 (Fl 1& II): Insert cres. [4] + 3 (Tenor): Add dynamicf [3] - 2,1 (Cue notes): Rhythm should read: [41] + 3,4 (Timp): Rutter suggests prob­ [5] + 4 (Sopr): First note is C-sharp (add ably should have cresCo and ffat last note. accidental). [44] - 2 (VIns, VIa): Rutter suggests arco [8] - 1 (Sopr): Fifth note is B-sharp (add 1b I¥ B, marking should be one bar later. accidental). 1Ft [44] - 2 (Hn II): Second note written C, [9] - 2 (Alto, Tenor, Bass): Add dynamic ff. Figure 12 not D (c£ VIn II). [44] - 4,3 (CI II): The C-flat on beat 2 conflicts with Vln. I. Suggested emenda­ tion (Rutter): (see Figure 10). [45] + 6 (Hn I): 3rd and 4th notes should be slurred (correct in part). [45] + 6 (Hns III & IV): 3rd and 4th notes should be tied. [45] + 8 (Sopr solo): First note should be dotted quarter. [47] + 1 (Vln I, II & VIa): 1960 score has marking sur la touche (sui tasto) but parts • University Doctoral rj in Chorru Studies at the . Ii! do not. It is not clear that this was in­ . ofMicuniare available on a ·V(j tended. competitive basis through the iii/ [47] + 3 (Vln II): I question the pizzo Graduate School offering a stipend'U of $11,500 per academic year, plus . marking. generous tuition remission: [48] + 3 (Cello): 6th note should be D­ • Choral Studies Teaching sharp. [51] - 2 (Vln II): Last note should be E­ flat. [52] + 4 (Hn I): Rutter suggests last note might be E-flat (not D). [53] + 1 (Vln I): Rutter suggests that VIn I should be same as flute parts (i.e. insert tie between 3rd and 4th notes). [53] + 3 (Tpt I & II): Rutter suggests insert ties. [56] + 4 (Tpts & Trbs): Rutter suggests these should probably have same staccato dots as Hns I & II. [58] - 2 (CA): Second note E not G.

NOVEMBER 1999 PAGE 37 [14] + 1 (Tenor) Add dynamic mf [23] + 5 (Chorus): Dynamic should be [35] + 1 (Bass): Dynamic marking ppp, [18] + 2 (Alto, Bass): Add dynamicf mf notf not mf [19] + 4 (Alto, Tenor): Add dynamic p. [24] - 5, 4 (Chorus) Add dynamic f [35] + 1 (Tenor): "all," not "half" ("half" [19] + 6 (Sopr, Tenor): Add dynamicf [28] + 7 (Solo Sopr): Add dynamic mf for bass correct). [19] + 6 (Alto): Add dynamic mf [29] + 1 (Solo Sopr): Add dynamic p. [38] - 3 (Chorus): Add dynamic ff. [20] - 3 (Alto): Add dynamic .!fat end of [30] + 5 (Solo Sopr): Add dynamic mf [40] Rehearsal number should be one measure. [31] + 1 (Solo Sopr, Tenor): Add dynamic measure later. [20] - [21] (Alto): Notated in conductor's f [42] Movement begins with upbeat, as score for Soprano. [31] + 3 (Sopr): 1st note E-flat (add acci- shown: (see Figure 14). [22] + 3 (Alto): Last note should prob­ dental). [46] - 5 (Bass): Last note should be octave ably be quarter note. [31] + 5 (Solo Sopr): Add dynamic pp lower (c.£ score). [23] - 3 (Bass): Text underlay should read: sub. [46] - 3 (Solo Sopr and Tenor): Add dy­ (see Figure 13). [32] + 1, 2 (Bass): Text underlay (see namic mf comments under full score). [46] + 1 (Solo Sopr): Add dynamic pp. [32] + 3 (Chorus): Add dynamic mf [47] + 3 (Solo Sopr and Bass): Dynamic [23] - 3 (Bass): Text underlay should read: [33] + 1 (Solo Sopr): Add dynamic mf marking is p for both parts in revised [34] + 3 (Tenor): Add "half" and dy­ score; mJfor Solo Sopr and p for Bass (c£ 7)=1 ~r bp j r namicpp. piano-vocal score) seems also plausible. 010 - ri - am [35] + 1 (Solo Sopr): Dynamic marking [48] + 1 (Solo Sopr): Add dot to quarter Figure 13 mfnotppp. note on 3rd beat. [48] + 5 (Chorus): Add time signature 3/4 [42] Movement begins with upbeat, as shown: to chorus parts. ~ QII 7 [53] + 2 (Chorus): Add time signature 3/4 to chorus parts. t I - Ii Ii It I I Ii 'I [54] - 2 (Chorus): Dynamic marking Figure 14 should be mf TEXTR.ESOURCES FROM ROGER DEAN PUBLlSHfN'G (OOMPANY . ~ .

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PAGE 38 CHORAL JOURNAL [54] + 5 (Bass): 4th note G-flat, not F. [40] + 2 (Sopr): 2nd note should be A (c£ ent in piano-vocal score than full score [59] - 1 (Sopr): Add dynamic f doubling violin part). and choral score. It is not clear which is [59] + 3 (Tenor, Bass): Add dynamic f [40] + 4 (Bass): rhythm should match correct. [59] + 4 (Alto, Tenor): Add dynamic ff. other choral parts. [61] - 2 (Piano lh and Bass): 6th note C, [61] - 2 (Bass): 6th note C, not D. [41] - 1 (Chorus): Insert tenuto lines over notD. [61] + 3 (Bass): Add dynamic ff. each quarter note. [61] + 2 (Tenor): Rutter suggests the 4th [64]: Remove fermata from bar line (c£ [42] (Piano): Should read: (see Figure 19). [46] - 5 (Bass): Last note should be octave score). Replace with luft pause. [3] - 2,1 (Piano): Rhythm should read: [66] + 5 (All): Add time signature 4/4. lower (c£ score). p [67] + 1 (Tenor): Add dynamic pp. [48] + 3 (Piano, Ih): 6th of upper notes [68] - 1: Add luft pause and fermata at D-sharp, not C-sharp. ~IJ -=- oJ) "f end of measure (c£ score). [53] - 3 (Piano, rh): Last beat should Figure 15 Errata - Piano-vocal Score read: (see Figure 20). [3] - 2, 1 (Piano): Rhythm should read: [54] + 1-4 (Piano, rh): Should read (cf (see Figure 15). Cl, Ob, Vln in full score): (see Figure 21). [5] + 1, 3 (Piano, r.h.): Last beat should [4] + 1 (Tenor): Dotted half note, not [54] + 5 (Bass): 4th note G-flat, not F. read: whole note. [59] + 3 (Tenor, Bass): Add dynamic f [5] + 1, 3 (Piano, r.h.): Last beat should [59] + 4 (Alto, Tenor): Add dynamic ff. read: (see Figure 16). [60] + 1, 4 (Alto): Text underlay is differ- Figure 16 [5] + 2, 4: Chorus rhythm should agree with score (c£ score remark). (29] + 3-6 (Solo Sopr, Piano) dynamics: [8] - 1 (Sopr): Second A should be A­ I. Solo Sopr. natural (add accidental). nlf f nlf f [9] - 2 (Alto, Tenor, Bass): Add dynamic '#~i! r F If {W )"f I r F If 1J ff. Do - mi - ne De - us Do - mi - ne De - us [9] - 1, [9] + 4. [10] - 1, [11] - 1 (Piano): Each of these measures should end with Figure 17 an eighth note and eighth rest on the last beat of the measure (c£ full score). [39] - 3 (Piano): 3rd beat, right hand (see [12] + 5 (Piano): ff not mf (37] - 3): [14] + 1 (Sopr, Alto, Tenor): Add dy­ namic mf [14] + 4 (Bass): Add dynamic mf [16] + 3 (Sopr, Bass): Last syllable of Figure 18 "Gloria" omitted. [18] + 2 (Alto, Bass): Add dynamic f [42] (Piano): Should read: [19] + 6 (Tenor): Add dynamicf [20] - [21] (Alto): Notated in conductor's ,,-Gl-~& score for Soprano [22] + 3 (Alto, Bass): Add dynamic mf [23] + 3 (Chorus): Add dynamic mf [24] - 5, 4 (Chorus): Add dynamic f [24] + 1 (Sopr, Tenor): Add dynamic fat end of measure. Figure 19 [25] + 1 (Piano): Dynamic is p, not f (as two bars later). [53] - 3 (Piano, rh): Last beat should read: [29] + 3-6 (Solo Sopr, Piano) dynamics: (see Figure 17). [30] +5 (Solo Sopr): Add dynamic mf [38] - 3 (Chorus): Add dynamic if (c£ Figure 20 score). [39] - 3 (Piano): 3rd beat, right hand (see (54] + 1-4 (Piano, rh): Should read (cfCI, Ob, YIn in full score): [37] - 3): (see Figure 18). [40] - 2 (Chorus): Insert tenutolines over EJ each quarter note. 41 r" ~#j fir" ~#fj f It r8J Itli?l r8J I [40] + 1 (Tenor): 2nd note probably B, notD. Figure 21

NOVEMBER 1999 PAGE 39 note should be D, not E-flat. This solu­ 2 Marshall Burlingame, "The Orchestra Second Look," American Choral tion seems to agree with harmony, but Librarian and the Music Director," paper Foundation Research Memorandum disagrees with revised score. presentation at American Symphony Series # 146 (November 1987). [65] - 1 (Piano): Insert /tift-pause imme­ Orchestra League Annual Conference, 5 John Rutter, Poulenc Gloria: Some Further diately before the end of measure. June 15, 1982. Errata (Unpublished paper prepared in [68] - 1 (All parts): Add fermata at end of 3 Joe Hickman and Jeffry Moyer, "Errata in advance of recording: Choral Music! measure (c£ score). the Score and Parts of the Poulenc Francis Poulenc, Donna Deam, soprano; Gloria," American Choral Foundation Cambridge Singers; City of London NOTES Research Memorandum #143 Sinfonia; John Rutter, conductor. 1 Lee G. Barrow, "Francis Poulenc's 'Grand (November 1986). Omaha, Neb.: Collegium Records, Choral Symphony'," Choral Journal 39 4 Lee G. Barrow, "Errata in the Scores and 1988.) (April 1999), pp. 21-28. Parts of Francis Poulenc's Gloria: A MUSICAL SOURCES Francis Poulenc, Gloria pour Soprano solo, choeur mixte et ol·chestre. Editions 'DISCOVeR tn1S lN1Qlf 5e)t1eS ot= COOp,Al WO~1tS e~cn Salabert. Conductor's score: New edition, revised and WJtn ONe ~ mJ~e cONC~tANte 1NSt)ttmeNtS. corrected, 1996. Orchestra parts: Based on conductor's score, 1999. Jacob~v5fMlomQ\1 Piano-vocal and choral scores: Reprint edition, 1997.

fl5e t.A1.ost Triumphant ~ird ACKNOWLEDGMENT Special thanks to Pascal Guillot, rental department manager at Salabert in Paris, and Ella-Marie Winfield of the G. Schirmer rental department (American representative for Salabert) for making available to me a set of orchestral parts for this review. Thanks also to John Rutter for providing new markings and allowing me to quote from his unpublished errata list. -C]-

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PAGE 40 CHORAL JOURNAL SONG.. EARNING TAPESTM ©1988 by Hammond Music Service

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NOVEMBER 1999 PAGE 41 Explore music at Northwestern

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©1997 Wenger Corporation Audition Guidelines for ACDA National Convention Performance

HE CRITERION for recom­ postmarked no later than March 31, No person submitting a tape for the forth­ . mending a choir's acceptance to 2000. coming convention may serve on the di­ T appear at an ACDA national con­ 2. After all tapes have been received vision or national audition committees. vention will be the quality of musical at the national office, they will be placed 5. All tapes auditioned at the divi­ performance as demonstrated on tape. in categories responding to the areas of sion level will be rated on a 1-10 scale, the Repertoire and Standards commit­ with ten being the highest rating. It is Preparation of Tapes tees. recommended that all tapes with an aver­ Only tapes prepared in compliance 3. The National President-Elect will age rating of eight or higher be submitted with specifications listed on the applica­ apportion the tapes to the division audi­ to the National Audition Committee. tion form and accompanied by requested tion committees on the basis of the num­ There is no quota of tapes to be selected: program information will be considered. ber of tapes received in each category and the selections should represent the finest The tape should contain only complete by the geographical locations of the Na­ entries in each R&S area. pieces. If a longer work is excerpted, sev­ tional R & S chairs. 6. All tape auditions at the division eral minutes should be devoted to it on 4. After the tapes have been appor­ level will be completed by May 15, 2000, the tape. Only one performing group may tioned, they will be sent to division presi­ and all tapes will be sent immediately by apply per tape. Performing forces pro­ dents who will chair division audition the division presidents to the national of­ posed for the convention program should committees. The audition committee in fice. be the same as those on the tape, and the each division will comprise a minimum 7. All selected tapes will then be au­ repertoire should be essentially the same of four members, including: ditioned by the National Audition Com­ kind as that proposed for the convention mittee, a minimum of six persons who performance. I a. National chair of the R&S area are (or have been) active conductors and being auditioned. who collectively represent at least six dif­ Audition Procedures b. Division chair of the R&S area ferent R&S areas. These persons will be 1. All tapes to be considered for per­ being auditioned. selected by the Chair of the Past Presi­ formance at the national convention c. Outstanding choral director in dents Council in consultation with the should be submitted to the ACDA na­ the R&D area being auditioned, ACDA National President and National tional office in Lawton, Oklahoma, and as necessary. President-Elect. The National R&S Chair and the Convention Program Chair will be members of the National Audition Committee. S. All tapes auditioned at the national level will be rated on a 1-10 scale, with ten being the highest rating. It is recom­ . . mended that all tapes with an average , Designers off Competitive Show Apparel rating of eight or higher be submitted to Formal • Funk • Theme the National Convention Chair, with choirs recommended for performance in rank order. The national audition will * Best Value For Your Budget Dollar * take place by June 17,2000. 9. The National Convention Chair and Program Chair will mal(e the final decisions on performing groups after care­ Using Stretch Jabrics fully considering the most effective pro­ gram that can be created from the choices from aCC over t:lie ltVor{d1! presented. 10. The National Convention Chair Full Bodied· Easy Care • Activewear Comfort will notifY all choirs of their audition re­ A wide variety of silky, metallic, velvet, sequined, sults no later than June 23, 2000. and rhinestoned stretch fabrics. -C]- Call for a FREE Catalog 888-760-SHOW (7469)

PAGE 44 CHORAL JOURNAL APPLICATION FOR CHORAL PERFORMANCE ACDA National Convention San Antonio, Texas· March 14-17, 2001

Please type O1'p/'int legibly. I. General Information Name of ensemble______Number of singers______

Voicing: SSA(A)__ TTB(B)__ SATB __ Other__

Choir's R&S ,-Ol.;MJLW.. '''''Ju .. ______Age level ______(Boychoir, Children's, College/University, Community, Ethnic/Multicultural, Jazz/Showchoir; Junior High/Middle Level, High School, Male Choir, Music & Worship, Two-Year College; Women's Choir)

Name ofinstitution______Institurion telephone C->______

Institution "~'~.,oo ______

______State.______Zip, ______

Name

Director's home

cJ ______State.______Zip, ______

Director's home telephone '-_...... J.______Summer telephone '-_....J.______

Member of ACDA? Yes__ No__ Member#__ Expiration date __/ __/ __

Eligibility: Conductors must be current members of ACDA and must have been employed in the same position since Fall 1997. No choral ensemble or conductor may appear at successive national conventions. It is understood that ACDA will not assume any financial responsibility for travel, food, and lodging for performance groups. This application implies that the above-mentioned group is prepared to travel and perform at the convention, if accepted.

Signature

Signature of administrator______(Principal, department chair, minister, etc.)

II. Proposed Program for Performance The total program time may not exceed 25 minutes. The use of photocopies or duplicated music at ACDA conventions is prohibited. Accompaniment tapes may not be used on the audition tapes or on ACDA convention programs.

Title Composer Performance Time (in minutes and seconds)

NOVEMBER 1999 PAGE 45 III. Audition Tape Specifications

A. Each of the three recorded selections for this performance application should be prepared on superior quality stereo cassette tape. No accompaniment tapes may be used. No CD recordings will be accepted. B. The total length of the audition tape should be 10 to 15 minutes and should include three selections (all by the ensemble listed on the application), one each from 1999-2000, 1998-99, 1997-98. C. Show choir performance applications should include both an audio cassette and a videotape (112" VHS). D. Selections recorded on the audition tape: Selection #1 (from 1999-2000)

Title. ______Composer ______

Recorded at: Concert Site.____ _ Recording Studio _____ Rehearsal Site. _____

This recording's sound reproduction is: edited~ ____ unedited~ ____

Selection #2 (from 1998-99)

Title.______Composer ______

Recorded at: Concert Site____ _ Recording Studio____ _ Rehearsal Site.____ _

This recording's sound reproduction is: edited____ _ unedited____ _

Selection #3 (from 1997-98)

Title______Composer ______

Recorded at: Concert Site____ _ Recording Studio, _____ Rehearsal Site____ _

This recording's sound reproduction is: edited,____ _ unedited,___ _

N. Programs Applicants must submit one program (or photocopy) for each of the years represented on the tape.

Mailing Instructions Mail this completed form with audition tape and programs to ACDA's national office, postmarked no later than March 31,2000. Materials will not be returned. Schedule of Dates March 31, 2000-Audition tapes, application forms, and programs mailed to tile ACDA national office April 7, 2000-Audition materials mailed to appropriate division committees by ACDA national office May 15, 2000-Division auditions completed and results mailed to National Audition Committee June 17, 2000-National auditions completed June 23, 2000-Applicants notified of audition results Recommendation by Division Audition Committee The tape accompanying this application has been selected by the Division Audition Committee for consideration for the 2001 ACDA National Convention and is hereby forwarded to the National Audition Committee.

Sip-ned Date '" (Signature of Division President)

Final Recommendation by National Audition Committee Invite? Yes __ No__ Hold for waiting list Type of Session

Si2:nedv Date (Signature of National Audition Committee Chair)

PAGE 46 CHORAL JOURNAL World-Class Singing on ARSIS CDs by the

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Frank Ferko: The Randall Thompson: The Richard Wienhorst: Missa New settings of old texts Hildegard Motets and Peaceable Kingdom, Brevis, The Seven Words 'of for Christmas by Sutcliffe, Six Marian Motets Alleluia, Bittersweet, The Christ from the Cross, God DeLong, Carter, Arnatt, Best ofRooms, Four Odes of Who Made the Earth, Ps. Schuneman, Marshall, Horace, and The Last 147, and Easter Alleluias Dirksen, Mochnik, Nestor Invocation (with R. Schuneman, guest and Pinkham conductor, Dotian Levalier, anthems by Walker, Arnatt, DeLong, Nestor, Hagen, A premiere recording of Gramann, Pinkham, Ferko, new settings of well-known Marshall, and Major carols for chorus, solo cello (with Robert La Rue) and electronics. and by the @heir ef the CUureli ef the .AIdvent, Besten EOitli No &. Mark D~er, conductors _

" ... wonderfUl performances by the Choir ofthe Church ofthe Advent in Boston. . .. Under the direction of their music director, Edith Ho, they have given us a treasure ofa disc [CD 113], beautifolly recorded. The Tallis Scholars have nothing on the home team. More please." - John Story, Fanfare CD 113>

ARSISAudio 138 Ipswich Street SPECIAL OFFER FOR CHORAL JOURNAL READERS: UU;:'LUH, MA 02215 All CDs @ $12.95 each plus shipping ($3.00 savings off list price) phone 1-800-777-1919, identify code CJ1299, offer good until Jan 1 2000 ARSIS is a registered trademark of ECS Publishing, Boston, Massachusetts Raymond W. Brock Memorial Student Composition Contest Application Guidelines

HE RAYMOND W Brock Me­ accurately and completely docu­ compositions by Selection morial Student Composition mented. Committee. T Contest will be held for the third c. Non-English language texts must September 2000. All applicants year in connection with the 2001 ACDA include a phonetic pronunciation notified of results and choir selected National Convention, scheduled for guide underlaid in the score. Non-En­ to perform premiere at national March 14-17 in San Antonio, Texas. The glish language texts must include both convention. annual contest, underwritten by the poetic and literal translations. March 2001. Presentation of award Raymond W Brock Memorial Composi­ 4. Copyright. Compositions must and premiere performance of the tion Fund, was inaugurated at the 1999 conform to all current U.S. Copyright winning composition at the ACDA ACDA National Convention in Chicago, laws. Those works in violation will be National Convention in San Illinois. disqualified. Antonio. The objectives of the contest are three­ 5. Format. Compositions must be sub­ fold: 1) to acknowledge and reward out­ mitted in a computer-generated typeset Publication of the composition will pro­ standing undergraduate and graduate format. ceed in consultation with, under the aus­ student composers, 2) to encourage cho­ 6. Duration. Length of compositions pices of, and by a schedule established by ral composition of the highest caliber, and must be between three and five minutes. a publisher to be selected by ACDA. 3) to further promote student activity at 7. Past performance. Compositions ACDA division and national conventions. must have received no public perfor­ Contest Judges The winner of the composition con­ mance. The Student Composition Contest will test will be awarded a $1,000 cash prize, 8. Past publication. Compositions be administered by the ACDA national airfare to ACDA division convention of must be unpublished anywhere. office in consultation with the National the student's residence, hotel accommo­ Chair of the Youth & Student Activities dations, convention registration, a per­ Application Procedure Committee and the Chair of the formance of the work on the main stage Applicants must complete the applica­ Raymond W Brock Memorial Composi­ at each convention by a choral ensemble tion and submit it with the following tion Composers Committee. Judges shall selected by the Association, and a pub­ documentation. An incomplete applica­ include three distinguished composers lishing contract for the work performed. tion will disqualify the applicant. who are prior recipients of the Brock En­ 1. Verification of the student's full­ dowment commission, two distinguished Qualifications time status by an active ACDA member choral conductors selected by the Execu­ Applicant must be an ACDA student on the music faculty at the applicant's tive Committee, the National Chair of member, full-time undergraduate or institution of higher learning. the Youth & Student Activities Commit­ graduate student, and no older than 2. Seven copies of the composition. tee (ex officio), and the ACDA Executive twenty-seven on the application deadline. Only one composition will be considered Director (ex officio). The decision of the from each applicant. A recording of a judges is final. Composition Criteria non-public performance may be included, Submitted works must meet all the but it is not required. Disclaimer following criteria: Mail application materials to Gene No person connected with the 1. Voicing. Compositions may be set Brooks, ACDA, P.O. Box 6310, Lawton, Raymond W Brock Memorial Student for any combination of voices that may Oldahoma 73506. Application must be Composition Contest, nor any judge, be found in a single choir with members postmarked no later than March 15, teller, or person connected with the selec­ of similar ages. 2000. All application materials become tion process shall be involved with any 2. Accompaniment. Compositions the property of the American Choral Di­ decision involving that person's student may be unaccompanied or accompanied rectors Association and will not be re­ (over the past three years) who has en­ by a single piano. turned to the applicant. tered the Raymond W Brock Memorial 3. Text. Any sacred text or a text that Student Composition Contest. is sacred in nature may be used, with the Contest Timetable following provisos: March 15, 2000. Application -C]- a. Text must be in the public do­ deadline. main, or the text must be accompa­ March 2000. First review of nied by the expressed written compositions by Selection permission of the author. Committee. b. The source for the text must be June 2000. Second review of

PAGE 48 CHORAL JOURNAL RAYMOND W. BROCK MEMORIAL STUDENT COMPOSITION CONTEST APPLICATION 2001 ACDA National Convention· March 14-17· San Antonio, Texas

NOTE: All items on this form must be filled in for the application to be considered complete.

GENERAL

Last First M.L

HomedU'~'~"0 ______Street Apt. No.

City State/ Country Zip Code

Schooladdress______Street Apt. No.

City State/Country Zip Code

Primary telephone '--____J ______Secondary telephone \______1 ______

Are you a student member of ACDA? Yes No Date of birth: ______, ______, ______

Are you a full-time undergraduate or graduate student? Yes No

College/University______Name City State Zip

COMPOSITION INFORMATION

Voicing Duration______-'- ______

Accompaniment (check one): __unaccompanied __piano

Text:

__public domain

__written permission of the author attached

For non-English language texts:

__phonetic pronunciation guide underlaid

__poetic translation included

__literal translation included

(continued)

NOVEMBER 1999 PAGE 49 ENDORSEMENT

To be signed by an active member of ACDA on the music faculty at applicant's college or university I endorse the above applicant for the Raymond W. Brock Memorial Student Composition Contest. I have read and understand the application requirements, verifY that the applicant is a full-time undergraduate or graduate student at this institution, and certifY that this student meets the stated requirements.

Signature______Date.______

Ticleand~~"vv, ______

Daytime telephone ,___ J ______

STATEMENT OF APPLICANT

I certifY that I have read, understand fitlfJ, and accept the l·equirements for participation in the Raymond W. Brock Memorial Student Composition Contest, that all the information contained in this application is accurate, and that the accompanying composition is my own worle, has received no public pelfonnances, and is not in violation ofcopyright laws.

Date______Age ______

Application materials must be postmarked by March 15, 2000, and mailed to: Gene Brooks, Executive Director American Choral Directors Association P.O. Box 6310 Lawton, OK 73506

PAGE 50 CHORAL JOURNAL CALL FOR PROPOSALS FOR INTEREST SESSIONS ACDA NATIONAL CONVENTION San Antonio, Texas March 14-17,2001

Nmne' ______

Address ______

~orkPhone ______HomePhone, ______

E-Mail. ______~ACDA Membership Number______

Check Subject Area: __boychoir __children's choir __junior high/middle school choir __high school choir __women's choirs __male choir __ethnic and multicultural __music and worship __technology perspectives __music education __vocal pedagogy __two-year college choir __college/university choir __composition __community choirs __jazz/ showchoir __period music (please specifY) __performance practice __rehearsal technique __composer (please specifY)

Session Title:______

Type of session: __clinic __panel __clinic with demo group

__other (specifY) ______

Session description: ______

Equipment needed for session (please list ALL equipment, including audiovisual and instrumental, that is needed for the session):

****Please include a brief biographical paragraph (not vita). Applications without this information will not be considered.

Please send to: Michele Holt, 95 Reservoir Road, Coventry, RI 02816 Telephone: 401/822-1030 E-mail: [email protected] ****DEADLINE FOR APPLICATION IS FEBRUARY 1, 2000****

NOVEMBER 1999 PAGE 51 NATIONAL PRESIDENT-ELECT DESIGNATE CANDIDATES

Mitzi Groom Mitzi Groom is Professor ofMusic at Tennessee Technological University, Cookeville, where she serves as Interim Chair for the Department of Music and Art. In her faculty position, she teaches methods classes, supervises student teachers, serves on the graduate faculty, and serves as the Associate Director of the Cumberland Children's Chorus (CCC). The CCC has premiered works by Gregg Smith, James McCray, and at the 1998 Southern Division ACDA Convention, I Dream ofPeace, by Robert Jager. Groom holds degrees from the University of North Alabama, Florence, and Florida State University, Tallahassee. Her experience includes teaching choral music at all public school and church levels, directing rural and community arts education pro­ grams, and holding organist/choirmaster church positions . .Groom's service to ACDA for the past twenty-three years includes Southern Division President (1991-93), Alabama state president, member of the Choraljournal Editorial Board, several state and division R&S chairs, National Archives Committee Chair, National Convention Publicity Chair (1997), Southern Division Hospitality Chair (1998), and National Convention Hyatt Regency Site Chair (1999). This Alabama native's work with young singers has afforded her the opportunity to serve as adjudicator, professional accompanist, clinician, and guest conductor for many all­ state and regional honor choruses. Groom specializes in the areas of the changing male voice, repertoire for the young singer, and music education curriculum development.

Michele M. Holt Michele M. Holt, Director of Choral Activities at Providence College, is a graduate of the University of Rhode Island, where she received B.M. and M.M.E. degrees. She received a D.M.A. degree in choral conducting from the Hartt School of Music, where she completed research in Laban Movement Theory and its application to choral conducting and performance. Holt has studied conducting with Erik Erikson, Rodney Eichenberger, Elaine Brown, Howard Swan, Gerald Mack, Peter Bagley, and James Jordan. She has conducted all-state and regional festivals in Connecticut, New York, and Rhode Island, and has been a clinician at numerous choral adjudication festivals, most recently the Manhattan Choral Festival. At Providence College, Holt directs two select choirs, a women's chorus, and teaches voice, conducting, and music education. She was Director of Choral Activities for twenty-four years at Stonington High School, where she was selected the 1996-97 district Teacher of the Year. The Stonington High School Concert Choir received outstanding awards in Orlando, Florida, Washington, D.C., New York City, Philadel­ phia, Toronto, and Williamsburg, Virginia. She was adjunct faculty at Brown University and the Hartt School of Music, and was Director of the Mystic River Chorale. Holt has directed the United States Youth Chorale and the Mystic River Chorale on tours throughout Europe. Holt is past president of the Eastern Division and Rhode Island ACDA. She has chaired numerous committees for the Connecticut and Rhode Island chapters. Currently, Holt is on the steering committee as Assistant Convention Chair for the 2001 ACDA National Convention.

PAGE 52 CHORAL JOURNAL EASTERN DIVISION PRESIDENT CANDIDATES Craig G. Cannon Craig G. Cannon is Director of Choral Activities at Fox Chapel Area High School in Pittsburgh, Pennsylvania, where for the last twenty years he has also served as the music department chairperson. Fox Chapel's choral program features five ensembles, including a select sixty-five member Concert Choir, a select thirty-member Chamber Choir, a Women's Choir, a Men's Choir, and a Treble Ensemble. Under Cannon's direction, the FCAHS choral ensembles have sung at the PMEA state convention, the ACDA-PA Summer Conference, St. Patrick's Cathedral (NYC), The Cathedral of St. John the Divine (NYC), and Notre Dame Cathedral (Paris). The FCAHS Concert Choir will perform as part of two interest sessions at the ACDA Eastern Division Convention in February 2000. Cannon graduated with a BS in Music Education from Duquesne University in 1975. He studied choral conducting with Douglas McEwen and David Stocker at Arizona State University, where he earned an MM in choral music in 1983. He is currently working toward a Ph.D. in music education at Pennsylvania State University. An active conductor, singer, teacher, and adjudicator, Cannon frequently appears as a festival director, clinician, and oratorio soloist for schools and churches through­ out the country. From 1986 until 1995, he was the tenor soloist and youth choir director at the Fox Chapel Presbyterian Church in Pittsburgh. Cannon has just completed four years of service as the Director of Music at First Presbyterian Church of Bakerstown, Pennsylvania, where he completely revamped the rriusic program, beginning two children's choirs and a youth choir, rejuvenating the bell choir, and inaugurating a successful music series, "Candlelight Concerts at Bakerstown." During his term as Pennsylvania ACDA President (1997-99), the state chapter started its honor choir festival, planned its first statewide show choir workshop, launched its national award-winning website, increased its total budget to more than $34,000, and set a new record for membership at 807. An active ACDA member since 1980, Craig has served his state chapter as Summer Conference Chairperson, Southwest Region Coordinator, and Treasurer.

Dorothy Y. Mutkoski A life member of ACDA, Dorothy Yutenkas Mutkoski has worked professionally since the age of sixteen when she recorded for Columbia Records. Dorothy served as Connecticut ACDA President from 1995 to 1997, during which time membership reached a record level, and Governor Rowland declared April 27 , 1996, ACDA Day in the State of Connecticut. A graduate of Albertus Magnus College she holds master's degree and a sixth-year degree from Wesleyan University. Mutkoski received a Fulbright grant to study at the Universitet Jagiellonski in Krakow, Poland, in 1978. She was selected as 1993 teacher of the year for the town of Cheshire, where she taught choral music and voice classes for twenty-five years. Her Cheshire High School Choirs consistently received superior ratings. Mutkoski's students have sung in ACDA honor choirs at all levels, including the 1999 National High School Honor Choir in Chicago. She has presented choral workshops for ACDA and CMEA, served as Ethnic/Multicultural Perspectives Chair for CT ACDA and helped to organize and rehearse the 1,000-Voice Choir for the Special Olympics World Games in 1995. She studied voice in Connecticut, New York City and Rome, Italy, and was a soloist in the European premiere (in Vienna, Austria) of Leonard Bernstein's Mass. She has per­ formed in concert, operatic productions, and on television. "I am honored to be nominated as a candidate for Eastern Division President and hold our organization in great esteem and affection. I have learned much from colleagues and their choirs and gained special friends through ACDA. The organization continues to provide soul­ enriching experiences so badly needed in our high-tech, fast-paced world. I hope to continue this tradition."

NOVEMBER 1999 PAGE 53 NORTH CENTRAL DIVISION PRESIDENT CANDIDATES Robert Anderson Robert Anderson has been Director of Choral Activities at Linn-Mar High School in Marion, Iowa, for five years, previously holding the same position at Mt. Pleasant Community High School. He has taught choral music for twenty-four years, and his choirs have been selected for such special performances as the 1992 North Central Division Convention in Des Moines and the 2000 North Central Division Conven­ tion in Madison, Wisconsin. He holds a B.M.E. degree from Westmar College, Le Mars, Iowa, and has done graduate work at the University ofIowa. Anderson has served both ICDA and the NCDC as the Southeast District Chair­ man, Convention Chairman for the 1987 Summer Convention and Symposium, and as ICDAPresident (1991-93) and member, North Central Board (during which time ICDA membership grew to more than 700); children's choirs became a stronger part of all ICDA programming, and the ICDA Elementary Workshop was developed.) Anderson served as first advertising editor for Melisma. He and his wife, Jill, will serve as hospitality chairs for the 2002 NCD Convention in Des Moines. Anderson is an active church choir director, employed at St. Mark's Lutheran Church in Cedar Rapids, co-directs the middle school choir, conducts the high school choir, and is an active festival conductor for high school choirs in Iowa, and adjudica­ tor for the Iowa High School Music Association. Anderson has done reading sessions at ICDA events, focusing on voice instruction in the choral rehearsal and developing effective music booster programs. His concerns for the future: "We live in a time when the tools of communication available to our society are more sophisticated than our ability to relate to each other. Through the arts, specifically choral music, we will begin to bridge this gap. We must recruit and hold the best musicians in the profession for our schools, churches, and communities. If elected, I will work diligently to maintain the traditions of the NCD and develop a program to teach young conductors for the twenty-first century."

JoAnn (Brorson) Miller Dr. Jo Ann (Brorson) Miller, in her eleventh year as Director of Choral Activities at North Dakota State University, also served on the music faculty at the University of Wisconsin-LaCrosse. She received her undergraduate musical training at NDSU, where she studied with noted choral composer and arranger, Edwin Fissinger; holds an MM from the University of North Dakota and a DMA in Choral Conducting from the University of Cincinnati's College Conservatory of Music. Miller is a clinician/conductor and adjudicator for festivals and workshops through­ out the Midwest and Canada, and has conducted musical theater and opera produc­ tions, including those at NDSU and the Fargo-Moorhead Civic Opera. She has been Repertoire and Standards chair for the collegiate level in Wisconsin, president of the NNDACDA, and editor of The Chorister. Miller was selected as 1998 NDSU Distinguished Educator by Blue Key. She has won awards for her service and dedication to the music profession. She conducts the Concert Choir, Madrigal Singers, and teaches classes in conducting, choral arranging, and music education. Miller previously taught public school vocal music in North Dakota, South Dakota, Oregon, and Ohio, and presently is the musical director for the Fargo-Moorhead Chamber Chorale. The NDSU Concert Choir, under her direction, has been invited to perform for several regional MENC and ACDA conventions, including the recent one in Madi­ son, has performed in thirty states, several Canadian provinces, and made European tours every four years, has sung with the University of Minnesota Orchestra and the Winnipeg Symphony, with repertoirs including Elijah, Beethoven's Ninth Symphony, Carmina Burana, The"Mlr Requiem, Belshazzar's Feast, The Sea Symphony with the Fargo-Moorhead Symphony, and in 2000 the Verdi Requiem.

PAGE 54 CHORAL JOURNAL NORTHWESTERN DIVISION PRESIDENT CANDIDATES

Twyla Brunson Currently in her thirty-first year of teaching music, Twyla Brunson is choral director at Mountain View Junior High School, Sumner, Washington, where she is head of the Fine Arts Department. Although she began teaching elementary music, she has devoted twenty-seven years to teaching at the junior high level. Brunson received B.M.E. and M.M. degrees from the University of Idaho. A member of WMEA, she is active as an adjudicator for choral festivals and solo and ensemble contests at the district and state levels. Brunson studied at the KodaIy Institute in Esztergom, Hungary, the OrffInstitute in Salzburg, Austria, and at Cambridge University, Cambridge, England. She also sang with Helmuth Rilling at the Oregon Bach Festival. In 1988 Brunson visited the People's Republic of China as a member of the Washington State Delegation of Visual and Performing Artists. As a member of the Seattle Symphony Chorale, she has been fortunate to sing under the direction of Robert Shaw, John Nelson, and other distinguished choral conductors, and has been a soloist with several sympho­ nies in Washington State. She currently sings with Opus 7. A strong supporter of ACDA and its activities, Twyla just finished her term as Washington State's ACDA President and continues on the state board as Vice­ President. She feels it is one of the most worthwhile organizations with which she has ever worked. It offers choral conductors a professional resource in all areas and levels of choral music. The opportunity ACDA provides to network with other choral directors allows a chance to share the love of and vision for the choral art. Working within the Northwest Division and the state organization has been very rewarding, especially working with other choral directors. She would lilee to be able to continue serving these colleagues through the Northwest office.

Scott Anderson Scott Eric Anderson is the Director of Choral Activities at Idaho State University in Pocatello, Idaho. Anderson conducts the seventy-two-voice Concert Choir, the select Chamber Choir, and the eighty-fIve-voice Camerata Singers. He teaches private voice, choral conducting, vocal pedagogy, and choral literature. Anderson received a Bachelor ofArts in music education from Whitworth College, Spokane, Washington. While at Westminster Choir College, Princeton, New Jersey, he completed a Master of Music degree in choral conducting, as a student of Joseph Flummerfelt, and had additional studies with Frauke Hansemann and Allen Crowell. Anderson received a Doctor of Musical Arts degree in conducting from the Conserva­ tory of Music at the University of Missouri-Kansas City, as a student ofEph Ehly. Choirs under Anderson's direction have traveled throughout the U.S. and Europe. This past summer the Idaho State University Chamber Choir served as a demonstra­ tion group for Weston Noble at the International Convention for Choral Conductors in Brasilia, Brazil. Scott served as the Northwest Division ACDA College and Univer­ sity R&S Chair, 1995-97, as Honor Choir Coordinator for the 1999 National ACDA Convention in Chicago, and as Idaho ACDA State President, 1997-99. Anderson has been featured as guest conductor, lecturer, and teacher throughout the U.S.

NOVEMBER 1999 PAGE 55 SOUTHWESTERN DIVISION PRESIDENT CANDIDATES Debra Spurgeon Dr. Debra Spurgeon is Associate Professor and Vocal Area Coordinator at South­ western Oklahoma State University, Weatherford, Oklahoma, where she conducts the Chamber Choir and Women's Chorus, and also teaches applied voice and choral music education courses. Spurgeon's leadership roles in ACDA include Oklahoma state president and state R&S chair for women's choruses. Under her presidency, OCDA has increased its membership and 1999-2000 will inaugurate the first Women's All-State and Junior High All-State Choir. She has served on choral adjudication panels for regional and national ACDA conventions and is currently interest session co-chair for the 2000 Southwestern Division Convention in Oklahoma City. Before moving to Oklahoma in 1982, Spurgeon taught choral music in St. Francis, Kansas, and Bentonville, Arkansas, where she and her husband, Alan, initiated a comprehensive junior and senior high choral program. She has conducted high school and collegiate honor choirs in Oklahoma and Texas, and her Southwestern Women's and Chamber Choirs have performed for the Oklahoma Music Educators Conven­ tion. A native of Moberly, Missouri, Spurgeon graduated with honors from Truman State University, received the Master of Music Education Degree from the University of Arkansas, and the Doctor of Musical Arts in vocal performance from the University of Oklahoma. Her articles have appeared in the Choral Journal and the Nats Journal. She is a member of the Voice Care Network, NATS, MENC, Pi Kappa Lambda, and was recently awarded the Oklahoma Director of Distinction Award.

Bradley Ellingboe Bradley Ellingboe is Professor of Music at the University of New Mexico, where he serves as Coordinator of Vocal Studies and leads two choirs, the town-and-gown University Chorus and the select women's ensemble, LAS CANTANTES. LAS CANTANTES has been invited to sing on the opening concert next March at the Southwestern Regional Convention in Oklahoma City. Ellingboe is also Director of Music at St. Paul Lutheran Church in Albuquerque. A graduate of Saint Olaf College and the Eastman School of Music, Ellingboe's major teachers were Kenneth and Carolyn Jennings, Jan DeGaetani, Donald Neuen, and Alfred Mann. As a bass-baritone soloist, he has been most active in oratorio and has sung under such conductors as Robert Shaw, Anton Armstrong, Gregg Smith, and Sir David Willcocks. Ellingboe has published many choral compositions and arrangements with Augsburg Fortress, Mark Foster, Hal Leonard, and especially Kjos Music, for whom he edits the "Music for the Church Year" series and the newly created series "Music for Women's Voices." Ellingboe has also been active in furthering the knowledge of the vocal music of Norway and was honored by His Majesty, King Harald V of Norway, with ,the "Medal of Saint Olav" in 1994. He held the Regents' Lectureship at the Univesriry. of New Mexico, 1990-93. Ellingboe was president of the New Mexico Chapter oflthe ACDAfrom 1992 to 1995. Currently, he serves as the Southwest Division R&S Clllair for Women's Choirs. I

PAGE 56 CHORAL JOURNAL REPERTOIRE & STANDARDS COMMITTEE REPORTS

George Gershwin Erich Korngold Boychoir Porgy and Bess Die Tote Stadt Scipio, small boy (speal

Arrigo Boito , Mephistofeles ~I chorus of angels (at end)

Benjamin Britten Midsummer Night's Dream PracticeG GO. Penorm. fairies

Benjamin Britten Leave the details to us. The Turn 0/ the Screw Miles, treble boy A great concert requires Benjamin Britten hours of planning and The Golden Vtmity preparation. So does a operetta for boys great concert tour. Our tours let you concen­ trate on what you do Luigi Cherubini best-making music. We OFFICE LOCATIONS: Medea handle the rest, from San Francisco • New York two boys (children of Medea) securing performance Seattle • London • Paris opportunities to arrang­ Venice • St Petersburg Berlin • Prague • MoscoW Manuel de Falla ing sightseeing and cul­ Barcelona • Canberra E! retablo de Maese Pedro tural experiences that will enrich your experi­ ACFEA Tour Consultants boy soloist ence. If you're thinking 1567 Fourth Street .... of touring, call ACFEA. San Rafael, California 94901: . Claude Debussy And find out why so FAX (415) 453-6725 Pelteas and Mellisande many of our clients call E-MAIL santranlcis(:o@)acfea: boys and viol us for an encore. WEB SITE www.acfea.com 1-800-886-2055

NOVEMBER 1999 PAGE 57 Gian Carlo Menotti Otto Nicolai Richard Strauss Amah! and the Night Visitors Die Lustigen Weiber von Windsor Der Rosenkavalier Amahl, treble boy children children

Gian Carlo Menotti Giacomo Puccini P. T chaikovsky The Boy Who Grew Too Fast Tosca Pique Dame numerous singing children shepherd boy, contralto; choirboys children

Gian Carlo Menotti Giacomo Puccini Queen o/Spades The Singing Child Turandot boy captain and chorus boys children Guiseppe Verdi !talo Montemezzi Giacomo Puccini Otello L'Amore dei Tre Re La Boheme children children, young girl children Guiseppe Verdi Wolfgang Mozart Maurice Ravel MacBeth Die Zauberflote L'Enfant et les Sortileges apparitions three spirits child, boy sop.; shepherd girl, sop. Richard Wagner Modest Mussorgsky Camille Saint-Siiens Die Meistersinger von Niirnberg Boris Godunov Samson et Dalila children children boy Richard Wagner Tannhauser young shepherd, scene 3

Because A Manger Held A Child Virginia Croft for Unison Chorus with Keyboard and Wind Instrument (C, Bb, or F) (CM8561) ...... $1.30

Lullaby - Based on Two Polish Carols Arranged by Patrick M. Liebergen for 2-Part (SAlTB) Chorus with Keyboard & Optional Flute Cielito Lindo - Mexican Folk Song (CM8551) ...... $1.40 Arranged by Antonio de la Campa for 2 by: Hal Hopson, Patrick M. Liebergen & Equal Voices with Keyboard (CM8550) ...... $1.40 Four Spanish Carols - Arranged by Wilbur Skeels Crawford R. Thoburn for Two-part Treble Chorus & Keyboard La Cucaracha (The Cockroach) (Spanish & English Text) General Sacred Music Mexican Folk Song 1. Tonight is Christmas Eve by: Eugene Butler, Walter Ehret, Michael Arranged with New Music by David Eddleman (Carol from Extremadura) (CM8537) ...... $1.30 Helman, Patrick M. Liebergen, Dana Mengel, for 2 Equal Voices with Keyboard (CM8557) ..... $1.50 2. The Tambourine Bradley Nelson and Crawford R. Thoburn (Carol from Andalucia) (CM8538) ...... $1.30 Laredo - Mexican Folk Song 3. The Visitor Arranged by Antonio de la Campa (Carol from Galicia) (CM8547) ...... $1.30 for SAB Chorus with Keyboard (CM8549) ..... $1.40 4. Joseph's Beard (Carol from Castille) (CM8548) ...... $1.30

PAGE 58 CHORAL JOURNAL Richard Wagner Claudio Monteverdi Hinshaw, HMC-l039 Parsifal Damigella tutta bella TBB, flute choirboys Roger Dean Publishing, HCClOl Randall Wolfe, Chair TTB orSAB John Walters (arr.) National Committee on Boychoir 2 violins, cello; (or recorders & bas­ Nobody Knows The Trouble I've Seen soon) Plymouth, PCS-3l7 Male Chorus TTBB, male solo Woodwinds Music for Men's Voices and John Walters (arr.) Obbligato Instrument(s) Robert Hunter Jesus WlalkedThis Lonesome Valley The Christmas Nightingale National Music Press, CH-78 ONE OF THE challenges in putting to­ TBB, flute gether a successful concert with male cho­ rus is providing a variety of tonal color within the program. One effective solu­ tion is to program pieces that include instruments. The works listed below, ar­ ranged by instrument, are for male choir and between one and four instruments. Works with orchestral accompaniment are not included; these will be reviewed in a later report. Some pieces have been in print for a long time, but many are new. Take advantage of talented instrumental­ ists in your group. The following compo­ sitions are recommended for your review as you pursue interesting and varied pro­ grams. String Instruments David York and Bryan Johanson Sing We Now OfChristmas earthsongs TTBB, cello and guitar AntonAnnstrongwill teach classes in train­ ingadultchoirsandwillconductthework­ Robert V. Scholz shop choir which will sing in the Hymn A Red, Red Rose Festival. Fostco Music Press, MF 1074 Diane Bish returns to Coral Ridge to per­ TTBB, violin form a concert and teach classes in organ. Diane performed the dedication concerts on Olit organ in 1974. Daniel S. Acquisto John Ferguson will lead the Hymn Sing No Sad Songs for Me Festival and teach classes in organ reper­ Fostco Music Press, MF 1075 toire and service playing techniques. TTBB, viola Harold Best will lead the daily worship ser­ vices and teach classes in worship. Vincent McDermott Helen Kemp will return to teach classes in And I Would That Death Should Come Children's Choirs. Mary Kay Parrish will teach all facets of earthsongs handbell ringing and will conduct the Per­ TBB, viola forming Handbell Choir. Alan Pote and Craig Courtney will lead a Beethoven "Meet the Composer" session and teach Two Folk Songs classes (Alan in Youth Choirs and Craig National Music Publishers, CMS-136 in Contemporary Worship). John L. Wilson, Coral Ridge Director of TB, violin, cello Music, will conduct the final service. For a brochure, write, or I Dr. CORAL RIDGE PRESBYTERIAN CHURCH 5555 N. Federal HWy Ft Lauderdale, FL 33308 PHONE 954-171 -8841, Ext. 192 FAX 954-491~737 4 EMAil dmi [email protected]

NOVEMBER 1999 PAGE 59 Gwyneth Walker J. Harold Moyer Clementine Be Thou My Vision E. C. Schirmer, 4933 Fostco Music Press, MF 1029 TTBB, flute TTBB, oboe, guitar

Dale Grotenhuis Vijay Singh Three Songs (I Love Thee/The Lotus Three Celtic Songs Flower/Love Is A Bauble) Fergus An' Molly (OCT9605) Belwin-Mills Publishing, OCT9809 Lament ofa Fisher's Wife (OCTB 9606) TTBB, flute Finnan Haddie (OCT9607) Belwin-Mills Publishing David N. Childs TTBB, recorder, guitar The Lord's Prayer Santa Barbara, SBMP 212 Theron Kirk TBB, flute Galan Incognita Oxford University Press, 95.120 John Walters TBB, opt. guitar, soprano recorder, Whiter Than Snow flute or piccolo Laudarnus Press, LA0151 TTBB, flute Thompson The Pasture Allen Koepke EC Schirmer Angels ofthe Wind TBB, clarinet (orchestration available Santa Barbara, SBMP 200 from publisher) TTB, flute, oboe(or 2nd flute), clari­ net Brass Instruments Bradley Ellingboe Dix/Lawrence How Can I Keep From Singing? The Trumpeter Kjos, 5572 Warner Bros., SV9817 TBB, oboe TBB, trumpet

MIXED CHOIR Auom. TODAY

\\ eu-r of A cHoIR. ~F A J.lI.INP~® AND FIF1Y,

'{C[)ID IH/Nk :t COVI.D FIND oNIt" SOI..CISi'"."

PAGE 60 CHORAL lOURNAL MikeSammes Nina Gilbert (arr.) Randall Thompson For The Fallen Away in a Manger Stopping by Woods on a Snowy Evening Pavane Publishing, ECS 214 National, CH-61 E. C. Schirmer, 2182 TTBB, trumpet TB, horn TBB, horn, harp

Conrad Susa Tim Sarsany Nina Gilbert (arr.) "Dirge"from Cymbeline God Is Our Strength This Ti'ain E. C. Schirmer, 4690 Lawson-Gould, 52646 Santa Barbara, SBMP 178 TTBB, trumpet TTBB, horn TTBB, trombone

Conrad Susa Robert Washburn Anton Bruckner The Chanticleer's Carol Three Shakespeare Songs Inveni David E. C. Schirmer, 4049 o mistress mine (95.107) Peters, 6318 TTBB/TTBB, trumpet/organ Come away, death (95.108) TTBB, 4 trombones Sigh no more, ladies (95.109) James Adler Oxford University Press FisherTull A Winter Triptych TTBB, horn Ballad OfGood Counsel Plymouth, PXM300 Southern Music, SC-271 TTBB, horn Hal Hopson TTBB, 4 trombones The Gift ofLove James Mulholland Hope, HH 3954 Nina Gilbert (arr.) How Do 1 Love Thee TTBB, horn or oboe wade in the water Alliance Music, AMP 0149 Santa Barbara, 179 TTBB, horn TTBB, tuba

School 80 ton Univer it for the Arts

M.M., D.M.A., and Artist Diploma

Conducting Faculty: Assistantships are available to qualified applicants. Ann Howard Jones, Audition required.

Chorus A full range of graduate programs is Bruce Mac(ombie, David Hoose, available in performance, composition, Dean, Schaal for the Arts Orchestral and musicology. Phyllis Elhady Hoffman, Director, Music Division For more information, contact: 'ffi3~~~@~i Director of Admissions ------, School for the Arts [tfIlNTV:JER:S IilDM School for the Arts, Music Division faculty conductors SCHOOL FOR THE 855 Commonwealth Avenue include Lukas Foss, Boston, Massachusetts 02215 Theodore Antoniou, and 800/643-4796 or 617/353-3341 ARTS William Lumpkin, Opera. An equol opportunily, offirmolive oelion inslilulion Music • Theatre Arts • Visual Arts

NOVEMBER 1999 PAGE 61 4th Annual New York Choral Festival I Percussion Barber th th A Stopwatch And An Ordnance Map April 5 ~ 9 , 2000 G. Schirmer, 8799 TTBB, kettledrums

~ Lincoln Center ~ Bruce Trinkley ~ MLK Center for the Performing Arts ~ Three Venezuelan Carols (manuscript) TTBB, marimbas ~ Churches of New York ~ David Cox Nowell! Heap on More Wood! 2.000 Faculty Oxford, 95.116 TTBB, percussion Weston Noble 00 Moses Hogan ~ Gregg Smith Ron Nelson By AUDITION ONLY - LIMITED TO TWELVE CHORAL GROUPS Ring Out, Wild Bells Boosey & Hawkes, OCTB6596 An intensive program of performances, workshops, TTBB, string bass, percussion sightseeing, and educational exchange. Ron Nelson Break, Break, Break . Cont~ct: .Don Jacobsen Boosey & Hawkes, OCTB6594 1-800-922-3976 TTBB, string bass, percussion WORLD PROJECTS INTERNATIONAL MUSIC PRODUCTIONS Knut Nystedt No Me Lleveis Ie Mar! ~~ton,~11S1002 TTBB, hand drum

Ben Allaway Freedom Come ~~~;~;~~ti¥~~~ii~~,r~;r:F:'" Santa Barbara, SB11P 68 11if!'ilatest c1U#iiFoctavos,by 1\: TTBB, conga drums

~endell Wh~um (arr.) N!CHQ;;,~~t:~~m~i~~~~!~~~~OVEY , Betelehemu Lawson-Gould, 52647 TTBB, drums Dale ADELMANN • Geoffrey COX • Scot CRANDAL • Jonathan Carolyn Jennings (arr.) DIMMOCK • Richard DIRKSEN • Thomas FOSTER • Paul GIBSON • Pengyou, Ting! John Karl HIRTEN • David HURD • Robert KREUTZ • Robert W. LEHMAN earthsongs • Colin MAWBY • Thomas MILLER • Bruce NESWICK • Paul TTBB, finger cymb~s NICHOLSON • Donald PEARSON • Craig PHILLIPS • Robert POOVEY • James 11cCray Robert POWELL • Richard PROULX • John REPULSKI • Michael SITTON Song ofMay Fostco 11usic Press, 11F 1500 • Robert TWYNHAM • David Ashley WHITE • Christopher WILLCOCK • TTBB, flute, marimba, percussion

L\:;,,:, F~;:~r:~:f~~\~~~;'lY shiAl~~~~f~;cco;ii~X~hi;P,~~;,i~Clt:d~J'i~j,~;ice) ;/:: ,;. ,::' " Vijay Singh A savings of over 30% oJt the Jist pl1ce ,of individual octavos( , , ' ... Soldiers}{ailehdah BriLee 11usic, BL137 TB, snare drum, tenor drum ,," t:'ii:;~i~~~iiiNii:i~:;~KLt2iV!i'i1 Clayton Parr, Chair National Committee on Male Chorus ;' i;~e~li~IJI;~~"1~~~§~tl~~~t\!'t!~9,~~~;~949/~~9~~;)~,'\'\ -C]-

PAGE 62 CHORAL JOURNAL Scott Dorsey, editor

Prickly Puzzles and dent conductors were creating their fates, were laughing that due to the poor sing­ Daunting Dilemmas: facing their fears, and living their dreams. ing at family gatherings and our nearly Facing Fate, Fear, and Family Hats off! nonexistent high school choral experience, Part 1 Literally, we are the culmination of it's a wonder we both became choral con­ by Edward Cetto our experiences so far. Take a second to ductors. Through nausea and ineptitude, think back on the people who brought the winds of change have set me in front singing into your life. Who were your of you to ask: where would you like your earliest influences? Now reminisce about love of music to take you? What is your Editor's Note: This is the first someone from your grade school/high musical fate? Do you need to work on installment of a three-part series on school days. Perhaps there was someone your ears, hands, heart? All of life's situa­ personal philosophy for the young important during your adult years: col­ tions can teach us, but will that kind of choral conductor. This was first lege, church, extracurricular singing. Now, growth be compatible with your dream? presented as a panel discussion during realize that these many individuals and all Is your dream in agreement with who the 1999 ACDA National Convention the others make the composite conduc­ you are? Are your skills and temperament in Chicago. This month features the tor: you. Can you pinpoint what it is compatible? I think we want to be like thoughts of Edward Cetto, Director of all about these individuals that you emulate Robert Shaw. I know I do. But, if so, I Choral Activities at the University of in your manner and conducting. Are there had better work on my musicianship. But the Pacific in Sacramento, California. negative traits that you have borrowed? is that image right for me? I don't think As an example, I am ensconced in choral EN ASKED TO speak to so. What kind of drive, patience, and music due to nausea; as a child, I couldn't ACDA student members at time do you have? To thine own self be W;the convention on the topic ride more than five miles in a car without true. "Prickly Puzzles and Daunting Dilemmas: becoming green. So, we sang. A diver­ At your young age, you can often Facing Fate, Fear, and Family," I thought timento to avoid a mess. My sister and I choose your path. You're at point A, your it was a dissertation on alliteration. I lumped the three F's into one problem with three facets: fate defined as discover­ ing ourselves, fear as the inevitable ob­ stacles to that discovery, and family as Shepherd those along the path, be they relations, mentors, friends, your choirs, or ACDA: The Shepherd College Department ofMusic offers: the great family of choristers. I was very moved while adjudicating • Nationally and interna­ • A facility that in­ the graduate conducting semifinals on tionally recognized faculty cludes rehearsal and perfor­ applied faculty drawn mance halls, computer labs, Wednesday of convention week. I saw • An from the fine orchestras and improvisation stations, and a eight individuals whose gestures and body ensembles in the Washing­ digital recording studio com­ language beautifully expressed who they ton-Baltimore area plete with CD-mastering and were. Nothing says, "This is me!" like our • Idyllic setting with easy access production capabilities demeanor on the podium. Some were as­ to major cultural centers of New York, • Ample scholarship opportunities sertive, 'shy, confident, maybe overconfi­ Philadelphia, Baltimore, and Washington • Bachelor of Arts degrees in music dent. But as conductors, we need to know • Performance opportunities in en­ education, performance, composition, ourselves to express ourselves. This is as sembles of the highest merit and studio pedagogy. simple or complicated a task as one malces it-simple in that we just need to stand For more information contact Dr. Mark McCoy, back and look; difficult because self-evalu­ Department of Music, Shepherd College, Shepherdstown, WV 25443 304/876-5223 • 800/344-5231, ext. 5223 ation is never easy. Thus, the advent of www.shepherd.edulmusicweb· [email protected] modern-day therapy. However, those stu-

NOVEMBER 1999 PAGE 63 dream is point B; how are you going to great opportunity that the ACDA Youth light, the greater is the hara-kiri quo­ get there? Enter graduate school? Study and Student Activities offers. I have a tient-and the feeling we will never live with a master? Start a chorus, or, start theory that all music-making, from teach­ up to our expectations. Of course, these simple and put on a concert? Perhaps ing kindergarten to the Bach B minor, is are some of the world's best choirs; those write an article. Be like the student con­ the same meaningful experience while in are high standards, but in twenty years, ductors; put yourself on the line and do the middle of the process. The value judg­ when you're old like me, you will be stand­ something risky yet exciting. This is a ment of beauty is in the moment, and ing on that stage wowing everyone. I know ------, wholehearted commitment to teaching is that the eight semifinalists from the gradu­ mhe mempowatch ' rewarding on every level. What is your ate conducting competition will be. It self-image as a conductorlteacher? What was like seeing into future and the incred­ makes you happy? Does the reality of ible potential those conductors exhibited. your situation mesh with your self-im­ That is where you will all be. They made you are age? And can that self-image be recon­ that happen. They faced their fear. You conducting, ciled with your dream? A large struggle need to go for it. Again, what is your teaching. comes from our wanna-be-self always be­ dream? listening or ing out of reach. Don't get me wrong. Ifyou are open to all the good that will composing. One needs to aspire. But the expectations come out of music-making, you will be are like quicksand, impossible to measure surprised at all that will come your way. Toll Free 1-888-803-6287 up to, and must be formalized into some­ Within the music is a deep wellspring of [email protected] thing tangible. I could wax on about fate, energy. Return to the singing, to the per­ change, and dreams ad nauseam, so now forming, to the rehearsing when you are ~ind ~t ==:3=ast! with a little on fear. low. It will give you strength. Notice the www.allthingsmusical.com The Complete Music With this concept, we are all well ac­ tension, the fear. Be quiet and watch how Education Resource Web Site quainted. The convention is a perfect en­ in the middle of the music-making there All Music Products. Services, Events, Classifieds - on Searchable Databases! capsulation of this agony and ecstasy. The is no fear. If you give yourself over to it, it Toll Free 1-888-803-6287 more a choir makes us swoon with de- will take the place of the negativity be­ cause it is boundlessly positive. This rev­ erence for the glories of the choral art is self-sustaining. With age, it gets even bet­ ter because you drop the fear. That is why MUSIC, WHEN SOFf VOICES DIE conductors drop dead on the podium. It DONALD BAI LEY is that good-a muse impossible to leave. With age and exposure to more and more ADAM LAy YBOUNDEN beauty, as you let down your barriers, the HUBERT BIRD world comes rushing in. Paying attention to the music-malcing will change you. You will become mal­ CANNOT COUNT THE STARS I leable. Things you would never dream of EUGENE BUTLER doing, you will do. Be watchful-watch­ ful of habits, watchful of how you are SEE THE FLEA? affecting your choir. Base yourself in the PHILIP HAGEMANN joy of music-malcing, and inexplicably, you will change. You will change others. THE SILVER SWAN This is a way to face your fear. This is quite a gift we've been given: the power to ROBERT HARRIS share beauty with others. In this thera­ peutic model, the audience is secondary. THE FIDDLER OF DOONEY It is those we touch weekly who will THERON KIRK change us. It is both the music and our students. Two CAMPION POEMS We are co-dependent. Try not to let ei­ ROBERT YOUNG ther get out of balance. When you get out of balance with an ego too large or too small, it is hard to carry the music. Either you will crush it or it will crush you. ALLIANCE MUSIC PUBLICATIONS, INC. Soon you will be at the top of the food (713)868-9980 FAX (713)802-2988 P.O. Box 131977· Houston, Texas 77219-1977 chain. Except in circumstances like con-

PAGE 64 CHORAL JOURNAL ventions or adjudications, you will have and encourage everyone to sing-even no one to answer to, so trust yourself someone you think should be the librar­ ,_cC~ __ c ____ ~ ___ s, .' ,~:~~ ·-;~~II. The way you operate and someone else ian? You could be wrong about them Beautffol.... powerful.... eclectic.... . See and Hear the music online! operates is not always the same. That is (though, often you are right). We need Website: www.GladdeMusic.com okay. Do not misunderstand me. There is singers. Respect needs to flow both ways. ., E"!aiL·i'li°@¥ia.dc}~lIIusi~.co.m a lot of lousy music-malcing out of lazi­ Be nice to them; treat them like family. ness and inattention. If it comes out of All the best programs are built like this: diligence and consideration, go for it. If not from the top down, but from the you believe in what you are doing and choir up. Someday you will be known by share that with your choirs, there will be your reputation and the simple way you something right about it. I like, as an treat your singers. I hope for you to be axiom, the Hyppocratic oath: First do no like the Russian choirs we heard on the A repository of historical material related harm (to the music and to your choris­ last night of the convention: ambassadors to the 70-year career of ters). of music with big, open hearts. I hope for Fred Waring and the This brings me back to our self-image you, all you can imagine. Pennsylvanians that begins to set all these processes into Celebrate the 100th Anniversary motion. Between the fear and the music, -C]- of Fred Waring's Birth choose the music. Eventually, when you June 9, 2000 have overcome the fear, there will be only VISIT OUR WEBSITE I the music. The fear is real. By continually www.libraries.psu.edulcrsweb/speccol/waring.htm acknowledging that emotion and moving Fred Waring's America The Pennsylvania State University on, there will be signs of progress. Notice Special Services Building the fear and discover its patterns, and 1127 Fox Hill Road University Park, PA 16803-2574 eventually, change the patterns-slowly (814) 863-2911 FAX (814) 863-2574 reversing our bad habits. This process can Materials available for researchers and music educators! choral directors be a little embarrassing. Recognizing ten­ sion and acknowledging your foibles takes courage, because as you hone your aware­ ness, you become more conscious of your When imperfections. Be generous and humor­ quality ous with yourself, and train yourself to let go of this negativity. Be generous and choral humorous with your choirs. l1li My first time on the doctoral podium musIc after conducting a Marenzio madrigal, is what you're looking for... VA~COUVE'TJ brltlJ~ coLuMbIA! c:A"AdA Bill Hatcher asked me if I'd misinter­ Mqtcli 16-2.2, 2001 preted and thought I was directing the For Christmas ... ISME Verdi Requiem. Have you ever seen your­ Three Venezuelan Christmas Vancouver, Canada, .proud host of self on videotape? Talk about fear! Vancouver's outstanding IFCM 1993 Carols (Span. & Eng.) World Symposium on Choral Music, That is where family comes in. At first AIr. TRINKLEY, SATB, announces a sequeL focused on the it is the nuclear family that suckles us. For Acc.(Piano/Marimbas). G-4316 .. 1.50 voices of children. It will draw' many of us, our musical love is not sup­ together fifty diverse international, national and local choirs (ages 8-16), ported by our families, not to mention Fum, Fum, Fum! Arr. SHOVE, a Catalan Carol, SATB. th~ music professionals who create; society's flagging love of classical music. conduct and present their in'credible G-3611 ...... 1.00 This is where our friends, all the mentors range of music and artistry and 'other interested adults working in closely from our past, and ACDA come in. It is In dulcijubilo related fields. We bring you impossible to be at the convention and M. PRAETORIUS (ed. PROULX) The World of Children's Choirs - 2001, not sense an awesome responsibility to Two mixed voices (canon) what we do. Again with age, our musical G-4151 ...... 1.10 family gets bigger. Sample copies available on request. Here are a few thoughts to close. You're looking for Whenever you think things are begin­ ChQir Application Deadline: Nov 19,1999 ning to sound good, tape yourself Be GIA·· Publications, Inc. For more info 'contact: Morna 'Edmundson 1636696th Avenue, SllTTey, BC careful not to let the podium swell your 1.800.GIA 1358 V4N 2CI Canada head. We are but mites on music's glori­ or 708.49'6.3800 EMail: infoiilwocC2ool;org ous body. At the same time, trust your­ www.giamusic.com Internet:·www.WocC200!.org self Can you put aside any hoity-toityness

NOVEMBER 1999 PAGE 65 NEWSBRIEFS

Fred warin;l~~~~~~~L~£?h~e t~~~~~~~ln ~~~:~~~~re~~!~~~~~~~~th anniversary of that event is the year 2000. To commemorate the occasion there will be a reunion of former members of Fred Waring's Pennsylvanians and a retrospective show at Penn State University on June 9 and 10, 2000. The show, to be held in Penn State's Eisenhower Center for the Performing Arts, will trace the history of the Pennsylvanians by recreating the original band and some of the visually exciting numbers of the 1920s and '30s, the radio days of the 1940s, the television and concert performances of the '50s through the end of his career. The former Pennsylvanians will sing the classic arrangements of those periods that gave the public such an awareness and appreciation for choral singing. The Fred Waring Elderhostel session held annually at Penn State in July, will begin next year on June 10,2000, so the senior citizen participants can attend the show and then, under the guidance of former members of Waring's staff, prepare their own performance during the week with a final show of their own on Friday, June 16. Several other tributes and celebrations are being planned throughout the country. Anyone wanting information, music arrangements, recordings, etc., for similar events can contact Fred Waring's America, A Special Collection of the Pennsylvania State University Libraries, 1127 Fox Hill Road, University Park, Pennsylvania 16803-1824; phone: 814/863-2911; e-mail: [email protected].

The Sixth World symp~!:~n !?J~si?lr;r~~!c~~i~n~pS~A~~;} 3¥o~~~~ This is the first time this international choral event will be held in the U.S. The Symposium is sponsored by the International Federation for Choral Music (IFCM), which was founded in 1982 by seven national and international organizations, including ACDA. IFCM has organized a World Choral Symposium on Choral Music every three years, the first being in Vienna (1987), followed by Stockholm (1990), Vancouver (1993), Sydney (1996), and Rotterdam (1999). Based on geographic representation at past symposia, it is expected that delegates from more than fifty countries will be present. What a marvelous opportunity for all of us to experience these excellent choral ensembles and their conductors in Out country!

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PAGE 66 CHORAL JOURNAL HALLELUJAH! Timothy W. Sharp, editor

Expanding Church Music with the angel of the Lord who brings Repertoire: Smaller Sacred news of the birth of Christ. Most of the Dixit Dominus choral parts are simple SATB settings and G. F. Handel (1685-1759) Choral Works with divide only occasionally into SSAATTBB. SSATB chorus, SSATB soloists Orchestra The limited instrumental requirement 2 violins, 2 violas, continuo adds to the accessiblility of this work. There is a body of choral literature This is an exciting work, written in that is suitable for use in the church that Sing unto God, ye Kingdoms ofthe Earth, 1707, when Handel was only twenty-two may not be immediately apparent while Wedding Anthem 14 years old. The chorus plays a large role in searching through sources for smaller sa­ G. F. Handel (1685-1759) this thirty-minute work. The organiza­ cred choral works with orchestra. This SATB Chorus, SATB soloists tion of this work is similar to the cantatas annotated list of literature comes from 2 oboes, 2 trumpets, strings, timpani, of]. S. Bach's choral movements alternat­ the lesser-known works for chorus with continuo ing with solos. The text is based on Psalm orchestra. 110. Handel combines homophonic and Smaller Sacred Choral Works This cantata-like work, seventeen min­ polyphonic writing in a challenging and with Orchestra utes long, is based on Psalms 68, 106, sometimes difficult work. Although it re­ and 128. It is relatively easy for all in­ quires a smaller instrumental consort, the Mass in D, op. 86 volved, with the major challenges for the piece is a major undertaking. Antonin DVorak (1841-1904) alto, tenor, and trumpet soloists. The work SATB Chorus, SATB soloists (optional), resembles the works S. Bach in orga­ Ultrecht Te Deum 2 oboes, 2 bassoons, 3 horns, 2 trumpets, of]. nization, with a chorus, aria, aria, cho­ G. Handel (1685-1759) 3 trombones, timpani, organ, strings F. rus, recitative, and chorus progression. SSAATTB chorus, SSAATB soloists The homophonic sections are typically Flute, 2 oboes, bassoon, 2 trumpets, This piece is not difficult and is mostly Handelian, and the polyphonic sections strings, organ a choral work with very little solo singing. are less difficult than those of Bach. The DVorak's Mass in D, op. 86, follows in choral work contains both the heroic, as This moderately difficult work for cho­ the stylistic tradition of the late classical evidenced in the large choral/orchestral rus and baroque orchestra is twenty-five works of Haydn and Beethoven, setting tutti sections, and contrasting solo pas­ minutes in duration and challenges the the ordinary of the Roman Catholic Mass. sages. choir with eleven movements, several of This liturgical work inspires devotion in singers and listeners with its beautiful melodies, joyous statements of praise, and balance between homophonic and poly­ phonic writing. It is a very accessible piece, which could and should be heard more Celebrating the Music of often in a church setting. Fred Bock In Terra Pax Gerald Finzi (1901-1956) SSAATTBB Chorus, soprano and baritone soloists A spedal coUection ofFred's 10 most Strings, harp, cymbal requested chorals has been compjled To get your free packet wrHe to Fred This moderately difficult work, only Bock Music Company, P. 0. Box fourteen minutes in duration, was origi­ 91357. nally subtitled "Christmas Scene," al­ 570567, Tarzana, CA Send a though there is no mention of the Christ copy of this ad or mention '~CDA packet." Please enclose child or the traditional nativity. The text $5.00 (payable to Fred Bock Music Co) for shipping and consists of the poetry of Robert Bridge handljng. and a portion of the St. Luke account of For more jnformation contact: (818) 996-6181 or email us at the nativity. The subject matter of the work is that of the shepherds' encounter FredBock&aolcom.

NOVEMBER 1999 PAGE 67 which contain solo lines with the chorus. trumpets, 3 trombones, timpani, organ, The Hymn ofJesus, op. 37 This is a heroic work by Handel, suitable strings Gustav Holst (1874-1934) for a festive or celebrative occasion. The SATB-SATB-SA "semi-chorus" text, Te deum laudamus, which is tradi­ This is a moderately challenging work, 3 flutes, 3 oboes, 2 clarinets, 2 bassoons, tional, is conveyed by a continuous alter­ only ten minutes long, based upon the Te 4 horns, 2 trumpets, 3 trombones, nation between chorus and soloists. This Deum laudamustext, organized into three timpani and percussion, celesta, piano, structural device gives the work the vari­ movements. It is a festive composition: organ ety that contributes to its success. Handel movements 1 and 3 are quite rhythmic makes much use of the SSATB texture and exuberant, in contrast with the ada­ The text for "The Hymn of Jesus" is throughout the prior one, and also ex­ gio middle movement. The work is in­ taken from apocryphal literature, that of ploits the duet combinations. spired by chant and contains mostly the Acts of St. John. It is one of the more homophonic sections interspersed with unusual works in the sacred choral reper­ Te Deum, Hob. XXIII5 some imitative counterpoint. A closing toire. A portion of the text reads "all things Franz Joseph Haydn (1732-1809) fugue brings the Te Deum to an exciting join in the dance!"; accordingly, Holst SATB chorus conclusion. includes a very rhythmic and dance-like Flute, 2 oboes, 2 bassoons, 2 horns, 3 portion in this twenty-minute work. He ______--, bases the composition on two plainsong tunes: "Pange lingua" and "Vexilla regis." The dissonance and irregular meters con­ tribute to the difficult challenge of this piece. However, this work, with The Plan­ ets, established Holst's reputation as a twentieth-century composer and is well worth the challenge. A distinguished tradition of vocal and choral music for more than 50 years I Scholar­ ships to $18,400 for talented musicians of any major and a new Music Education Scholarship Program Une Cantate de Noel Arthur Honegger (1892-1955) THE FACULTY Jon Hurty - Director of Choral Activities I Sonja Hurtyl Brett Nolkerl SSAATTBB and chorus of children, Laurine St. Pierre I John Pfautz I Barbara Shellhouse I Daniel Urton baritone solo DEPARTMENT OF MUSIC I AUGUSTANA COLLEGE I ROCK ISLAND I ILLINOIS 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 1.800.798.8100, EXT. 7233 I WWW.AUGUSTANA.EDU 4 horns, 3 trumpets, 3 trombones, organ, harp, strings

This composition is a great discovery for a church that would like to feature their children's chorus with the adult voices. A large portion of this thirty­ minute work is devoted to children's sing­ ing. In structure, it resembles a Bach cantata, alternating chorus, children, and baritone soloist. The text comes from a diverse array of sources, including lines from Psalm 130, Psalm 117, 0 Come, 0 Come Emmanuel, St. Luke's account of the nativity, and five German carols, which are set in the original language. This piece was the last Honegger wrote for chorus and orchestra, and presents a moderate challenge to the adult singers. The children should find the piece com­ fortable, although they must sing in Ger­ man and Latin.

Lauda per la Nativita del Signore Ottorino Respighi (1879-1936) SSAATTBB chorus, soprano, mezzo II \\ WHAT COME'S Apt1:'R TI 2• soprano, and tenor soloists

PAGE 68 CHORAL JOURNAL 2 flutes, 2 oboes, 2 bassoons, triangle, Vivaldi exploited the double-choir, this work is an easy task for most choirs piano 4 hands double-orchestra possibilities offered by and a wonderful alternative (to the popu­ the Basilica of St. Mark. The choral style lar Glo1"ia) for the Christmas season. This moderately difficult work by the is a moderate challenge to the choir. Vivaldi provides wonderfully melodic composer, Respighi, deserves more per­ Vivaldi alternates fast and slow move­ material for the chorus and the soloists. formances. The work is a twenty-five­ ments to provide the contrast common to He introduces chromatic passages, which minute cantata that draws from ancient the baroque style and familiar to those provide a slow-changing harmonic and modern musical elements, a hallmark who know his Gloria. Also, Vivaldi dis­ rhythm. The textures are mostly homo­ of Res pighi's compositional style. The cho­ plays his signature duet-writing capabili­ phonic, although, like the Glo1"ia, the fi­ ral writing is exciting because Respighi ties in this thirty-minute work. nal movement introduces a more draws from the original ancient source of demanding fugue. the "Laude" as his inspiration; Gregorian Magnificat, RV 610 chant and the church modes also inform Antonio Vivaldi (1687-1741) his writing. The printed score contains SATB, two versions present different J. S. Bach Cantatas stage directions, implying a dramatic, or soloist combinations: V1-SSAT; V2-SA (1685-1750) staged, presentation. The divisi within the 2 flutes, strings, continuo The 250th anniversary of the death of women's and men's parts should be noted, J. S. Bach presents a special opportunity but the piece will present only a moderate Similar in many ways to his Glo1"ia, to consider Bach performances in 2000. challenge to the chorus.

Dona Nobis Pacem Ralph Vaughan Williams (1872-1958) t\{'> SSA(A)TBB chorus, soprano, and Strik6 th6 Pe1dnd baritone soloists 3 flutes, 2 oboes, 2 clarinets, 2 bassoons, cd Lincoln C6nt6r! 4 horns, 4 trumpets, 4 ttombones, 2 tuba, harp, organ, strings High Schools, Middle Schools, College Bands, and Choruses are grabbing the spotlight at New York's Lincoln Center. Although Vaughan Williams expanded Bring your band or chorus to Lincoln Center, and give a concert on the Plaza. the size of the wind section in the orches­ tra, this piece is moderately challenging, To book your free plaza performance, call David Kincaide and would be a worthy consideration for at Lincoln Center Community Programming (212) 875-5152 those who wish to perform a larger Vaughan Williams composition. Forty minutes long, it is based on Walt Whitman's poetry, John Bright's poetry, scripture, and excerpts from the Mass. The work has sentiments similar to the "War Requiem of Britten, but is more ac­ Simply . .. the best! cessible for a church choir. The theme of peace suggests the special occasion use for this work. Recurring use of the text "dona nobis pacem" by choir and soloists con­ firms the title of the work. Those who MASTER MUSIC MANAGER know the smaller works ofVaughan Will­ iams will be familiar with the style of this Easy-to-use computer resources for school and church musicians extended cantata. Madntosh® and Microsoft® WindowsTM versions include: Beattts Vir, RV 597 MUSic Library Recordings Library Membership Files Antonio Vivaldi (1678-1741) SATB-SATB chorus (double choir), 2 Personal Directory Inventory Manager DataDesigner soprano and tenor soloists Easily customize any module, or design your own! 2 oboes, double string orchestra, double continuo Call MANAGER SOFTWARE for a FREE demo disk.

(800) 282-9220 0 Monday-Friday 0 9-5 Eastern Time This extended, brilliant Vivaldi work Also available for church musicians ... Worship Planner for double choir is based on Psalm 111. Hymnlndex™

NOVEMBER 1999 PAGE 69 Obviously, all of Bach's sacred cantatas for choral consideration to churches. The are appropriate for sacred presentation, following works could be considered some o ewiges Feuer, 0 Urspring del' Liebe but some present themselves more readily of the more accessible of the many won­ Choir and Alto, Tenor, Bass solos derful Bach cantatas. All include strings 21 minutes and continuo, with varying combinations of wind instruments. Nun ist das Heil und die Kraft Double choir Christ lag in Todes Banden 5 minutes Choir, Soprano, Alto, Tenor, Bass solos 22 minutes Gott der Herr ist Sonn und Schild Choir and Soprano, Alto, Bass solos 30 minutes The International Society for Music Education (I.S.M.E.) presents Wer nur den lieben Gott lasst walten Choir, Soprano, Alto, Tenor, Bass solos 23 minutes

o Jesu Ch1"ist, meins Lebens Licht Choir 7 minutes

Wachet auf, l'uft uns die Stimme Choir, Soprano, Tenor, Bass solos 31 minutes

Nach dir, Herr, vel'langet mich Choir, Soprano, Alto, Tenor, Bass solos 17 minutes

Nun danket aIle Gott For further information please contact: . Shari Paziuk,Registrar,lSME 2000, Department of Elementary Education; Phone: (780) 492-4273 ext. 266 Choir and Soprano, Bass solos 551 Education South, University of Alberta, Edmonton, Alberta Canada T6G 2G5 Fax: (780) 492·7622 15 minutes visit our website for further updates at www.quasar.ualberta.ca/isme2000/ For a fine discussion of the works men­ tioned above, as well as additional reper­ toire for the church choir with orchestra, Like a well-balanced choir, consult Kerry Michael Barnett's D MA dis­ Witte Travel's team of travel sertation, "Essential Considerations for professionals and concert Choral Conductors in Preparing Works for Chorus with Orchestra, Including Harmonize organizers work in harmony Suggestions for Repertoire"; 1989 DMA to take care of every detail of Dissertation, The University of Olda­ your group's touring and homa~ Norman, Oklahoma. UMI Order performance needs. Number 8921079, 300 North Zeeb Road, Ann Arbor, MI 48106-1346, (800/521- EmOiJe 0600). For an excellent list of the cantatas of without skipping ]. S. Bach, with a listing of required in­ strumental forces, consult Werner a beat! Neumann's Handbuch del' Kantaten Johann Sebastian Bachs, published in 1977 Custom-designed tours flrpelforming groups traveling in Europe by Breitkopf & Hartel Musikverlag, Leipzig, Germany. Call (800) 469-4883 E-mail: [email protected] -C]- 3250 28tb Street S.E. • Grand Rapids, MI49512

PAGE 70 CHORAL JOURNAL RESEARCH REPORT Lawrence Schenbeck, editor

New Scholarly Editions I: editions has recently made many more of a practical edition, with mixed results. Seventeenth-Century Italy these scores available. This month we sur­ Original clefs, note values, and accidentals Cavalli, Francesco. VCsperi a otto voci con vey relevant additions to A-R Editions' have been retained, bur the continuo has basso continuo (1675). Edizione critica a Recent Researches in the Music of the Ba­ been realized, and dynamic and tempo cura di Francesco Bussi. Milan: Edizioni roque Era, the new Garland series Seven­ suggestions have been added. The latter Suvini Zerboni, 1995. teenth-Century Italian Sacred Music, and are clearly shown as editorial; some seem selected volumes from Italian editors and wildly anachronistic (e.g., poco a poco Cozzolani, Chiara Margarita. Motets. publishers. animando, con intimo sentimento). No Edited by Robert L. Kendrick. (Recent Pier Francesco Cavalli (1602-76) was table of errors and editorial corrections Researches in the Music of the Baroque the most distinguished Italian composer of has been provided. The continuo realiza­ Era, 87.) Madison, WI: A-R Editions, his generation. Like Monteverdi, he served tion is also more cumbersome than nec­ 1998. ISBN 0-89579-402-0. as maestro di cappella at St. Mark's Cathe­ essary, the editor simply compressed all dral in Venice, and like Monteverdi, he was eight parts onto two staves. The result is Gallo, Vincenzo. Salmi del Re David che active in the operatic and ecclesiastical difficult to read and nearly impossible to ordinariamente canta Santa Chiesa ne i worlds. Bur he has not fared as well as his execure as written. These are, however, VCsperi: Libro primo a otto voci con il suo predecessor in terms of modern scholarly relatively minor problems in a well-pro­ partimento per commodit degli organisti editions ofhis music. For that reason alone, duced edition that should encourage more (1608). A cura di Maria Antonella Francesco Bussi's critical edition of the performances of this important reper­ Balsano e Giuseppe Collisani. (Musiche VCsperi a otto voci would be most welcome. roire.! rinascimentali siciliane, 17.) (Cantabo The Vesperi comprise twenty-three psalm Perhaps the sleeper among these vol­ discitur, 1.) Florence: Leo S. Olschki, settings and three Magnificat settings, mak­ umes is Robert L. Kendrick's edition of 1996. ISBN 88-222-4462-1. ing it the single largest collection ofVespers motets by Chiara Margarita Cozzolani music written in seventeenth-century Italy. (1602-c. 1677). The second daughter of Viadana, Lodovico Grossi da. Salmi a All the settings reflect Cavalli's grounding a prosperous Milanese family, Cozzolani quattro chori. Edited by Gerhard in falsobordone psalmody-homophonic, is largely unknown to musicians today.2 Wielakker. (Recent Researches in the Mu­ triadically based syllabic declamation that To judge from the works presented here, sic of the Baroque Era, 86.) Madison, can be traced back to Adrian Willaert. she deserves much greater recognition. WI: A-R Editions, 1998. ISBN 0-89579- Cavalli also carried forth the special cori After depositing her "spiritual dowry" with 398-9. spezzati tradition of Venice: every piece is the Benedictine monastic house of Santa scored for SATB/ATTB double choir in Radegonda in 1619, Cozzolani professed Seventeenth-Century Italian Sacred Mu­ that style. her final vows as a choir nun a year later. sic. Anne Schnoebelen, general editor. Editor Bussi has attempted here to Eventually, she served as abbess and pri­ 25 vols. New York and London: Garland combine the functions of a scholarly and oress at the same house. Publishing, 1995.

GOOD SCHOLARLY edition can serve several functions: to call JACKSON BERKEY'S A attention to a neglected com­ Ave dulcissima Maria poser, genre, or work; to provide an accu­ rate text based on the latest scholarship; " ... ethereal work and to encourage performers to expand or rethink their repertoires. Research Re­ of great beauty" ports will feature two or three install­ Micheal Braz, CHORAL JOURNAL ments this year summarizing recent additions to the collected works, monu­ Visit our web site www.berkey.com or E-mail ments of music, and erudite series that [email protected] copy. line the shelves of research libraries. Aside from Monteverdi's work, the glo­ 170 N.E. 33RD STREET ries of seventeenth-century Italian sacred FT. LAUDERDALE, FL 33334 music remain too little heard in to day's Telephone (954) 563-1844 Fax (954) 563-9006 concert halls and churches. However, a flood of new series and individual

NOVEMBER 1999 PAGE 71 Between 1640 and 1650, Chiara engaging pieces in the collection. music. All the psalm verses are set for two Margarita Cozzolani had four operas pub­ Kendrick offers a lengthy analysis of SATB choirs plus continuo. The choirs lished. Kendrick's edition includes all the Cozzolani's texts, emphasizing their spiri­ are treated as distinct entities throughout, motets from her Concerti sacri, op. 2 tual content and use of rhetorical devices, combining and alternating in traditional (Venice: Alessandro Vincenti, 1642), and matters that bear directly on her indi­ cori spezzati fashion. Imitation between from Salmi a otto voci concertati . . . vidual musical style as well. More imme­ the choirs is common, as is repetition of (Vincenti, 1650), her fourth publication. diately helpful are the editor's comments text; echo effects are rare. Textures are The Concerti are scored for between one on performance practice. Since there is largely homophonic, but the composer and four voices with continuo, but the no evidence that males participated in avoids predictability through the use of Salmi motets are rather more varied and music-making at Santa Radegonda, the sensitive, text-based rhythmic variation. elaborate. Although some of the motets appearance of tenor and bass parts in these The edition, which forms part of the se­ in the Concerti show traces of the simpler works may seem surprising. ries Musiche rinascimentali siciliane, has concerto style of the 1620s, much of this Kendrick, citing contemporary evi­ been scrupulously prepared; it includes music incorporates features of the new dence, persuasively suggests ways in which an extensive preface with information style that arose in Venice and Lombardy certain pieces can be retrofitted to permit about Gallo, his career, and his world. around 1640. According to Kendrick, it performance by single-sex vocal en­ Readers with access to a library that car­ was marked by refrain structures, duet sembles. Generally, this involves perfor­ ries the entire series will want to explore texture, more virtuosic (solo) vocal lines, mance of the bass line an octave higher or other volumes as well. and clear internal demarcation. (Distinc­ upward transposition of all lines. Thus, a Viadana's collection is similar to Gallo's tions between solo and tutti sections, al­ women's group, working from this edi­ but contains two Magnificats to Gallo's though seldom marked, seem readily tion, could readily perform most of these one. Viadana also provides a Marian apparent because of the dichotomies es­ works with minimal re-arranging and in a motet, Plaudat nunc organis Maria, for tablished by these style features.) Many manner closely resembling the original two tenors and continuo, as a sinfonia to pieces feature melodic triple-time sections circumstances. All in all, this body ofwork the second Magnificat. The whole collec­ similar to aria forms in contemporary Ve­ is a remarkable find and should be useful tion is among the earliest publications netian opera, while ostinato or semi­ in a number of situations. showing the practice of singing psalms ostinato bass parts organize some of the From earlier in the century come psalm with multiple choirs made up ofheterog­ internal sections. Scoring in the present collections by Lodovico Grossi da Viadana enous vocal and instrumental combina­ collection ranges from solo motets to the (c. 1560-1627) and Vincenzo Gallo (c. tions. While in Rome, Viadana absorbed five-voice dialogue 0 caeli cives. All fea­ 1560-1624).3 Gallo, the lesser-known of the basics of this newly variable concerted ture continuo accompaniment (figured the two men, was maestro di cappella at style. The composer's now-famous pref­ but not realized). Cozzolani's dialogues the Cathedral in Palermo and maestro of ace to his publication, Modo di concertare (angels and shepherds, Mary Magdalene the Sicilian Royal Chapel. These Salmi i detti salmi a quattro chori, provides de­ at the tomb, et al.) are among the most are the only surviving collection of his tailed instructions on how to perform these settings. (This edition provides both the original Italian text and an English translation.) Viadana divides his four choirs into SATTB, SATB, SSAT plus continuo, and ATBB plus continuo. Choir 1 consists of the five favoriti (solo voices); choir 2 com­ prises at least sixteen and no more than thirty voices and instruments; choir 3 re­ quires a combination of voices, cornetti, violin or violoni, and trombones; and choir 4 calls for an even more varied as­ sortment of singers and players, includ­ ing octave doublings of certain lines upward and downward. The composer further allows for a stripped-down real­ ization in which only choirs 1 and 2 are sung, or for luna bella mostraf [a fine show] in which one or more choirs can be added to choirs 2, 3, and 4. The conduc­ tor is instructed where to stand and whom to face to keep things together in perfor­ mance.

PAGE 72 CHORAL JOURNAL As might be expected, the concertato either crept in or been transferred from overly broad assertions In the style is richly deployed throughout, with the original prints without correction.5 introduction. numerous ornamented solos and duets The scores are clean and well laid out. 5 See the review ofvols. 1,4,5,11, and 12 and lively interplay between the choirs. Intrepid conductors will find much to by Jonathan Glixon in Journal of In his introduction, editor Gerhard interest them in the series. The length Seventeentb-Century Music 3/1 (1997) Wielakker emphasizes Viadana's felicitous and scope of this column precludes list­ , which includes a list also abounds; the first Magnificat, for ex­ maries of several volumes' contents often of wrong notes in vol. 1. Apparently, such ample, moves freely between major and appear in later volumes for each genre: problems are more prevalent in the Mass minor and F and D tonalities, creating the introduction to vol. 9 contains an volumes, less so in the Vespers/Compline many striking and colorful effects. overview of vols. 1 through 8, for· ex­ volumes. In addition to his detailed and thor­ ample. ough critical report, Wielakker's introduc­ -C]- tion includes his analysis of a complicated NOTES moment in Italian musical history. He J I have drawn numerous details of my report r------­ also delves into the social and liturgical from Jeffrey Kurtzman's extensive review background of Vespers polyphony and in Notes 54/2 (December 1997):565-7. provides a generous overview of contem­ A thorough description of these Vespers }~~~9iJd~tin: porary scoring and performance practices in historical context can be found in i=====B"'ea=-=ut"'!fo"'I••== .. p=ow"'e·"'rfo'-"I.= ••• e"'cl=Oe~~·t;;... -"'='=, See and Hear the music online! in polychoral music. Although certain el­ James H. Moore, Vespers at St. Mark's: Wehsite: www.GladdeMusic.com ements of the edition might be (and have Music of Alessandro Grandi, Giovanni E"!ail: info~l~d:I:1!Iusi~.co.m .... been) criticized,4 conductors should not Rovetta, and Francesco Cavalli (Ann hesitate to use it for study or performance Arbor: UMI Research Press, 1979). of this important music. 2 See Kendrick, Celestial Sirens: Nuns and their Garland's new series, Seventeenth-Cen­ Music in Early Modem Milan (Oxford: tury Italian Sacred Music, was begun in Clarendon Press, 1996) for a modern 1995 and will eventually include twenty­ biographical treatment, one motet, and five volumes. The first ten volumes are other materials related to her work. devoted to music for the Mass Ordinary; 3 FREE My description of the Gallo edition is based catalog and volumes 11 through 20 to music for Ves­ on a review by Kurtzman in Notes 55/4 fabric samples. pers and Compline; and volumes 21 Oune 1999):1000-1005. Since 1955 ... through 25 to motets. General editor 4 Kurtzman (1999) takes Wielald

NOVEMBER 1999 PAGE 73 IN RETROSPECT Forty Years Ago in the ChoralJournat-May 1959

...... On>Tuesda}'.FebruarY24.1959, '. an.historic·mee6rig.tOQk placein'Kansas ..' City; Missoun,'ill oconnection.' with· the bienriiiilri~tlomlicollventionof the.Music ' •.'. Teathers ".,'N ationaF . Associatiom ••• ,],}he." meeting :"the' t>rgariiza.tionalmeeting'of the Amencan :Choral.Directors.Associa- • . t).lJringthe',courseof~1958, a. ",.• presideritAC.DA " .. . SteeringComr:xiittee'Was,organizeclby. .,. ,....' '.. " ... ', , ':Ill~iL Eacl\;memb~r'SUgge5ted.~ li~tof names ()~, choral directors whO. we~econ~, .' sideredcbmpetent•• alld sufficiently interested iI( tlie,. professi()ntosupport'tipgc4arter .memhership,more; . ..tha.P;lleventyattetid~atheorganizationalmeeti#g ...·:A ... constitution 'and .. ' by~laws: ." •.... w~re:a.doPted, ... 0fli~ers elect~a,;K~1is~~.£~t¥':'<":;';;:':i·~·'· 'i·'i.": ....•. i .' '.. ". ·.·i ""i;"c-A,." i'~·i .. ;.Th~. Ame.ricanGl1orCl~Directot:s: Ass9ciation" is;no.wanes~ablished\org8:n· !. . ·~.jzati()n.A listofthepurposesappelifs .elsewhere in this N ews.i i..etter, a.s. do~s I:", •...•.. ialt:applic,a.tioll:formemher~hipix/The: neXt:' llnnuaJ'convention'will 'h'eheldin···. ;, .·.:H·~tla.ntic.qtyin:J\1arch()f'1960, at",hichlimenumeious program featllreswill '..

i',. .' •. ·, •.•· •• t~ft~rl~~~e~~i:·~:!lf!sm:~?~~ii~~;shi~ll~~~~:~hJ!~:.l:ri~i~~J~i;~~:o~;(~~ 3") ';;'71J/iPue/'j.fliili4"; :"

--'-- - .... _.. -._- ,',

PAGE 74 CHORAL JOURNAL IN RETROSPECT Forty Years Ago in the ChoralJournal-May 1959

CHARTER MEMBERS OnlJJmembers llJ hose clues were paid prior to publication are listed F. Lemuel A~derson . ' ..• John E. Davis Dr. A~chieN. Jones Ball'State,Teachers College 2603 W. Belle Vista Ct. University of Texas Muncie, .Indiana Peoria, Illinois Austin'12, Texas Dr. WClrreriM: Angell , .' Harold Decker H. Herbert Jones Okla. Baptist. University School, of. Music Van Wert High School Shawnee,Okl9homa . University of Illinois . Van Wert, Ohio '. Urbano, Illinois James' H .. Barrett .' Dr. Elwood Keister Hutchins,on.Junior College' Louis'Diercks University of Florida 1300 Plum : Street. . Ohio State University Gainesville,. Florida . Hutchinson,.Kansas , . ColumbUS, , Ohio . Gene Kenney Morris Beachy' Walter Ehret Texas Technological College Departme(it of Music, ,7 'Lebanon Road ·Lubbock, Texas University: of'iTexas' .. ~carsdale, New York' · Austiol2{ Texas Theron Kirk R()gerD; Fee 2403 Garfield AlvahBeeche~ University of Denver Laredo.. Texas University of Florida. Denver, Colorado Gainesville, Florida Dr. Lee Kjelson Carl' A.Fehr , Western, College of Ed. James Berry Music Department Gunnison;' Colorado Myers Park Baptist Church William and Mary College Charlotte, North Carolina Williamsburg, Virginia Cecil E. Lapo' , . . . St.' LUke.'s Methodist Church RobertI. B'lanchard . , Donald G;Foltz Oklahoma City, Oklahoma Diocese of Kansas City " Wisconsin. State College P. O. Box 1037 .' , Superi~r, ·.Wisconsin Warner Lawson Kcmsas' City AI, Missouri Howard University 'Murrae Freng Washington, D. e. John.H.Bloom Alexandria High School School.o.f . Music '.,Alexandria, Minnesota '. William W. Lemonds University of Arizona 2nd Presbyterian Church · Tucson; . Arizona Paul Fry Brookside Ave: at' 55. St. 1034 'East Main Street Kansas City 13, Missouri J. RusselLBodley Albemarle, North, Carolina Dean .of the Conservatory Andrew Loney, Jr: College af the Pacific Edward Hamilton Klamath Falls HighSchool ·Stockton; California Hardin-Simmons University Klamath Foils, Oregon Abilene,Texas' . William V. Boland Robert S.Lowrance, Jr; Midwestern University R. H. Goranson North. Fulton High School Wichita Falls, Texas Idaho State College 2890 N. Fulton Dr., N.E. Pocatello, Idaho· Atlanta.5, Georgia Miss Florence Booker. . Arlington . Co; Public Sch. Rolph Grissom Robert M. McCowen 1.426 North Quincy Street Community High School Iowa State College Arlington 7, Virginia East Peoria, Illinois Ames,. Iowa Dr. Orville Borchers · John Held Frank McKinlEiy 'School of Music Salida" High School North Texas State College Southern Methodist Univel:sily Salida, Colorado Denton, Texas Dal/as, Texas . Dr .. Gene Hemmle Don Malin Cecli D. Brodt, Texas, Technological College Mills Music Company Brodt Music Co: Ll;Ibb()ck, Texas 1619 . Broadway Charlotte 1" North Carolina New York, New York Miss Helen M. Hosmer Donald T. Bryant , State, U. Teachers College R. Galen Marshall' Columbus Boychoir School Potsdam, New York George Washington' H. S. Princeton, New Jersey '600 32nd Avenue Alto~ L. Howell. . ' San. Francisco, .California Dr~ "Olaf" Christiansen Thomas' Jefferson' High Sch. St., Olaf College; 41 00 West Graca Street Russell Ma'this Northfield,. Minnesota · Richmond 21, Virginia 'University of Illinois Urbana, Illinois Dennis. Cook, . · R. Wayne Hugoboom Yazoo HighSchool Manatee Junior College Frede. Mayer Yazoo<:;ityiMississippi Bradenton, Florida . Friends. University Wichita, Kansas Dcivid N. Davenport" Dr.Warne~ I mig Richmond High School' University.·of Colorado R.Robert Mitchum' Richmond, , Indiana Boulder, Colorado . Wabash College '. Crawfordsville, Indiana Loren' Davidson M. F: Johnstone Louisiana State .. University Abilene High School ~ 1" ": • :,. , • Baton Rouge, Louisiana Abilene; ,Texas Continued on p. 6

,Four The. C h 0 r a I Jour n a I

NOVEMBER 1999 PAGE 75 IN RETROSPECT Forty Years Ago in the ChoralJournat-', May 1959

New Members AC:J),ATo>Sponsor ".:ProgralllExcllangEl, ' Charter~embers .ar!!urged to send " . "" names of prospective. members at once , During. the past tw(), years, Elwo,od to 'Secretary EarLWiIlhoite" Shawnee Keister<.(V.P. of ACDA) has been independently operating a choraLpro:" Press, Jnc.~ Delaware ,\Vater Gap, '~ramexchange.This, yearthe·ex­ organization to be Pennsyly~nia;"Our change will ',be sponsored by the successful" will' need the, membership of ACDA alldit isurgedthataU,mem­ those directors who have proven them., .bersparticipate~ Before the .(!nd of the selves in the ch()ralfleld: It is not the school yeareathmemberwill receive intentiono£,the ACDAat:this time to' complete instructions concerning '. the be supei:~~electiye, ',' ,or "openly invita­ , actual •• exchange' of ,programs; Let's all tional.Weurge youtl)'presentascan-' get behind, this project and make ,it the didates ~~rsons, in 'the, ,ch()l:al field fir~rhigACDA success story,?fthe (college, church or highschool) who year. consistently have prodliced ' excellent choral groups and who show promise ATTENTION of makinga contribution to our, asso­ Be sure to check th~ Charter. Mem­ ciation. bership list carefully; , Since "the list inCludes only those whose, dues were Applicants must have ,an active paid, prior to,pubHcation, yom' name member as co~signer and should pre­ may not be)ncluded. sent a written resume of his ,work in If you ,have fonvarded your dues and your na:me dO,es notappearin the the choralfi~ld; Senclyour names now listing,besure to 'contact Secretary­ to Secretary, Willhoite. " , , Treasurer Earl :Wmhoite at once.•

~-- -," --'----...... -':'------... - .. ----.--" ---"':- .. - -- -:------".- :---.- -.- - -.- '7" _ .. - .,."" .,. --- - ...... --- -_ .... "" ~'-'" - ~ -:'~ •. Earl Redding , Herold Stark ' Contin~ed'fromp. 4, Louisiana State University , University of, Iowa Batori Rouge; Louisiana 'Iowa CitY,lowa Weston' Noble Luther College Cortez D. Reece Lloyd Sunder~on Decorah, "Iowa' Bluefield, State College University of. Toledo ,Bluefield, West Virginia Toledo" Ohio Dr., Ferris Ohl Heidelberg College Raymond Rhea Dr: ,Howard Swan Tiffin, Ohia Board of Education Occidental College Corpus Christi, Texas Los Angeles 41, California 'Robert G.Olson Sunmiy-Birchard Co. Lamar ,Runestad ' LaurenB. Sykes 1834 Ridge Avel)ue St:, Peter' High School Pacific Bible College Evanston, Illinois St. Peter, Minnesota 2219 S.E. 68th ,Avenue 'Portland 16,' Oregon A. C. Ossenkop, Jr. David W.Scott .: . . ' Capitol, Hill Sr. High School Eastern New MexicoU~ Lois ,M. , Wells Oklahorria City,' Oklahoma Portales, New Mexico "43.1 0 ,Elrovia' Ave. '- .' EI, Monte, ',Col ifornia John Owen " Theodore Vosburgh 517 Darst. Road Dow Chemical Co; Donna Whittaker ;, Ferguson, 21, • Missouri Midlarid, Michigan 1168 •South' ,Thomas Arlington, ,Virginia Euell Porter , Gene K. Simmonds Music Department Arroyo' High, School Peter WilhouskY Baylor University 4921 N. Cedar Ave. Board of, Education Waco", Texas ' EI Monte, California, N,ewYork, New York Dr. John' Raymond Miss Jane Skinner Lafayette College EI Monte High School, Earl Willhoite Easton, Pennsylvania 712 S. Tyler Ave. " Fred Waring Workshop " ,EIMonte;,California DelawcireWater Ga,p,.pci. Don H.Razey J., W; 'Pepper & :Son W.'Warren Sprouse" Dr;' HarryR.Wilson ' 1423 Vine,' Street ' Fairmont, State College 'Teachers College, Columbia' U. ~hilad~l?hiaj 2;", Pennsylvan,ia Fairmont, West, Virginia New York, New York '

Six, Th,e Choral,)ourn,al

PAGE 76 CHORAL JOURNAL COMPACT DISC REVIEWS Richard J. Bloesch, editor

Editor's Note: This month's compact TitUS, anchor the last half of the record­ disc reviews are by Dr. Robert ing, each echoing with a timeless beauty RECORDING Demaree, University of Wisconsin­ so serene and yet so powerful the listener COMPANIES THIS ISSUE Platteville. can almost smell incense and imagine great icons being hoisted aloft by bearded .Centaur Records Ikon priests. 136 St. Joseph St. Baton Rouge, LA 70802 . Georgy Sviridov: Three Chomses for Perhaps most exciting is the presence Tolstoy's Tsar Feod01' Ioannovich, Four of several lesser-known works, especially Choruses from Songs of Troubled Times; Gretchaninov's setting of the Cherubic Hyperion Records, Ltd. Alexander Gretchaninov: The Cherubic Hymn text, in which the subito pp at the Harmonia Mundi USA, agent Hymn, Our Father, and The Creed from text "who comes invisibly upborne by the 2037 Granville Avenue Los Angeles, CA. 90225 the Liturgy of St. John Chrysostom, op. angelic host" arrests the listener with its 29; Victor Kalinnikov: Radiant Light; gentleness before it explodes into alliluyas. Peter Ilyich T chaikovsky: ~ hymn Thee Equally mesmerizing are the seven and The Chembic Hymn from the Liturgy works by Georgy Sviridov. Featured on of St. John ChlJ!sostom, op. 41, Blessed two of these selections is the fine counter­ ending. are they; Arvo Part: Magnificat; Henryk tenor James Bowman, who soars grace­ Stephen Layton and his British singers Gorecki: Totus Tuus; Knut Nystedt {arr.}: fully above the texture and exudes longing, stride through the Russian terrain Immortal Bach especially in Ikona, the last of the Four surefootedly. The ensemble sings with Holst Singers; Stephen Layton, Chol"uses from Songs of n'oubled Times. beautiful intonation and sensitivity, and Conductor The second piece in this set, Bright Fields, the choral tone is consistently warm and Recorded 1996 is brief, yet harmonically lush and rich. appropriate to the literature. Most remark­ Hyperion Records Limited; CDA66928; The third piece, Spring and the SOl"cel"er, able is the sense of time conveyed-the [DDD]; 79:04 juxtaposes the treble and bass tessituras music is never hurried or pushed. This is rhythmically and harmonically, incorpo­ particularly evident at the sinuous close AST FALL, AS my choir was pre­ rating bitonal cadence points. Yet another of Totus TitUs, and in the aleatoric sections paring sections of Rachmaninov's gem is Radiant Light, by the little-known of the Nystedt, which oscillate ever so L All-Night Vigil, I invited a group of composer Victor Kalinnikov, which un­ slowly through a beautiful spectrum of monks from the Russian Orthodox Mon­ furls gracefully and builds to a powerful colors. As a result, the singers successfully astery of St. Isaac of Syria Skete in Wis­ consin to visit our campus and sing liturgical chants for my students. I con­ Like a well-balanced choir, fessed to their leader, Father Simeon, that Witte Travel's team of travel the work had a special power that en­ professionals and concert tranced me, yet I didn't know why-after organizers work in harmony all, the 'texts are rather repetitive, and the Harmonize musical materials are fairly basic. Father to take care of every detail of Simeon explained succinctly: "In the Rus­ your group's touring and sian Orthodox tradition, music is wor­ performance needs. ship. When it's done right, it isn't performance-it's worship." Emope The Holst Singers and their conduc­ tor, Stephen Layton, prove that they un­ without skipping ~~ derstand this concept perfectly in their recording titled Ikon. With the exceptions a beat! WillE TRAVEL of two of the Foul' Chomses from Songs of Custom-designed t01l1'S for peiforming groups Troubled Times, the album presents sa­ traveling in Europe cred music by Russian composers or by composers influenced by Russian traditions. Call (800) 469-4883 Several familiar selections, like T chaikovsky's E-mail: [email protected] Cherubic Hymn, Gretchaninov's Our Fa­ 3250 28th Street S.E. • Grand Rapids, M149512 ther, Part's Magnificat, and Go~ecki's Totus

NOVEMBER 1999 PAGE 77 capture the worshipfUl nature of this lit­ The performances of five pieces writ­ Palestrina; Music for the Christmas Season erature. My friend Father Simeon will ten for Easter Sunday are also rewarding. Missa "0 magnum mysterium"; 0 adore this worship. Particularly appealing is the hymn Aurora magnum mysterium (motet); A solis ortus lucis rutilat, which juxtaposes two five­ cardine; Christe redemptor omnium; Music for Holy week and Easter Sunday; voice choirs. In addition to marvelous Hostis Herodis impie; Jubilate Deo Requiem in four parts antiphonal effects, tutti passages sparkle, universa terra Orlando di Lasso thanks to the clarity of intonation and Chicago a cappella; Jonathan Miller, The Lamentations of Jeremiah; Aurora tone color of the ensemble. Exciting word Artistic Director. lucis rutilat; Surgens Jesus; Christus painting moments abound, and at the Recorded: March, 1996 resurgens; Regina coeli laetare; Magnificat phrase "Triumphans pompa nobili" [in Centaur Records CRC 23031 [DOD]; super Aurora lucis rutilat; Requiem in noble triumph] all singers rejoice together 54:40 four parts with great vigor. The closing triple-meter Pro CantioneAntiqua; Bruno Turner and dance section and '~en" indicate that OR SHEER AURAL pleasure, Mark Brown (Requiem), directors. this is truly a hidden compositional gem. Palestrina's music must head the Recorded: August and October, 1981; Last on the recording is the more som­ F list of any true audiophile. Ac­ Rereleased in 1997. ber and reflective Requiem. The lines are cording to the liner notes, this recording Hyperion CDD220l2; [DOD]; 130:06 voiced closely together in a low range, by Chicago a cappella represents the first haunting the listener with yearning, in­ commercial release of the Missa "0 mag­ T THE END of the Renaissance, terwoven phrases that undulate without num mysterium" and the three office the texts of the Lamentations of finding comfort and rest. Among the no­ hymns, which alone recommend the re­ A Jeremiah were a favorite choice of table movements is the Si ambulem in cording. It is also instructive to have the many of the greatest composers of the day, medio umbrae mortis. Opening with a opportunity to hear the original motet including Tallis, Victoria, Palestrina, and di low bass incipit, this movement captures and the subsequent mass together on one Lasso. The texts for the Matins services on the textual essence of the "shadow of recording. Chicago a cappella, an en­ Maundy Thursday, Good Friday, and Holy death." semble of four women and five men that Saturday are among the most evocative and Considering the broad range of texts was established in 1993, deserves acco­ passionate in the Old Testament. and liturgical fUnctions present in these lades for bringing this music to fruition. Pro Cantione Antiqua captures this pieces, the work of Pro Cantione Antiqua The transparent nature of the po­ passion successfully while simultaneously is simply stunning. The rich, clear voices lyphony, the harmonic purity, and the shaping the twenty-seven discrete sections maintain their individuality in polyphonic endlessly supple phrasing of Palestrina's of the work into a unified whole. The passagework, yet never stray from the tex­ works have placed significant demands ensemble uses a subtle palate of articula­ ture of the whole. Homophonic sections upon choir directors for 400 years. In tions to provide continuous contrast be­ ring with overtones, and cadence points general, Chicago a cappella meets these tween sections. This allows the listener to are elegant without exception. This out­ demands with distinction. There are mo­ recognize di Lasso's genius for utilizing standing recording should be a corner­ ments of soaring beauty in this recording, rhythmic and textural intensity to reflect stone of the collection of any lover of most often in passages when the ensemble textual meaning. choral music. approaches a point of climax. Tempo changes within movements are handled very cleanly. Also, the ensemble shows great sensitivity in phrasing and choice of articulation. A Home For Wayward Choir Robes Unfortunately, there are a few audible distractions. Though the intonation is • Heavy duty rolling garment racks and covers to 500 generally excellent, there are points when Lb capacity the singers do not squarely hit the center • Extra High uprights for long robes or formal wear of a pitch immediately. Also, some ambi­ • Custom garment bags in 15 colors to 65" long ent noises can be heard. However, the bar of quality sits so high for recordings of Visit us at www.seanjames.com music from the late Renaissance that these Or Call 888-866-9826 for minor criticisms should not dissuade po­ more information tential buyers of this disc. Choral aficio­ nados will be gratefUl that these wonderfUl Sean James Enterprises works have been recorded so successfUlly. 425 Tribble Gap Road Cumming, GA 30040 -C]- [email protected]

PAGE 78 CHORAL JOURNAL BOOK REVIEWS Stephen Town, editor

Richard Davis Of special interest to the choral con­ A Beginning Singer's Guide ductor, teacher, or student, is chapter five, BOOK PUBLISHERS Lanham, Maryland: Scarecrow Press, Inc., "For the Future Choral Conductor." This THIS ISSUE 1998. 215 pp. $26.50. ISBN: 0-8108- chapter addresses with candor and good 356-8 (Softcover). nature the frequently combative relation­ GIAPublications, Inc. ship between the voice teacher/singer and 7404 South Mason Avenue Chicago, IL 60638 ICHARD DAVIS HAS made a the choral conductor. It deals with the http://www.giamusic.com fine contribution to the literature physical/vocal warmup, delving into as­ Ron vocal pedagogy with his book, pects of choral methodology related to Parker Publishing Company A Beginning Singer's Guide. As the title the development of singing technique. p.o. Box 11075 suggests, the book does not deal with the There is also a brief section on the chang­ Des Moines, IA 50336 mechanism and technique of singing with mgvOlce. Scarecrow Press, Inc. as much detail as older texts, such as Young singers (and others) will find 4720 Boston Way Appelman or Vennard, or newer works "Singer's Tool Kit" a valuable reference. It Lanham, MD 20706 by Miller, Sundberg, and others. In a suc­ features a table of the International Pho­ cinct style, it offers practical information netic Alphabet (IPA) symbols and sounds, on such topics as the efficacy oflearning a pronunciation guides for languages, rep­ broad coverage. One note of skepticism variety of singing styles, vocal anatomy ertoire for young singers, a list of resources should be sounded with respect to the and physiology, technique, a good treat­ for music and books related to the sing­ first application above: most beginning ment of vocal hygiene, a brief history of ing profession, templates for printed forms singers would find it difficult to absorb vocal pedagogy as written and taught, a appropriate for the voice teacher and stu­ the information on anatomy, physiology, range of performance issues, etc. dent, and plenty of vocalises designed to and technique in chapter two without The Vowel Migration Chart given in cultivate various facets of vocal produc­ considerable support from a voice teacher. chapter two, "Mechanism and Tech­ tion. It is almost impossible for any author to nique," and the accompanying text should In his preface to A Beginning Singer's write text on this subject and not sound be required reading for choral conduc­ Guide, the author proposes four practical somewhat like a medical journal. Even tors. It seems there are too many choral applications for his book: (1) "a collateral with the tables (which give the names of conductors who believe that the well­ text for studio voice" (p. x), (2) an under­ the muscles, origins, insertions, and ac­ trained choral singer can sing any vowel graduate vocal pedagogy text, (3) "a prac­ tions), illustrations of anatomy, and text on any pitch at any intensity. The efficacy tical guide for new voice teachers" (p. xi), that Davis has provided, it would be a of vowel modification/migration is now and (4) "a reference for those interested in daunting task for anyone to achieve a well-documented in numerous authorita­ vocal pedagogy not covered in other clear understanding in the first few en­ tive sources, e.g., books by Miller, books" (p. xi). I feel it is also valuable to counters. Unquestionably, information of Sundberg, Doscher, etc. It only remains the choral conductor, though not so much this kind should be included in a vocal for us in the profession to make it part of on the strength of its brief chapter for pedagogy text. The issue of how best to our methodology. choral conductors as for the virtues of introduce the beginning singer to this Arguably best chapter of the book is "For the Performer." In addition to infor­ mation on vocal hygiene, cited earlier, it includes advice on warming up, learning songs, well-planned practice, building re­ $trik6 t\p thB Pe,dnd lationships with those people key to every singer (voice teacher, accompanist/coach, crt LincoLn CBntBr! and peers), acting, memorization, artistry, and other issues. This chapter is perhaps High Schools, Middle Schools, College Bands, and Choruses the most readable for the beginning stu­ are grabbing the spotlight at New York's lincoln Center. dent. It covers a great number of skills and habits that all voice teachers hope to Bring your band or chorus to Lincoln Center, and give a concert on the Plaza. build in their students, and presents good, concise coverage of a broader ranger of To book your free Plaza performance, call David Kincaide performance-related information than I at Lincoln Center Community Programming (212) 875-5152 have found elsewhere.

NOVEMBER 1999 PAGE 79 subject. however, remains the prerogative the stimulating challenges of training jun­ choir to achieve vowel uniformity, good of the studio teacher. ior and senior high school choruses. It is a intonation, and blend. Chapter 11 dis­ At $26.50 in softcover or $45.00 in valuable resource for new and experienced cusses performing at concerts, festivals, hardcover (probably escalated by the time secondary-school choral directors, those contests, and other events. Suggestions this review appears in print), A Beginning training to be choral teachers, and direc­ for building concert programs are fol­ Singer's Guide offers a great deal of useful tors of university, church, and commu­ lowed by multi-choir sample programs. information. Economic advantages aside, nity choirs. This review focuses on the This section on pre-concert planning will this book is strongly recommended on its usefulness of this book for new or experi­ be a significant help to new teachers plan­ merits for the purposes suggested. enced teachers and non-music adminis­ ning their first concert. Williams Hobbins trators. For information about the Inexperienced teachers will also benefit Augusta State University usefulness of this book as a secondary from reading the section on choral con­ methods text, please refer to the review tests, which focuses on the strengths and written by James McCray in the March weaknesses of contests and how to select 1992 issue of the Choral Journal. and prepare literature. Roach suggests two Donald W. Roach The book is divided into four main half-hour rehearsals per week on contest The Complete Secondary Choral Music parts: Part I: Administration of Junior music, beginning five to six weeks prior Guide and Senior High School Choruses; Part to the contest. This may not be adequate. West Nyack, New York: Parker Publishing II: The Conductor and the Choral Score; A new teacher building a program or talc­ Company, Inc., 1989. 302 pp. $37.95. Part III: Developing Choral Musician­ ing students to a contest for the first time, ISBN: 0-13-162538-1 (Soft cover, spiral ship in Students; Part N: Planning Re­ may want to allot substantially more time. bound). hearsals and Performances. In addition, New and experienced teachers may there are extensive lists of high-quality find the twelve-page chapter on basic con­ HE COMPLETE Secondary Cho­ repertoire arranged by period, genre, and ducting principles and techniques lim­ ral Music Guide is a thorough, voicing. Music for choir and instru­ ited. However, the appendix lists several T well-organized, and practical book ments-band/orchestra, and quality exemplary conducting texts for further aimed at helping choral directors meet Broadway, and jazz selections are also in­ reference. cluded. Finally, an appendix of resources Beyond conducting, a choir teacher for everything from uniforms and equip­ must be able to relate to many different ment to vocal technique. people. In the section "Relations with Stu­ New and experienced directors can dents, Administrators, Parents, and Teach­ benefit from this multi-faceted book. It ers," Roach gives suggestions how the contains a concise, well-stated rationale director can establish an atmosphere of regarding the value of choral music study positive, proactive communication. Be­ for secondary school students. Use of the cause many administrators need and de­ extensive vocalise examples will enable a SIre input from the choral director, I

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rAGE 80 CHORAL JOURNAL recommend communicating ideas found music making. The explanation of "cen­ in this book to an administrator or lend­ ter" (p. 9) and "self-expression" (p. 9) is ing the book for perusal. Specifically, vital. In the opening sections the author chapter one is sensible and written with sets the stage by letting the reader try to MUSIC language that can be understood easily by comprehend "the nature of the creative TO U RS INC. the non-musician. Topics include: the being" (p. 13). He also discusses the as­ value of choral music study and perfor­ pect of faith in music-making; one of the mance, curriculum issues, scheduling, most provocative statements is from chap­ qualifications of the choral director, fa­ ter two: "One's religion is how one chooses QUALITY cilities and equipment, developing bud­ to practice one's faith. It is one's faith that INTERNATIONAL gets, the copyright law, and relations with forms and fosters the soul's interiority and students, administrators, parents, and depth" (p. 22). CONCERT TOURS teachers. The book's comments on the soulful­ at Roach acknowledges that, "The school ness of malcing-music are quite stunning REASONABLE PRICES choral program really begins in the el­ and sincere. The aspect of vulnerability in ementary school, where early interest and making music is discussed at length. With singing skills are developed" (p. vii), but examples from the author's tenure as a discussion of relations with elementary graduate student under Elaine Brown music staff is limited. Nurturing or, if (1910-97) at Temple University in Phila­ Call or write today necessary, initiating such relations can delphia, Pennsylvania, he embellishes his benefit the growth and success of the sec­ points with the instances that started him for our unique ondary program immensely. on his journey through study with Dr. personalized service! The Complete Secondary Choral Music Brown. In short, "The music is what is Guide is full of important information important. At all times, be honest with and resources that are highly valuable to the music and love the choir" (p. 93). choral directors. This is an excellent refer­ The book's contents are a profound ence book that every choral music teacher look at music and musicians as a commu­ MARK FOSTER should own. nity, and delves into the aspects of Ann C Hoge mimetics and envy (part four). Jordan MUSIC TOURS South Redford (MI) Public Schools explains that envy can be the major ob­ -a' (800) 869-1406 stacle for creative artists. The right mi­ metic choice is revealed that it is willed, P.O. Box 2760, Santa Clara California 95055-2760 James Jordan consciously chosen and one must choose The Musician's Soul Chicago, Illinois: GIA Publications, Inc., 1999. 182 pp. $19.95. ISBN: 1-57999- 058-4 (Hardcover). ;.,:.::,MA,NTf.QBA. CI;IORN;-.ASSO~lb.TJ9N·: '" 'jreFenis the first annual' ..

HE MUSICIAN'S SOUL is a AN I TO B S U MM ERA CAD M YIN journey for the reader through T the "mortar of music" (p. 7), not ADVANCED CHORAL CONDUCTING the nuts and bolts, referring to notes, rhythms, phrasings, etc., but rather the University of ManirobaWinnipeg, Manitoba, Canada "human trust, belief in self and others, - 27,_ 2000 and love of self" (p. 7). The author has A1!gzlS:~8 with Fried~"i~~~tr;,; ,"'t :;.~.;::-:.:. composed a provocative text that allows the reader to focus on himself or herself, Conduct01; Stuttgm·t Chamber Choir dealing with self-expression and the art of FOR FURTHER INFORMATION being a "creative being" (p. 13). The book AND APPLICATION FORMS CONTACT: is a journey that will take the reader (par­ Manitoba Choral Association ticularly the choral conductor) to new 203 - 180 Market Avenue depths of thought, to a place of self-ex­ Winnipeg. MB. R3B OP7 ploration and spirituality, centering on Tel: (204) 942-6037 Fax: (204) 947-3105 the art of music-making. Email: [email protected] Website: www.mbnet.mb.ca/-choral Jordan takes us on a journey of self­ ACKNOWLEDGEMENTS awareness. He causes the reader to focus The Manitoba Choral Association gratefully aclmowledges the support of: and think about the center of his or her

NOVEMBER 1999 PAGE 81 to stay there. These are rather deep ous quotations from musicians and non­ approach to choral singing and making thoughts, which many musicians do not musicians, setting the stage in a superb music. Although I have read other texts care to confront. However, I feel this book manner for what is to come in each chap­ that deal with some of the topics in The offers the opportunity to expand one's ter. There are three postscript essays and Musician's Soul this book has a unique music-making. an index of further readings, with selected format, combining thought-provoking ex­ While the book is written from the stand­ annotations listing more than seventy-five amples and exercises with personal expe­ point of a choral conductor and will be most other texts, articles, and materials for those riences of the author. easily understood by choral directors, its in­ wishing more understanding. I believe this text is of great value to tended audience could include anyone in the The author touches on thoughts and the professional community, and it should music profession or the fine atts. ideas that more musicians should con­ be required reading for undergraduate and There are several excellent features in sider, and by reading this book they may graduate students. It has much to offer the book. Each chapter begins with vari- decide to take a new direction in their the music-makers and will shed a new light on the soul of the musician.

" ... ONE OF THIS COUNTRY'S James D. Moyer Pennsbury High School -C]-

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PAGE 82 CHORAL JOURNAL CHORAL REVIEWS Richard Nance, editor

U nison/Two-part PUBLISHERS THIS ISSUE Filled With the Spirit's Power David M. Cherwien Aureole Editions earthsongs Theodore Presser Company Paraclete Press, agent 220 NWTwenty-ninth Street Ptesser Place Unisonl2-part, opt. flute, organ P.O. Box 1568 Corvallis, OR 97330 Btyn Mawr, PA 19010 Logia (Concordia, agent), 98-3469, $1.50 Orleans, MA 02653 G.l.A. Publications Santa Barbara Music Boosey & Hawkes 7404 South Mason Avenue Publishing Commissioned in 1996, Filled With . 35 East 21st Street Chicago, IL 60638 P.O. Box 41003 the Spirit's Power is a fitting tribute for the New York, NY 10010 Santa Barbara, CA 93140 seniors in the Youth Choir of Belle Meade Hal Leonard Publishing Choristers Guild Corporation Schott United Methodist Church of Nashville, Lorenz Corporation, agent P.O. Box 13189 European-American Music, Tennessee. This piece includes mixed P.O. Box 802 Milwaukee, WI 53213 agent meter and an energetic tempo ()l=248). Dayton, OH 45401 P.O. Box 850 Logia Valley Forge, PA 19482 The organ accompaniment includes sug­ Church Street Music Concordia Publishing House, gested registrations that are useful and Genevox Music Group, agent agent Treble Clef Music Press help convey the feeling of excitment. Vo­ 127 Ninth Avenue, North 3558 South Jefferson Avenue 415 Wesley Drive Nashville, TN 37234 St.Louis, MO 63118 Chapel Hill, NC 27516 cal lines are not difficult, and the mixed meter emphasizes the text. Roger Dean Publishing Paraclete Press Walton Music Corporation The work is written in ABA form. The Company P.O. Box 1568 170 NE Thirty-third Street Lorenz Corporation, agent Orleans, MA 02653 Fort Lauderdale, FL 33334 middle section is marked with a slower P.O. Box 802' tempo; the quiet mood invokes the spirit Dayton. OH 45401 " Plymouth Music Company 170 Northeast Thirty-third of Christ to inspire all to unity. Street . Filled With the Spirit's Power is a festive Fort Lauderdale, FL 33334 anthem for youth and adult choirs. Thank you, Mr. Cherwien, for combining chal­ lenging music and text-the results are --e- --e- indeed impressive! j. Steven R. Gibson VOCAL RANGES 7)= Ii -9- ~ 2 3 C c d C C

God Has a Plan for All Randall Sensmeier Unison/2-part mixed, piano, flute G.I.A., G-4499, $1.30 library. It is suitable for grades six through throughout, and the accompaniment is ! adult, and the flute part is moderately also suitable for piano. A superb text by Jaroslav Vajda is the easy. Highly recommended! The piece begins and ends with a quiet basis for this simple strophic anthem, de­ Donald Callen Freed recitative. When the voice of heaven signed for unison or two-part mixed choir. "Goes out through all the earth," the In F minor, the range is c to eP, with a tempo increases, dynamics rise to forte, lilting ~ meter. The flute provides intro­ The Heavens Declare and the accompaniment becomes more ductory and interlude material and an AlecWyton polyphonic. Syncopation and changes of obbligato at the final verse. Verse two Unison, keyboard meter C!, ~, ~) emphasize important incorporates a clever two-pari: counter Aureole Editions, AE75, $1.65 phrases. The Heavens Declare is appropri­ melody and rhythm in contrary motion ate for occasions of quiet adoration, and for men's voices; the other verses are uni­ The Heavens Declare is a quiet, pious can be performed by small and large en­ son. The text is non-sexist, and the an­ setting of Psalm 19. The simple melody is sembles. them is suited for general use, ascension, written for the soprano range without Ann Hoge or confirmation. The melody is singable, difficult leaps. The singers, however, are but not boring! The accessability and flex­ challenged to sing against a dissonant, ibility of God Has a Plan for All makes it a chordal accompaniment. Helpful organ welcome addition to any church choir registration suggestions are included

NOVEMBER 1999 PAGE 83 The Time for Singing Has Come begins in F major and modulates to the Randall Speer Carolyn Jennings relative minor in the middle section on Unison, keyboard, opt. Descant and flute the portion of the text that dwells on Choristers Guild (Lorenz, agent), sorrow. The Time for Singing Has Come is Canticle from the Flames CGA807, $1.30 sentimental but not excessively so, and it Felix Goebel-Komala works for children. It is well-written, with SATB, cantor, keyboard, guitar Carolyn Jennings has contributed a tessitura appropriate for the develop­ G.I.A., 4414, $1.20 many interesting, accessible, and appeal­ ment of the head voice. ing compositions for young voices. The Sharon Davis Gratto Like many of G.I.A.'s publications, Time for Singing Has Come is another of Canticle from the Flames is designed to her works that will find its way into the include the assembled congregation in repertoire of children's choruses in worship. In litany form, the cantor or churches and religious elementary schools. Mixed Voices choir invites the congregation to sing by The piece was commissioned in 1997 for Amazing Grace repeating a short phrase after the leader(s). Fine Arts Weekend at Bethlehem Stephen Hatfield (arr.) The typical G.I.A. reproducible box is Lutheran Church, located in Minneapo­ SATB, bagpipes or opt. C or Bb welcome, except that an abbreviation to lis, Minnesota. The text, by Brian Wren, instrument save reprinting two measures causes some is ideal for children, discussing the differ­ Boosey & Hawkes, OCTB7126, $1.40 confusion. The congregational part goes ent occasions when singing is appropriate up to an &2, but it is not problematic in and how it can help us deal with various This refreshing arrangement of a "war­ context. types of emotions, whether the joy of a horse" tune is easy and effective, appro­ With its quick tempo, syncopation, birth or the depth of sadness. The piece priate for church, high school or and triplet rhythms, Canticle from the community choirs. In this unusual set­ Flames can be catchy, at least enough to Kapellmeister Choir Stools ting the choir never sings the familiar ensure accurate congregational responses tune. Instead, they sing John Newton's for the last few verses. Extensive repeti­ ,/ Custom Designed & Built traditional text (third verse omitted) with tion and tonal clarity are also helpful to

Choir Stools a simple and dignified counter melody in the congregation. The musical leadership sustained and calm rapture, while the bag­ comes from the cantor's part, which could pipes play the original melody. Ranges also be sung by a unison choir. The choral are limited, posing little problem, even parts harmonize the unison material, so for inexperienced singers, but the piece the full SATB voicing is not absolutely requires the chorus to sing long, sustained required. Similarly, the guitar and key­ phrases. Hartfield addresses this issue and board parts are optional. Flexibility in Kapellmeister Enterprises, Inc. selection of optional instruments in the performing forces makes this work acces­ 59932 Tamarack Dr .• St. Helens, Oregon 97051- (503) 397-4773 program notes. sible to small or unbalanced choir. The text, Daniel 3:52-90, is loosely based on the apocryphal book of Daniel. Liturgical suggestions are included in the composer's notes, citing the last week in Ordinary Time and Trinity Sunday as the two major feasts for the canticle's use. Though designed for use in the church, this work could also be an effective means of including an audience in a concert setting. John Hooper

Cantos del Agua 1. Agua, dUnde vas? [Water, where are you going?] 2. Cortaron tres arboles [The cutting of the three trees] 3. Balada de los tres rios [Ballad of the three rivers] Dante Andreo SATB

PAGE 84 CHORAL JOURNAL Santa Barbara, SBMP 261, $1.95 within this mainly homophonic work. The texts for Jack Beeson's delightful There is some two-part canonic writing set, Epitaphs, are taken from headstone Argentine composer Dante Andreo has between upper and lower voices and a inscriptions from old parish churchyards created a lovely trio of choral miniatures judicious use of unison passages. The pi­ and traditional epitaphs whose origins are to texts by Spanish poet Federico Garcia ano accompaniment seems intricate but unknown. The title of each piece in the Lorca. Lorca's image-laden poetry features still lies well under the fingers and often set reflects the unifYing theme of the se­ frequent references to nature, and it is the supports the vocal lines. This is quality lected texts and insight into the musical imagery ofwater that binds together these writing in a neo-romantic style and is material. three texts. The expressive character of quite accessible for the average church The title of the first work, Composers, the poetry is mirrored musically in the choir. The distributors are to be com­ is pardy a play on one epitaph: "Death lyricism of the melodic writing and the mended for reprinting this anthem, origi­ has decomposed them, and on that great warmly colored supporting chordal tex­ nally copyrighted in 1961. day of resurrection Christ will recompose ture. Triadic harmonies with added sev­ David Shaler them," and also hints at some of the mu­ enths and ninths appear in a primarily sical material, drawn from Bach's Art of minor tonal context, which reinforces the the Fugue and Beethoven's Seventh Sym­ pensive, introspective character of the Christians, -we Have Met to Worship phony. The movement opens with a low­ texts. Dramatic and frequent dynamic B. Wayne Bisbee (arr.) voiced TTBB dirge in A minor on the contrasts support the intense emotion of SATB, handbells (2 oct.), opt. percussion words "Such as thou art, sometime was the poetry, and judicious text painting Santa Barbara, SBMP 260, $1.35 1." The decomposition by death in the serves to highlight important words and above epitaph is illustrated by fugal writ­ ideas. The most effective use of this de­ This arrangement is an American folk ing punctuated with sharp chromaticism vice appears in the third movement, in hymn from Southern Harmony of 1835. and frequent cross-relations. The fugue which undulating eighth-note movement Originally known as Holy Manna, this grows in intensity until all voices proclaim in the inner voices represents the flowing cheerful tune features jaunty rhythms and homophonically "Christ will recompose of the rivers. pentatonic harmonies. Perhaps inspired them." The opening material of the dirge Expressive, lyrical singing is essential by its simple melody, the arranger has the is recast for the coda and affirming "that to the success of this work, but technical choir whistle the tune at the beginning demands are few and ranges are moder­ and again on the final phrase of the song. ate, making this set accessible for high Four-part writing occurs only in the final school, university, and community sing­ two pages; the rest of the setting is in SOLID OAK ers. The music is underlaid with Spanish unison and two-part treatment, includ­ text. However, a good English translation ing a nice touch of canon in augmenta­ CHOIR CHAIR is provided. Cantos del Agua is an excel­ tion at the center of the piece. The lent addition to the growing body of Span­ handbell part, available separately, is based ish choral repertoire. on three ostinato patterns and easy to Leslie Guelker-Cone learn. Optional parts for percussion in­ struments (triangle, tambourine, and woodblock) are also written in simple Cast Thy Burden upon the Lord ostinato patterns. The arrangement is Claude 1. Bass made even more usable by the inclusion SATB, piano of an alternate hymn text, Love Divine, Church Street Music (Genevox, agent), All Loves Excelling. 0-7673-9300-7, $1.30 David Shaler

While the title may remind many of Mendelssohn's famous chorale setting in Epitaphs Elijah, the style of this piece is modeled Jack Beeson with: upon other choruses from that beloved SATB (div.) FIBRE RUSH SEAT or oratorio: "Blessed are the men that fear Theodore Presser, Published separately UPHOLSTERED SEAT Him" and "He, watching over Israel." 1. Composers, 312-41701, $1.25 Lyrical and memorable melodic lines, a 2. Heavenly Harps and 01-ganists, 312- Pews·Chairs·Pew Refinishing'Cushions flowing accompaniment, and an ABA 41702, $1.40 form with the central section modulating 3. Humoresque and Hymn (Gmve R.Geissle~ Inc. to related minor keys, all bear the stamp Mattm), 312-41703, $1.60 Since 1877 of Mendelssohn's influence. Claude 1. 4. So Let My Living Be; So Be My P.O. Box 432, Old Greenwich, CT 06870 Bass has simplified matters by avoiding Dying, 312-41704, $1.40 Phone: (203) 637-5115 counter melodies and fugato sections

NOVEMBER. 1999 PAGE 85 sometimes harmonized in parallel thirds. composer's harmonic structure is basically The piece concludes with a very tonal, tonal-some important chords are stable Schubert-like tune on the delightful epi­ triads, and some contain lush sevenths, taph: ninths, or elevenths. Harsher dissonances are reserved for the words "cruel nails" To the Down Bow of death and "crown of thorns." Often the bass AABACA CP His Forte gave way, holds the seventh or other non-root chord -c ...'W=, 612-933-7307 ~rorrt; All the Graces in sorrow were tone. There are a few sudden key shifts, ~ www.aabaca.com ~~- drown'd; carefully approached in each part. Hallelujah Crescendo. Individual vocal lines stay within nor­ great day of resurrection," ending firmly Shall be his glad lay mal ranges and include a balanced mix of in A major. When Da Capo the Trumpet shall conjunct and disjunct motion, with few One epitaph in the second work, Heav­ sound. leaps greater than a perfect fifth; however, enly Harps and Organists, is from the grave­ some of the voice crossing seems unnec­ stone of a church organist; other The final piece of the set, So Let My essary and confusing. Only a short two­ inscriptions make reference to harp strings Living Be; So Let My Dying, begins with part section and a few divisi measures and heavenly angels. At the beginning of the inversion of the chromatic theme that deviate from the four-part texture. Nu­ the movement, soprano and alto parts began the previous movement. This theme merous dynamic and tempo markings aid cross in harp-like arpeggiated patterns, is developed contrapuntally until the title the interpretation of the text and heighten punctuated by frequent chromaticism and text appears. At this point, a new theme, the harmonic expression. shifts in tonal center, which evoke the beginning tonally but soon comprising The harmonic subtleties of It is a Thing text "Our life is woven with a thousand all the pitches of the twelve-tone scale, is Most Wonderfol require a reasonably bal­ strings." The other voices enter contra­ treated fugally by all voices (some invert­ anced choir, capable of accurate tuning puntally on the text "one by one the silken ing the theme). A sharply dissonant pas­ and unified rubato. The text is certainly a cords ... are riven." An abrupt change in sage ends the work, illustrating the words reflection on the passion of Christ, but it texture to thick homophony, imitating an "unknown, unpraised, unmissed, remem­ could be appropriate in many worship organ, occurs with the epitaph referring bered by only what I have sown." The and concert settings. to the church organist-"like an Organ voices gradually die away until bass and John Hooper robb'd of pipes and breath." The most alto are left on an open-fifth sonority. evocative tone painting is found with the Tessituras in this set would not present poetic line "Its keys and pedals made use­ a problem for most choirs, although Make Strong For Service less by death"; here alto and bass and ranges (as noted above in descriptions of Luigi Cherubini soprano and tenor parts move in parallel the pieces) are rather extreme for bass and Richard Proulx (arr.) thirds with awkward augmented-second soprano. The most challenging aspect of SAB, keyboard, flute, cello intervals and without tonal center. The these pieces is the intense chromaticism G.I.A., G-4448, $1.30 movement gradually builds in intensity inherent in the compositional style. A pi­ until the parallel thirds return with more ano reduction is provided for assistance Richard Proulx has combined his para­ centered tonality on the text "this instru­ in rehearsing the works. Beeson's Epitaphs phrase of a fourth-century text with a ment, tuned anew and newly voiced shall would be a welcome addition to the rep­ canon by Luigi Cherubini (composed in raise to God, its builder, hymns of endless ertoire of a college, professional, or ad­ 1806), creating an effective work for small praise"; here the sopranos span two oc­ vanced community chorus. church choir that is most appropriate for taves in the final two measures, ending Ross C. Bernhard a service of Holy Communion. Written 2 the movement on b • in the key ofA major, Proulx takes advan­ The third movement, Humoresque and tage of the range of all three voice parts, Hymn (Grave Matters), is more episodic, It is a Thing Most Wondeiful from "mi" below the tonic to "sol" above with a recurring homophonic refrain set Richard Busch it. Because of the high tessitura, inexperi­ to the text "Deeply regretted by all who SATB enced altos and baritones may find them­ never knew them." This is interspersed Paraclete, PPM09914, $2.10 selves straining, but this gives the with other brief musical vignettes, each at conductor an ideal opportunity to teach a different tempo and set to humorous, Richard Busch sets a text by Bishop the basics of vocal registration. rhyming epitaphs. The work is tonal, but W. W. How, using the unaccompanied The keyboard part completes the har­ extreme chromaticism often obscures the choir. The free rhythmic structure of this mony with arpeggiated chords. The left­ sense of tonal center; double inflections piece allows the listener (and singer) to hand bass line doubles the cello. A and bitonality often occur. A highly chro­ focus on the expressive harmonies. No delightful flute obbligato, easily handled matic theme, sung in unison by all voices, time signature is presented; quarter notes by a good high school flutist, soars over begins the work and reappears in trans­ and half notes are used mostly, except for the entire ensemble. (Instrumental parts posed form throughout the movement, whole notes at cadence points. The for flute and cello are available separately

PAGE 86 CHORAL JOURNAL from the publisher, G-4488 INST. These SATB Sakura, Sakura (Cherry Blossoms) parts are necessary for a successful perfor­ Hal Leonard, 08703235, $1.40 Chen Yi (arr.) mance of the piece-attempting to play SATBB from the octavo would prove difficult.) In this wonderful program closer, a Theodore Presser, 312-41748, $1.00 Many parish choirs enjoy the oppor­ slow, declamatory, eight-measure open­ tunity to sing some of the great repertoire ing contrasts with a fast-moving, rhyth­ Choral arrangements offolk songs may of the classical tradition; however, lack of mic, chordal refrain in A minor. This be grouped roughly into three categories: full SATB personnel can be prohibitive. refrain, which serves to unifY the compo­ "fully arranged" folk songs in which a Proulx's accessible and delightful arrange­ sition, alternates with verses that feature a folk melody is adorned with contempo­ ment of Make Strong for Service will give small group of tenors singing the melody rary harmony and rhythm, or with newly them a taste of what they seek! (sopranos in the second verse), under­ composed material. The familiar setting Jed David watson scored with choral humming. A call-and­ of Zion's walls, (arr. Koponen) exemplifies response section follows in which the this approach; Aaron Copland's newly women and the men alternate asking composed Promise of Living counter Mouth Music questions: "Do you love Him? Oh, yes!" melody vies for prominence against the Dolores Keane and John Faulkner and C~e you anchored? Yes, I'm an­ original, revivalist hymn. The result is un­ Joseph Byrd (arr.) chored." The antiphon continues to the mistakably Copland; the original melody SSATTB end, as the piece climaxes with a dra­ serves primarily as a resource for compo­ earthsongs, S-78, $1.45 matic, fortissimo close. sitional inspiration. A more traditional Though both women's and men's lines approach, conceptually underlain with an Mouth Music refers to music from the divide, the technical demands of this ar­ implicit concern for maintaining the di­ Celtic tradition meant to fill the gap left rangement are fewer than in a number of rectness and simplicity of folk song, sup­ by a lack of good instrumentalists. Notes other Hogan arrangements of spirituals. ports the unadorned melody with accompanying this song suggest it is mu­ The simple, repeated chordal refrain and characteristic harmonic and metric lan­ sic meant for dancing, and the singers moderate ranges (soprano and tenor high guage, as seen in several of Vaughan imitate the sound offiddles, drums, pipes, .!\S occur primarily in the final eight mea­ Williams's folksong arrangements. Finally, and other instruments. Lyrics to this sort sures of the piece) make My Soul's Been folk songs can be arranged for choral sing­ of music are often bawdy (but not in this Anchored in the Lord appropriate for high ing in a transcriptive setting of the melody, setting!) and always rhythmically challeng­ school, university, church, and commu­ in which the accompaniment imitates or ing. The score gives the impression of nity choirs. suggests the type of setting in which the difficulty, but a quick perusal, coupled Leslie Guelker-Cone melody may have originally been found. with speaking the words in rhythm, belie An example of this transcription type is that initial thought. Though the texture is SSATTB, it is really only three parts MUSIc.. doubled at the octave. Sometimes the women sing alone and the men later, but the harmony is always triadic. Part of the interest intrinsic in this setting is the con­ tinuous triplet pattern for the drum that accompanies the entire song. The choir sings in 2/4, often in sixteenth-note rhythms, and is constantly challenged to subdivide cleanly into duplets or quadru­ plets while the drum plays triplets! A large high school choir, even a middle school chorus of 8th- and 9th-graders, would enjoy Mouth Music. As part of an "around the world" program, the song is a suitable addition to any college or community chorus concert. The six-part sonority sounds much more challenging than it really is. Jeffrey Carter

II 'DON \.,- ~ c;Af), M7. !(>N&B" - :s;.' M <;012--8 we. 'tA.... G-G\ €>GT\~ 6,-/ ~ -nN\G oU!2. My Soul's Been Anchored in the Lord 1'l-\P<~~G\\Jlf-l(y C-\-1Dt

NOVEMBER 1999 PAGE 87 differs ftom the range of the alto part by back and forth antiphonally between solo http://www.ChoroIWeb.com Toll Free: 877-WEB-MUSIC or 208-882-6760 only one pitch. In this arrangement, groups. doublings of melodic passages are consis­ Dynamics for each phrase are carefully Music Through the Internet tently found at the end of a longer phrase marked in this beautifully printed score. View, Listen, Purchase and Download presented by women's voices. The intent Text underlay is in Italian. The chromatic Choral. Handbell, Keyboard, and seems to be a strengthening of the closing harmony requires highly skilled choirs ca­ Solo Vocal Music over the Internet fragment with the added tenor voice. The pable of precise intonation. For choirs of

Now Available .... The Children's Corner Press tessitura of the tenor part creates rela­ graduate or professional experience, tively forceful entrances only a few mo­ Bryars's madrigal-like settings are expres­ ments before the end of each phrase, sive and challenging music. found in Chen Yi's arrangement of the overwhelming the primary melodic line George S. T. Chu traditional Japanese folk song, Sakura, with a new color and this makes the mezzo Sakura. piano dynamic of this work challenging The strength of this arrangement lies for the average choir to maintain. Wade in de Water in its embrace of Japanese poetic images The reviewer recommends perfor­ Allen Koepke (arr.) and musical elements. The text compares mance of this work based upon its out­ SSMTTBB the infinite canopy of cherry blossoms to standing musical qualities with one caveat: Santa Barbara, SBMP 227, $1.40 mists and clouds, and invites us to go and the work should be performed by an SS(or see which metaphors are most appropri­ A)ATB choir, with tenors singing the bari­ This setting of Wade in de Water is an ate. The Sakura melody is in the soprano tone part and altos shifting to the tenor. excellent festival piece for church, high voice, under which the remaining voices With this alteration, this arrangement of school, or collegiate choir. Allen Koepke's arpeggiate various tetrachords, following Sakura, Sakura would certainly be one of writing is virtuosic, demanding a high the contour of the melody. An emphasis the finer selections available for a concert degree of rhythmic precision and great on major and minor seconds, and the program that includes traditional Japa­ energy, yet is not beyond the reach of any manner of their rhythmic unfolding, nese folk song. well-trained choir. The piece was com­ strongly suggests the characteristic tuning Paul A. Laprad posed for the Prairie High School Con­ and strumming of a koto. Occasional cert Choir of Cedar Rapids, Iowa flourishes, presented in various forms of (Michael Reese, conductor), for perfor­ turns, imitate the shakuhachi, a Japanese Three Poems of Cecco Angiolieri mance at the Washington National Ca­ woodwind instrument. By invoking these Gavin Bryars thedral in 1998. instruments, partially through character­ SSATTBB The arranger's indications are clear and istic melodic gestures, and partially Schott (European American, agent), require a wide variety of vocal techniques, through the use of a traditional mode ED12621, $9.95 including glissandi (marked "slide"), fast (and its resultant harmony) from the Japa­ scoops, pitch bending, marcato (marked nese yo-in tonal system, this arrangement Gavin Bryars's Three Poems of Cecco "detached"), legato styles, foot-stomping sets the Sakura, Sakura melody in tradi­ Angiolieri is an advanced choral work, in­ and finger-snapping. Performance notes, tional Japanese idiom. In keeping with tended for ten solo groups, for quartets included on the final page, are extremely this aesthetic, the text is presented solely and quintets. The score suggests they be helpful, and even humorous in the case of in a translation of the original Japanese separated spatially, which was done for the arranger's caution regarding foot­ verse. A poetic translation and simple pro­ the first performance in 1997 by the stomping on risers: 'i\n overly aggressive nunciation key provide an aid to those Hilliard Ensemble. The composer indi­ stomp may. sound exciting, but it may unfamiliar with singing in this language_ cates that the work can also be performed bring down the choir rather than the Reflecting the sedate, introspective with solo groups alternating with tutti. house." style of this type of folk song, the entire Angiolieri was a thirteenth-century Ranges are reasonable, and Koepke work is set mezzo piano, and textural contemporary of Dante, and his three demonstrates knowledge of the voice in changes are few and carefully crafted. sonnets are set basically in syllabic fash­ his writing for low voices. Altos sing a Changes in dynamic and timbre are ef­ ion, allowing the listener to hear the beau­ low g, but only sing below the staff in fected, primarily by unison doubling of tiful Italian with musical stresses that moderate to soft dynamics, or when melodic fragments between adjacent mirror the accents of the original text. doubled at the octave by the baritones or voices. Nonetheless, the arranger often The middle poem, S'i'fosse foco [If I were basses. Baritones and basses sing an eP, executes such doublings without consid­ fire], is set at a quick tempo, providing but are doubled by the tenors, removing ering the effect of tessitura on the com­ contrast with the slow opening work, La the temptation to shout. The text is ap­ posite sound. Although basses sing in the mia malinconia [My Melancholy] and the propriate for almost any time of year ex­ range f-d 1 (except for two pitches at the final piece in the set, La stremita [Mis­ cept Christmas. end of the work), and baritones sing g to ery]. Each sonnet consists of fourteen Randall Speer eP, the tenor part remains in a much lines, and the composer preserves the higher tessitura, between c1 and al>l, which shape of the texts, sometimes answering

PAGE 88 CHORAL JOURNAL While Joyful Springtime Lasteth divisi. Once the choir has mastered the the title description) is structured in short Henry Youll (c. 1608) basic counting of the symmetrical mea­ one- and two-bar phrases that often re­ Audrey Snyder (arr.) sures, the piece becomes both easy and peat, alternating between short soli and Three-part mixed very appealing. tutti phrases in the middle section. The Hal Leonard, 08551265, $1.25 Michael Braz opening two measures might be sung freely, since the tempo marking is not An important task for the music edu­ supplied until the third measure. With C cator/ choral director is to introduce young major the predominant tonic, the use of singers to early music. Audrey Snyder ac­ Treble Voices accidentals gives the work a modal flavor; complishes that in her three-part setting Michael Row the Boat Ashore aeolian and phrygian in the minor sec­ of this madrigal by Henry Youll (an En­ Neil Ginsberg (arr.) tions, and mixolydian in the major ones. glish composer who was popular circa SSA, piano The harmonic structure includes simple 1600), arranged for middle school sing­ Santa Barbara, SBMP 235, $1.25 triads, mild dissonances and standard pro­ ers. Youll published a variety of vocal mu­ gressions. The motivic development gives sic, including a collection of twenty-four Neil Ginsberg has created a flowing, Popule meus its unif)ring element, consis­ pieces to texts by noted writer Ben folk-rock version of this perennially popu­ tent with Busto's style. Written for Johnson, but Youll is not particularly well­ lar tune. Straightforward in nature, the children's choir, this work would be ap­ known today. Information about Youll arrangement unfolds in successive uni­ propriate for any experienced treble choir. provided with the printed music would son, two- and three-part verses, utilizing In a concert setting, Popule meus would be helpful, as with any arrangement or simple harmonization, descant, and some work well as part of a short set of works. edition of historical music. ostinato, especially in the accompaniment. John Hooper While Joyfol Springtime Lasteth is ar­ The vocal writing and ranges are practical ranged for unchanged voices and voices (first soprano goes up to fjj2; soprano 2 in the initial stage of change. Optional has an optional low a). The main rhyth­ Scherzo cue notes are provided for baritones. The mic interest lies in the piano, which adds Paul Goldstaub typical AA-BB madrigal form is varied by momentum to an easy and accessible vo­ SSAA, piano dynamic contrast, with the B section be­ cal setting. Roger Dean (Lorenz, agent), 15/1337R, ginning mezzo piano each time and end­ Michael Braz $1.50 ing forte. Young choirs will enjoy the pleasure of madrigal singing with this se­ Paul Goldstaub's Scherzo, written for lection and find it rhythmically interest­ Populemeus Janet Galvin's Women's Chorale at Ithaca ing and energetic in performance. Javier Busto College, is a lighthearted but challenging Sharon Davis Gratto SSAA work in which nonsense lyrics such as Walton, WTC-l 0 11, $1 "shambah" and "wah-oo" are used in place of a coherent text. The opening theme of You and the Song Javier Busto's Latin motet for four­ the piece is set to solfa syllables, and vari­ Ben Allaway part treble voices is short and rhythmic, ous voiced and unvoiced vocal effects are SATB, piano reflecting the style of Francis Poulenc. highlighted throughout the piece; for ex­ Santa Barbara, SBMP 245, $1.35 While the tempo remains constant, the ample, in the second theme, a pitched "n" meter often shifts. The predominantly sound is combined with an unvoiced click Commissioned by a high school choir three-part homophonic writing (despite of the tongue. as a tribute to their retiring director, You and the Song is an expressive thank you that is unusually effective as a gentle closer or encore. Propelled forward by shifts be­ Tour With Your Choir tween ~, ~, and other meters-including a and pelfonll in the Great Cathedrals and HistOlic Churches. combined meter of ~+~-the selection • Brazil • Great Britain • Europe grows from unison to two, three, and • France/Spain • Australia, New Zealand &: Fiji four parts, allowing various melodic op­ Travel with the profesSionals who have been portunities for both SA and TB sections. coordinating concert tours for 30 years. The constant eighth-note impetus of the accompaniment complements the lyri­ cism of the voice parts, adding a some­ ((i)) what commercial feel that remains tasteful AMBASSADOR TOURS and heightens the effect of Allaway's 148 E. Michigan Avenue / Kalamazoo, MI 49007 1-888-830-4448(toll free) FAX: 616/349-7674 touching lyrics. There are no range prob­ http://www.ambassador-tours.com lems, and only two measures of soprano

NOVEMBER 1999 PAGE 89 Frequent meter shifts (usually between advanced women's chorus. transposed an octave lower, the bass line ~, l~, and !) punctuate the rhythmic vital­ Ross C Bernhardt often cadences on the fIfth or the third of ity of the work. Although Scherzo is fairly tonic chords. While the root is always tonal, quartal harmony is frequently em­ provided in the piano part, the reviewer ployed, particularly in the pointillistic pi­ Shenandoah fInds this sort ofharmonic inversion much anoaccompaniment. Homophonic Paul Basler (arr.) less satisfYing in men's voices. Neverthe­ passages alternate with contrapuntal sec­ Three-part treble, piano less, this is a fme offering, worthy of con­ tions. The upper range of the alto parts is Plymouth, PJMS-200, $1.25 sideration when looking for a new extreme, sometimes extending above the arrangement of this lovely and timeless sopranos to gl; conductors may wish to This straightforward, but hauntingly melody. switch alto and soprano lines in isolated beautiful arrangement of a popular tune Douglas Rose measures to avoid vocal strain. This work is ideal for youth and adult treble choirs. is an excellent concert closer for an The piano accompaniment is simple, yet striking in its harmonic content, provid­ Suo Gdn ~ Call Us Toll Free ~ ing poignant moments of interest while Thomas Edward Morgan (arr.) the voices remain mostly diatonic. The SSAA, soprano solo 8ZZ·DISC·USA choral parts contain beautiful dissonances Treble Clef, TC-129, $1.40 For a free catalog & sampler CD and resolutions; the most unusual is a recurring raised fourth scale degree re­ Thomas Edward Morgan has arranged solving to a third, which occurs on the this well-known Welsh lullaby for treble words, ''I'm bound away." Frequent use voices. The piece is divided into two sec­ TOTAL CD. CD-ROM. DVD. & of rubato and dynamic changes allows tions, each of which is one verse. There is CASSETTE PRODUCTION interesting interpretive possibilities. a brief introduction consisting of sustained ~e-mail: [email protected] This arrangement of Shenandoah is also pitches in all parts except soprano II, www.digitalforce.com available in a TTB version (PJMS-300); which sings two alternating pitches in 149 MADISON AVENUE NV, NV 10016 but since it is essentially the treble version eighth notes. The soprano soloist then sings the fIrst verse, accompanied by the chorus with gently flowing contrapuntal lines on the vowel "00." The second verse Peace College is somewhat more texturally varied and The Williamson CenterforthePerfonningArts features a brief soprano solo descant. The piece concludes as it began. N Jewel Edgerton WiUiamson Chamber Music Series Although this arrangement is classi­ -Featuringimtrument:alistfrom The North CaroJinaSymphony fIed as SSAA, the parts frequently divide andPeace eollegefaculty further, often enough that SSSAAA is a more accurate description of the voicing. AI Conversations with the Artists The overall harmonic scheme is tradi­ -Pepe Romero, guitarist: Nov. 11,1999 tional, and voice leading in all parts is -Andre Watts, pianist: Jan. 29, 2000 accessible. Tessituras are not demanding, save for numerous low ebs for Alto II and several sustained pitches of ab2 and bb2 in the soprano solo. _ Bachelor ofArts in Music Perfonnance An English transliteration of the Welsh _ Classes in CD production - recording, lyrics and a phonetic guide to Welsh pro­ editing and graphic design nunciation are included. However, they _ Opportunities for international study are confusing at times, and the latter is and perfonnance rather cursory. A literal English transla­ _ Music scholarships available tion is also provided. James Maroney

••••••••••••••••••••• The Maid on the Shore Choml Conductors' Workshop with Henry Leek: June 8-10, 2000 Stella Goud Peace eollege,locatedinRaleigh, NC, is aliberal arts and sciences college for SSAA, tambourine, high bongo women. Call 1.800.PEACE.47 formore information. Treble Clef, TC-142, $1.90 www:.peace.edu The Maid on the Shore was a fInalist in

PAGE 90 CHORAL JOURNAL the 1996 Diva Complex Composition high school treble choruses, collegiate, and invigorating ImItation between parts. Contest. The piece sets traditional text community women's groups. Although Melismas begin in the bass and end in the from Newfoundland to an animated folk­ the second alto part is required to sustain tenor, arpeggiated passages move from one like melody by the composer. The story tones below the staff for the first twenty­ part to another, and staggered entrances tells of a maiden who is desired by a sea four bars (as low as flO, the tessituras and of head motives are full of drama and life. captain. After being persuaded to come ranges are mostly medium to comfort­ The danger in a setting for male voices aboard, she sweetly sings the captain and ably low. After bar twenty-four, the voic­ is that muddiness, lack of clarity of text, his crew to sleep and takes all the ship's ing is nearly equal for all parts. An ironic and a sameness of texture will spoil the treasures. twist is given in one section of the piece wonderful part writing, which is the glory Goud achieves variety in each of the where the composer places all the vocal of the motet. Directors of male choruses nine verses by changing texture and dy­ parts in canon on the text, "Weep no will be challenged to ensure a clear tex­ namics to convey successfully the story's more," creating (despite the words) an ture. Moreover, basses need solid low F's meaning and emotions. The first five impression of continued weeping. and G's for the motet to be effective, as verses are unaccompanied, but in the later Randall Speer their pedal-point cantus notes are the verses the instruments become increas­ foundation over which the repetition of ingly active. The work concludes effec­ text is built. tively with the tambourine and bongo While the occasional ringing top al in gradually fading away. Male Voices the first tenor may be a stretch, a large The technical demands of the piece Ascendit Deus high school men's choir would find are moderate. The most challenging mu­ Jacob Handl Ascendit Deman agreeable challenge. Cer­ sic is for soprano I and II lines. Their Jameson Marvin (ed.) tainly it is within the range of a college version of the melody ranges from b~ to TTTBB male choir, but the average church choir i, and at various times they each have earthsongs, M-31, $1.55 will find it beyond the means of the ten­ long melismatic descants. The pitch range ors and basses. This is not literature for of the alto part is generally conservative; Handl's famous motet is well-known district festival small ensembles; it is ideal the alto line rarely extends above gi. The in its SSATB setting, available from sev­ for a massed men's choir. bongo, while animated, is repetitive and eral different publishers. Jameson Marvin An idiomatic translation of Psalm 46:6 not difficult, and it and the tambourine presents a viable alternative; in notes ac­ for program use is included. The textual could be played by a chorus member. companying the octavo, he makes a case underlay is in Latin. For treble choirs looking to expand for this setting as the one Handl intended. Jeffrey Carter their folk repertoire, The Maid on the Shore In any setting, Ascendit Deus is a stunning would be a worthy and interesting addi­ motet, filled with vivacious rhythms and tion. James Maroney

-weep No More David N. Childs SSAA, piano Santa Barbara, SBMP 249, $1.40

A beautifully touching setting of the first verse ofJohn Keats's Fairy Song, ~ep No More, this piece makes effective use of appoggiaturas on raised fourths and ninths against a rapid, gently undulating piano accompaniment. The text is one of com­ fort, apparently upon the passing of a flower, reassuring us that beauty will re­ turn another year. The writing for piano is of intermediate difficulty, with con­ stant non-melodic sixteenth notes set against a rolling bass, primarily broken chords and passing tones at a metronome marking of J = 72. ~ep No More poses no difficult rhyth­ mic problems and is vocally accessible for

NOVEMBER 1999 PAGE 91 Pop/Jazz/Show Telemarketing Blues Paul Rardin SSA, piano Santa Barbara, SBMP 214, $1.95

Sarcasm, frustration, jazz, and great fun mix together in a winning combina­ tion in this entertaining chart for women's voices. Paul Rardin, a graduate of the University of Michigan, wrote Telemarketing Blues for his alma mater's Women's Glee Club. He created a tour­ de-force concert closer. Sixteen bars of spoken clock sounds set the stage for an opening lament: "phone starts ringin' early evenin' time, sellin' me somethin'." The piano meanwhile lays out a funky, thickly chorded, highly rhythmic accompaniment that continues throughout the song. A good deal of the chart is in unison, but the voices frequently cross each other. Ranges are comfortable. The real chal­ lenge in this score lies in its complex rhythm! Syncopation plays a large role in the song, as does part independence­ there is a sizable amount of call and re­ sponse from section to section, ofren from one beat to the next. While this work is designed for a college chorus, it would work just as well for a girl's jazz ensemble, a traveling trio or double trio, or a high school select women's ensemble. The rhythmic challenges and frequent flatted thirds and frfths probably put it out of reach of the semi-auditioned high school young women's ensemble. Rardin sup­ plies the text, with one line that will gen­ erate laughs: "You can't pronounce my last name, so I will let it ring seven times." Many in the audience will appreciate his clever humor. Jeffrey Carter -CJ-

PAGE 92 CHORAL JOURNAL ----...... -.----..•.- ...--.- •...... •----~- ....-~- ...... --

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CARNEGIE HALL 2000 CONCERT SERIES SUNDAY OHIO MUSIC FESTIVAL SUNDAY ACSI YOUTH CHorale FEBRUARY 20 Robert Bass-Conductor APRIL 16 Thomas R. Smith-Conductor 08:00 PM 8:00 PM GEORGIA YOUTH CHORALE Anton Armstrong-Conductor SUNDAY OHIO YOUTH CHORALE UPPER MIDWEST YOUTH CHORALE FEBRUARY 20 Robert Bass-Conductor Larry Torkelson-Conductor 8:00 PM MISSISSIPPI/ ALABAMA/TENNESSEE YOUTH CHORALE Charlene Archibeque-Conductor FRIDAY NATIONAL INVITATIONAL BAND FESTIVAL CAROLINA YOUTH CHORALE APRIL 21 Frank Battisti, Donald Hunsburger, Andre Thomas-Conductor ($545.00) Craig Kirchhoff, Robert Reynolds- Adjudicators

SUNDAY NATIONAL YOUTH CHOIR SATURDAY NATIONAL INVITATIONALORCHESTRA MARCH 19 Moses Hogan-Conductor APRIL 22 FESTIVAL 8:00 PM NATIONAL CHILDREN'S CHOIR ($545.00) Frank Battisti, Donald Hunsburger, Janeal Krehbiel-Conductor 0 Larry Rachleff-Adjudicators

SUNDAY FLORIDA YOUTH CHORALE SUNDAY SOUTHERN BAND FESTIVAL MARCH 26 Anton Armstrong-Conductor APRIL 30 (A very Fisher Hall/Lincoln Center) 8:00 PM SOUTHEAST MIDDLE SCHOOL CHOIR 8:00 PM Henry Leek-Conductor ($635.00)

SUNDAY NATIONAL YOUTH oCHOIR SUNDAY UTAH YOUTH CHORALE APRIL 2 Paul Oakley-Conductor JUNE 25 wm Kesling-Conductor 8:30 PM NATIONAL CHILDREN'S CHOIR 8:00 PM Henry Leek-Conductor

SUNDAY NATIONAL YOUTH CHOIR SATURDAY SALUTE TO CANADA APRIL 9 Eph Ehly-Conductor JULY 1 Robert Cooper-Conductor 8:00 PM NATIONAL CHILDREN'S CHOIR 8:00 PM Henry Leek-Conductor

MallY other dates are also available. YOllr choir may joill YOllr OWII or allother state for per/ormallces. Please call/oro more ill/ormatioll alld additiollal dates. *Prices for some programs mayOdiffer due to program content. YOUTH CHORALE AT CARNEGIE HALL $640 per person, except where otherwise noted Commemorative T-shirt Orientation Session upon arrival Commemorative Plaque for your School Three nights hotel accommodations in quad rooms Certificate of Achievement for each student All hotel taxes, both city and state Guest Conductor for your performance Hotel baggage handling upon arrival and departure (1 bag per • Rehearsal Hall expenses and rental person) • Carnegie Hall rental and promotional fees Attend a Broadway Show oAccompanist fee Admission to the Observation Deck of the Empire State Bus transportation on performance day, where necessary Building • Field StudiesoEscort to accompany group on sightseeing Admission to the Statue of Liberty/Ellis Island National activities Parks Audio Cassette of your performance (one tape per school) One chaperone free for each 20 paying We will happily help you with meals, transportation and other exciting New York activities, to make your planning very simple.