CONTENTS May 2019/ Volume 59, Number 10

FEATURES

8 Choral Music Composed by Women: A Brief History by Matthew Hoch and Linda Lister

20 William Levi Dawson: Reexamination of a Legacy by Vernon Huff ARTICLES

4499 OOnn thethe VoiceVoice ““PutPut MMee IIn,n, CCoach!”oach!” RRethinkingethinking tthehe NNeedseeds ooff tthehe VVocalocal AAthletesthletes oonn YYourour TTeameam bbyy NoëlNoël AArchambeaultrchambeault aandnd BBlakelake SSmithmith

5599 RRehearsalehearsal BBreakreak IInspiringnspiring a GrowthGrowth MMind-Setind-Set iinn tthehe CChoralhoral CClassroomlassroom bbyy MatthewMatthew PPottertonotterton On the Cover This month’s cover article highlights a brief history of choral music composed by women. 6633 CChoralhoral ConversationsConversations A ConversationConversation wwithith EEmmamma LLouou DDiemeriemer Annual dues (includes subscription to the Choral Journal): bbyy AmandaAmanda BumgarnerBumgarner wwithith HHilaryilary AApfelstadtpfelstadt Active $125, Industry $150, Institutional $125, Retired $45, and Student $35. Library annual subscription rates: U.S. $45;

Canada $50; Foreign $170. Single Copy $3; Back Issues $4. 6677 RRepertoireepertoire & RResourcesesources - VocalVocal JazzJazz Circulation: 18,000. Main offi ce: 405-232-8161 GGunnarunnar RReynireynir SSveinsson:veinsson: Jazz-InJazz-Infl uuencedenced CChoralhoral MMusicusic bbyy SarinSarin WWilliamsilliams The Choral Journal (US ISSN 0009-5028) is issued monthly except for July by the American Choral Directors Associa- tion. Periodicals postage paid at Oklahoma City, Oklahoma, Basso Profundo and additional mailing offi ce. HALLELUJAH, AMEN! A section focused on Music in Worship POSTMASTER: Send address changes to Choral Jour- nal, 545 Couch Drive, Oklahoma City, Oklahoma 73102. 3355 SSacredacred MusicMusic PublicationPublication inin thethe SecondSecond HalfHalf ofof thethe TwentiethTwentieth CenturyCentury Since 1959, the Choral Journal has been the refereed, internation- al journal of the American Choral Directors Association. Each bbyy TimTim SharpSharp issue features: scholarly articles, anonymously peer-reviewed by the editorial board; refereed articles on pedagogical or scientifi c 4455 SSacredacred MusicMusic ChoralChoral ReviewsReviews issues for the choral conductor; refereed articles with practical advice and ideas for the choral conductor; reviews of books, re- corded sound, and choral works by choral experts; and editorials REVIEWS from association leadership. The January issue previews each year’s regional or national conference off erings. Articles from the Choral Journal can be found in the following online databases: 83 Recorded Sound JSTOR (Arts & Sciences XI Collection); ProQuest (International Index to Music Periodicals); University Microfi lms International; NaPublishing; RILM (Répertoire International de Littérature EDITORIAL Musicale); EBSCO music index; and WorldCat. Advertising options are available for members and nonmembers. Cover art 2 FFromrom thethe ExecutiveExecutive DirectorDirector by Efrain Guerrero. Interior art by Tammy Brummell. Musical 4 FFromrom thethe PresidentPresident examples by Tunesmith Music . Copyright 2019 5 FFromrom thethe EditorEditor

STANDING COMMITTEES From the Advocacy & Collaboration EXECUTIVE DIRECTOR CCo-Chairso-Chairs Robyn Lana [email protected] This month’s Choral Journal continues the quarter- Lynn Brinckmeyer ly practice of highlighting music in worship, one of [email protected] ACDA’s signifi cant areas of Repertoire and Resourc- CCompositionomposition IInitiativesnitiatives es, in our “Hallelujah, Amen!” feature.

CChairhair Vocal and choral music have been central to wor- Dominick DiOrio ship since the earliest record of activity by faith com- [email protected] Tim Sharp munities. By all accounts, the faithful have used vocal DDiversityiversity IIssuesssues music to freight their prayers, praises, celebrations, lamentations, affi rmations, and beliefs as they model their images of the CCo-Chairso-Chairs Creator, aspirations and beliefs of life and afterlife within God’s creation, Eugene Rogers [email protected] and life in communion as believers. In the Hebrew Scriptures, Zephaniah Penelope Cruz 3:17 records that God even models the act of singing over creation: [email protected] The LORD your God is in your midst, a mighty one who will save; EEducationducation & CCommunicationommunication God will rejoice over you with gladness; God will quiet with love; CChairhair God will exult over you with loud singing. Jamila McWhirter [email protected] Similarly, humankind has exulted over creation with singing. Further, IInternationalnternational AActivitiesctivities singing within the faith community is signifi cant enough to merit instruction. CChairhair In 1 Chronicles 15:22, tasks are assessed and assigned as a part of temple T.J. Harper worship: “Kenaniah, the head Levite, was chosen as the choir leader because [email protected] of his skill.” (New Living Translation) RRepertoireepertoire & RResourcesesources Faith communities have gathered to celebrate and ceremonialize all of

CChairhair the activities that are important to them in their gatherings. These celebra- Amy Blosser tions include even the ordering of time itself throughout the year. The liter- [email protected] ature accompanying acts of prayer, praise, and belief has accordingly been RResearchesearch & PublicationsPublications categorized by church and synagogue within Holy Scriptures. In the Greek scriptures’ account of Paul’s letter to the Ephesians, the faithful are given a CChairhair John Silantien lexicon of ways to off er belief: “Speak to one another with psalms, hymns, [email protected] and spiritual songs. Sing and make music in your hearts to the Lord.” (Ephe- sians 5:19) Models, instructions, admonitions, and methods of singing are mentioned ADVOCACY STATEMENT regularly and throughout Scripture and ecclesiastical documents, and be- cause vocal music possesses an emotional connection to textual meaning, the Whereas the human spirit is elevated to motivation to sing has never been in question within sacred settings. In the a broader understanding of itself through Catechism of the Catholic Church related to liturgical music, St. Augustine study and performance in the aesthetic is quoted as saying, “well sung is twice prayed.” In the spirit of St. Augus- arts; and Whereas serious cutbacks in funding tine’s quote, a clue as to why vocal music may be so important in the gath- and support have steadily eroded state in- ering of the faithful within sacred communities is off ered in Isaiah 55:8–9: stitutions and their programs throughout the country; For my thoughts are not your thoughts, neither are your ways my Be it resolved that all citizens of the ways saith the Lord. For as the heavens are higher than the earth, United States of America actively voice so are my ways higher than your ways, and my thoughts than your affi rmative and collective support for nec- essary funding at the local, state, and na- thoughts. (King James Version) tional levels of education and government to ensure the survival of arts programs for this and future generations. 2 CHORAL JOURNAL May 2019 Volume 59 Number 10 The 12 Purposes EXECUTIVE DIRECTOR'S of ACDA LOG

• To foster and promote choral What's on singing, which will provide Tim's daytimer? Singing may be humankind’s re- artistic, cultural, and spiritual sponse to that understanding of “high- experiences for the participants. er thoughts.” It is one thing to pray or recite Psalm 100: • To foster and promote the finest May 11-12 Shallowford types of choral music to make Presbyterian Church Shout for joy to the Lord, all these experiences possible. Atlanta, GA the earth. Worship the Lord • To foster and encourage with gladness; come before rehearsal procedures conducive May 17-18 Tulsa Oratorio him with joyful songs. Know to attaining the highest possible Chorus that the Lord is God. It is he level of musicianship and artistic Tulsa, OK who made us, and we are his; performance. we are his people, the sheep • To foster and promote the of his pasture. Enter his gates organization and development What's on with thanksgiving and his of choral groups of all types in Tim's Ipad? courts with praise; give thanks schools and colleges. to him and praise his name. For the Lord is good and his • To foster and promote the The Dangerous Act of Worship love endures forever; his faith- development of choral music in Mark Labberton the church and synagogue. fulness continues through all generations. • To foster and promote the Musicianship Composing in Choir organization and development Jody Kerchner and But could it be a higher act to sing of choral societies in cities and Katherine Strand these words by intoning them with communities. plainsong, or in Reformation form of • To foster and promote the The Old Hundredth Psalm, or through understanding of choral music What's Tim's Ralph Vaughan Williams’s setting of as an important medium of Latest App? Old Hundredth, or in the spiritual He’s Got contemporary artistic expression. the Whole World in His Hands, or through Hillsong Church’s music leader Dar- •To foster and promote significant Robokiller lene Zschech’s chorus Shout to the Lord? research in the field of choral music. Further, singing has a unique cohesion due to the continuation and organiza- •To foster and encourage choral tion of sound that keeps participants composition of superior quality. What's Tim Listening to? solidly in the moment. When we sing, not only are the journey and the desti- • To cooperate with all nation in consideration, but also—and organizations dedicated to the development of musical culture Nelly Bly signifi cantly for worship—every in- in America. stance along the journey, requiring con- Stephen Foster stant engagement and presence. Music • To foster and promote The Susquehanna Chorale forces us to be “in the moment” as we international exchange programs connect pitch to succeeding pitch, in involving performing groups, A Hymn to the Mother of God time. conductors, and composers. John Tavener The Sixteen • To disseminate professional news and information about choral music. HHearear mmoreore aatt <.www.acda.org>. [email protected] LLogog iinn aandnd cclicklick onon thethe —ACDA Constitution FFirstirst LListenisten iiconcon and Bylaws From the NATIONAL OFFICERS PRESIDENT

President Tom Shelton [email protected] I’m still on an emotional high from attending the 2019 National ACDA Conference in Kansas City. Vice President This conference was exceptional! wCongratulations Lynne Gackle to Lynne Gackle and the entire conference commit- [email protected] tee for bringing their vision to life! It truly was life President-elect changing. Tom Shelton Andre Thomas I love the quote from Walt Disney: “If you can [email protected] dream it, you can do it.” Congratulations to all the Secretary/Treasurer choirs, conductors, interest session presenters, and anyone who had a Tom Merrill leadership role in this conference. You showed us your dreams in full [email protected] color, and it was a beautiful experience.

Past President We had 20+ ACDA student chapter members who attended from Mary Hopper Westminster Choir College. I met with them after the conference to [email protected] “de-brief ” their experience and discuss what concerts and sessions had a profound impact on them. As I listened, I noticed a “theme” of what Executive Director they found infl uential: making a diff erence in our ever-changing society. Tim Sharp The subjects dealt with homelessness, hopefulness, transgender singers, [email protected] diversity, and the realities of dealing with Alzheimer’s Disease. Central Region President Using music as our vessel, we have the opportunity to make an im- Mark Munson pact on the community in various ways. These interest sessions and con- [email protected] certs plant seeds with the attendees that are sown across the nation and

Eastern Region President internationally. It’s amazing what inspires each of us and what we can Peggy Dettwiler bring home that will make a direct impact on our own communities. pdettwil@mansfi eld.edu I taught middle school for eighteen years and have worked with Chil- dren’s Choirs for almost thirty years. I’m always looking at how these North Central Region President genres are represented at our conferences. I’m thrilled to say that I’ve Rhonda Fuelberth [email protected] never seen more representation for these areas than at this conference! Bravo to the conference committee for representing these important age Northwestern Region President groups. The inclusion of Children and Youth at our conference is an Brian Galante important message to send to the world. [email protected] The conference schedule was jam packed! There’s no way anyone Southern Region President could go to everything, so I don’t want any of the participating choirs Gary Packwood or interest sessions to feel unappreciated. You were all AMAZING and [email protected] your eff orts to bring your artistry to the national stage are recognized and appreciated. Southwestern Region President ACDA will never be “all things to all people,” but we are sincerely Julie Yu-Oppenheim [email protected] trying to represent all of our constituents. Bravo, Lynne Gackle, on a job well done! Western Region President

Travis Rogers [email protected]

Industry Associate Representative Kathy Fernandes J.W. Pepper [email protected]

4 CHORAL JOURNAL May 2019 Volume 59 Number 10 From the Choral Journal EDITOR Editor Our cover article this month shines a spotlight on Amanda Bumgarner ACDA National Offi ce choral music composed by women. Authors Matthew 405-232-8161 (ex. 205) Hoch and Linda Lister share an overview of female [email protected] composers, starting with sixteenth-century madrigal- ist Maddalena Casulana and moving through Ba- Managing Editor roque, Romantic, and Modern Eras, grouping com- Ron Granger ACDA National Offi ce posers by location where appropriate. As the authors Amanda Bumgarner 405-232-8161 write in the article’s conclusion: “The rich catalog of [email protected] works produced by the women composers introduced in this article deserve to be explored, programmed, sung, and celebrated on Article Reviewers a regular basis. If we do not actively engage in this eff ort, think of the mag- Hilary Apfelstadt nifi cent choral repertoire that we, and future generations, will never have [email protected] the privilege of hearing or singing.” This feature article pairs well with the Kristina Boerger subject of the Choral Conversations column: an interview with composer [email protected] Emma Lou Diemer. Steve Grives The second feature article highlights another composer: William Levi [email protected] Dawson (1899-1990) in the 120th anniversary year of his birth. Dawson’s arrangements of spirituals elevated the genre as thousands attended perfor- Michael Porter [email protected] mances of Dawson’s Tuskegee Institute Choir. This article compares four of Dawson’s arrangements to earlier settings of the same tunes. For readers William Weinert interested in learning more about Dawson, see the following Choral Journal [email protected] articles: “William Dawson and the Copyright Act,” by John B. Haberlen Giselle Wyers (March 1983); “William Dawson and the Tuskegee Choir,” by Mark Hugh [email protected] Malone (March 1990); “In Memoriam: William Dawson (1899-1990)” (Au- Column Editors gust 1990); “William Levi Dawson’s Life in Speeches, Letters, and Writ- ings,” by Vernon Huff (August 2014). Duane Cottrell Our quarterly Hallelujah, Amen section is back with an article from Tim [email protected]

Sharp titled “Sacred Music Publication in the Second Half of the 20th Kevin Dibble Century.” This article was anonymously vetted through the submission [email protected] process and attempts to, as the author states in the introduction, “describe Christopher Eanes the conditions that led to this era of professionalization and commercializa- christopher.eanes@ tion, and to survey the composers who contributed to this period of intense cincinnatiboychoir.org church music attention and activity.” Sacred music choral reviews are also Patrick K. Freer included in this section. [email protected] A number of other articles are featured in this May issue, including an Kyle Hanson R&R Jazz column, an article on “mind-set theory,” an On the Voice sub- [email protected] mission, and Recorded Sound Reviews. As we consider how best to support the work you do throughout the year, please take a moment to head to acda. Jason Paulk org and select your “activity type” on your personal profi le. If you have any [email protected] questions about how to do this, contact the national offi ce. And as always, David Puderbaugh if you have a reaction to anything you see in Choral Journal, please feel free [email protected] to write in with a “Letter to the Editor.” Gregory Pysh [email protected]

ChorTeach Editor

Terry Barham [email protected] CHORAL JOURNAL May 2019 Volume 59 Number 10 5 International Calendar of CHORAL EVENTS

9th World Choir Festival on Mu- Contact: Modfestivals, Internation- 10th Salerno Festival, Interna- sicals, Thessaloniki, Greece, al Chamber Choir Competition, tional Choral Festival, Salerno, May 10-12, 2019. Non-competitive Email: offi [email protected] Neaples and Amalfi Coast, Ita- choral event for all types of choirs Website: www.modfestivals.org ly, July 3-7, 2019. Five days of mu- and vocal ensembles all over the sic, art, culture and sun! world with audience prize awarded Harold Rosenbaum’s Choir Contact: Federazione Nazionale to the best choir at each concert. Concert Tour of Ireland, Ire- Italiana Associazioni Regionali Contact: Choir Korais- land, June 23- July 1 2019. For Corali (FENIARCO) Email: [email protected] singers as well as non-singers. Rep- Email: [email protected] Website: www.xorodiakorais.com ertoire: Faure’s Requiem. Website: www.feniarco.it Contact: The Harold Rosenbaum Festival de la Voix, Château- Institute 13th Summa Cum Laude Inter- roux, France, May 16-19, 2019. Email: national Youth Music Festival, Concerts, workshops, open stages. [email protected] - Vienna, Austria, July 5-10, 2019. Contact: CEPRAVOI Website: haroldrosenbaum.com/ Cross-cultural and musical exchange Email: [email protected] institute.shtml event including workshops, lectures, Website: seminars, concerts in and around www.festivaldelavoix-chateauroux.fr Irish International A Cappella Vienna, competition with an inter- Festival 2019, Dublin, Ireland, national, and highly renowned jury. 9th International Choral Festi- June 28-30, 2019. Competition Contact: CONCERTS-AUSTRIA val Chernomorski zvutsi, Bal- aiming at both small ensembles and Email: offi [email protected] chik, Bulgaria, June 5-9, 2019. large choruses performing contem- Website: www.sclfestival.org Festival and competition for all kind porary a cappella repertoire. Also of choirs. Workshops with with com- open to barbershop. 6th International Choir Festival poser-conductor and well-known Contact: Ardú Vocal Ensemble Coralua, Trondheim, Norway, choral experts. Email: [email protected] July 13-19, 2019. For children, mid- Contact: Website: www.irishacappella.com/ dle school and adult choirs. Choral Association Musical World-Balchik workshops with Javier Busto (Spain) Email: Chanakkale International and Sanna Valvanne (Finland). Sing- [email protected] Choir Festival and Competi- ing Tour in Norway, discover the Website: tion, Chanakkale, Turkey, July beautiful village of Røros. Concerts www.chernomorskizvutsi.com/ 2-7, 2019. Non-competitive festival in the best venues of Trondheim and or competition for female, male, Røros. 16th International Chamber mixed adults, mixed youth, mixed Contact: Coralua Choir Competition Marktober- children, and folk choirs from all Email: [email protected] dorf 2019, Germany, June 7-12, over the world. Website: www.coralua.com 2019. Two categories: mixed choirs Contact: Çanakkale Onsekiz Mart and popular choir music (number Üniversitesi Gondwana World Choral Festi- of singers from 16 to 32). Two com- Email: val, Sydney, Australia, July 15- petitions rounds: 20 minutes includ- [email protected] 21, 2019. Celebrating the 30th an- ing compulsory work and 10 min- Website: niversary of the Sydney Children’s utes programme of the choirs own www.canakkalekorofestivali.com/ Choir during a week of concerts, re- choice. citals, workshops, masterclasses and panel discussions. Venues: The con-

6 CHORAL JOURNAL May 2019 Volume 59 Number 10 International News cert hall of the Sydney Opera House and the Sydney Conservatorium of WORLD CHORAL EXPO Music. LISBON, PORTUGAL Contact: Gondwana Choirs, July 27 – August 1 2019 Email: [email protected] “Voices Meeting for a Better World” Website: gondwana-wcf.org.au/ The IFCM World Choral EXPO aims to provide an opportunity for choral singers, choral professionals, conductors, composers and 12th Grand Prix Pattaya, Patta- music educators to interact with and learn from world-renowned ya, Bangkok, Thailand, July 17- choirs and their conductors. The 2019 theme – Voices Meeting for a 24, 2019. Festival and Grand Prix Better World – encourages global friendship, cultural understanding, competition including 15 categories and world peace. With a common love for choral music, perform- for all kind of choirs from around ers, participants, exhibitors and sponsors will gather to make lifelong the world. friendships and to inspire musicians, regardless of technical level. The Contact: Festa Musicale, EXPO will take place in Lisbon, Portugal, July 27-August 1, 2019. Email: [email protected] The EXPO will feature numerous concerts throughout Lisbon and its Website: https://festamusicale.com/ surrounding cities, presented by participant choirs and leading choral en/festivals/grand-prix-thailand/ ensembles of the highest quality from diff erent continents. One of the gala concerts, the Colorful Voices Program, will be dedicated to July 27, 2019. Bali Cantat, Choir the music of children and youth choirs with an extraordinary vari- clinics and workshops, evaluation ety of artistic proposals, presenting young artists performing at the performances, friendship concerts, highest level. Participating choirs and individuals may choose to work choir competition, choir champi- with and/or observe international choral experts. See World Choral onship, Grand Prix championship, EXPO 2019 for more information with participating conditions and 'Meet the Jury' consultation. registration details. Follow the World Choral EXPO Facebook page Contact: Bandung Choral Society, for details. Tommyanto Kandisaputra, Email: [email protected] Website: www.bandungchoral.com IFCM 4TH INTERNATIONAL COMPETITION FOR CHORAL COMPOSITION 12th Orientale Concentus In- ternational Choral Festival, The International Federation for Choral Music (IFCM) announces Singapore, July 29 - Aug 1, 2019. the Fourth International Competition for Choral Composition, the Competition for mixed, equal voic- chief aim of which is to promote the creation and wide distribution of es, children’s, folklore and chamber new and innovative choral repertoire. Participation is open to compos- choirs. Opportunity for all choirs to ers of any nationality or age. The Competition is dedicated to choral step into a holistic and memorable compositions a cappella (SATB or divided into as many as eight parts, international choral learning jour- SSAATTBB) with a maximum duration of 5 minutes, specifically ney, all in one place. for medium to advanced choirs. The text of the composition, sacred Contact: ACE 99 Cultural Pte Ltd. or secular, in any language, written for the occasion or pre-existing Email: [email protected] should be in the public domain. If not, permission in writing must Website: be obtained from the author or copyright holder of the text and must www.orientaleconcentus.com/ be enclosed with the entry form. The entry fee is only $25.00! Apply April 1 to September 30, 2019!

CHORAL JOURNAL May 2019 Volume 59 Number 10 7 CHORAL MUSIC COMPOSED BY WOMEN A Brief History Matthew Hoch and Linda Lister

Matthew Hoch Associate Professor of Voice, Auburn University Choirmaster and Minister of Music Holy Trinity Episcopal Church in Auburn, AL [email protected]

Linda Lister Associate Professor of Voice and Director of Opera University of Nevada, Las Vegas [email protected]

8 CHORAL JOURNAL May 2019 Volume 59 Number 10 An alternative version of this article appears polyphonic secular and sacred music as a chapter in the book So You Want to written by women. Sing Music by Women (Rowman & Littlefi eld, 2019).1 Women Composers of Although women composers are Choral Music before 1800 now a formidable force in the choral Although there is evidence of world, this has largely been a twenti- compositional activity by women in the eth-century development. Ever since genres of plainchant and monophonic biblical times—and perhaps before secular song during the Medieval era, that—men and women have sung the earliest known female composer together as a part of sacred worship. of polyphonic choral music was Beginning with the development of the sixteenth-century madrigalist Gregorian chant during the eighth Maddalena Casulana (ca. 1544– century, this music began to be no- ca. 1590). Casulana, an Italian, was tated in preserved manuscripts. This a lutenist and singer in addition to means that vocal works are the oldest being a composer. She is best known form of Western music, comprising for her three books of madrigals, all most of the repertoire of the Medie- of which were published during her val and Renaissance eras. But because lifetime—in 1568, 1570, and 1583. women assumed such a marginal role This publication record was an in the Catholic church, forbidden extraordinary feat for a Renaissance from entering the priesthood or lead- woman composer. “Morir non può ing any kind of liturgy (except within il mio core”—a four-voice madrigal the all-female convents), virtually all from Il primo libro di magrigali (the fi rst of the polyphonic vocal repertoire collection)—is a work fi rmly rooted composed before 1600 was written in the Italian madrigal style of the by men. The story of female compos- sixteenth century, and its counterpoint ers of choral music begins just before and text painting are representative the dawn of the Baroque era, when a of Casulana’s mature compositional lone madrigalist and a handful of am- style. bitious nuns began creating the fi rst

CHORAL JOURNAL May 2019 Volume 59 Number 10 9 CHORAL MUSIC COMPOSED BY WOMEN A Brief History

In the early Baroque era, there was also a fl urry of sa- Marianna von Martines (1744–1812), whose master- cred music composition by women that emanated out of piece is her 1774 motet Dixit Dominus. This major work is Italian convents. The earliest known works were penned scored for chorus, soloists, and full orchestra. But Mar- by the Aleotti sisters: Rafaella Aleotti (ca. 1570–1646) tines was a composer of great privilege; she was born and her younger sister, Vittoria Aleotti (ca. 1573– into a wealthy family, and her father was maestro di cap- 1620). Rafaella took her vows at the San Vito convent pella to the papal embassy in Vienna. Most choral mu- in Ferrara in 1590 and soon became the musical director sic was written for the church, and church music was a of an ensemble of twenty-three singers and instrumen- man’s profession. As a result, very few women composed talists. As a result of this position, she had the opportu- choral works during the eighteenth century. nity to write not only for voices but also “harpsichord, As the Romantic era dawned, more names of lutes, viols, fl utes, cornetts, and trombones”—foreshad- women composers began to emerge, but the works they owing the emerging Baroque ensembles of the turn of produced were overwhelmingly songs and piano music. the century.2 In 1593, she published a book of motets for There were, however, some women who tackled the fi ve, seven, eight, and nine voices with instrumental ac- choral genre, and they did so in a major way, producing companiment. Her motets “show a thorough mastery of a collection of major choral-orchestral works. Between contrapuntal technique, rhythmic vitality, and sensitivi- 1800 and 1925, four names stand out as the most ty to the meaning of the texts.”3 Although the younger important women composers of choral music. These Aleotti, Vittoria, was also a nun in the same convent as individuals also—perhaps not surprisingly—occupied her sister, she focused more on secular works, publishing positions of privilege not aff orded to most women from several madrigals during her lifetime. this time period: they all came from prominent musical The two most signifi cant women composers of the Ital- families or enormous wealth, which opened doors ian Baroque era were Chiara Margarita Cozzolani that were closed to most nineteenth-century and early (1602–1678) and Isabella Leonarda (1620–1704). twentieth-century women. Their names are familiar Margarita Cozzolani was born into a wealthy family in to anyone who studies the history of women in music: Milan. She took her vows in 1620 at the age of eighteen, Fanny Hensel (1805–1847) of Germany, Ethel Smyth at which time she took “Chiara” as her religious name. (1858–1944) of England, Amy Beach (1867–1944) of All of her works were published between 1640 and 1650, the United States, and Lili Boulanger (1893–1918) of although many have been lost. Today, Cozzolani is best France. known for her Concerti sacri (1642) and Salmi à otto voci con- Fanny Hensel, the older sister of Felix Mendelssohn certati (1650). Her two settings of the Magnifi cat canticle (1809–1847), is well known for her songs and piano mu- are from this latter collection. Like Cozzolani, Isabella sic, but many people do not realize that she also com- Leonarda was also a nun. Leonarda lived in Novara, posed twenty-eight choral works. Three of these are a city in the Piedmont region in the far north of Italy. major choral-orchestral works—an oratorio titled Or- She published an astonishing twenty volumes of music atorium nach den Bildern der Bibel and two cantatas, Hiob during her lifetime, including three mass settings and (Job) and Lobgesang—the only such pieces by a woman various motets, litanies, Magnifi cats, Marian antiphons, composer during the fi rst half of the nineteenth century. and psalm settings. Most of her works are settings for one All three of these compositions were written in 1831. to four voices with continuo. Leonarda’s entire oeuvre is Other choral works include pieces for SATB chorus and sacred. piano, two vocal quartets (one for SATB and one for TTBB), and several a cappella works.4 Her most popular and often-performed choral works are her six partsongs The Long Romantic Era: 1800–1930 for SATB voices a cappella, which were published to- The Viennese Classical era aff orded few opportunities gether as a collection titled Gartenlieder, Op. 3, in 1846. for women to compose, and those who did seemed to In nineteenth-century Germany and Austria, partsongs avoid the choral genre. The lone exception seems to be were usually four-part lieder that set German Romantic

10 CHORAL JOURNAL May 2019 Volume 59 Number 10 poser of choral music. Her dozens of works include “one mass, one Anglican service, approximately ten can- ticle and related service settings, twenty-four anthems and motets, and thirty-four secular works (twenty for fe- male chorus, four for children, four for male chorus, and six for mixed voices).”9 Her four most important sacred works are the Mass in E-flat, Op. 5 (1890), Festival Jubilate, Op. 17 (1893), Service in A, Op. 63 (1905), and the Canticle of the Sun, Op. 123 (1924). Some of the most prominent ensembles in the Northeast premiered these works: the Mass in E-flat was performed by the Handel and Haydn Society in Boston on February 2, 1892, and the Service in A was performed by Emmanuel Church in Boston and Partsong Performance at a Nineteenth-Century Liederabend St. Bartholomew’s Episcopal Church in New York City in 1906. Festival Jubilate is believed to be the fi rst work poetry. The Gartenlieder set three poems by Joseph Frei- commissioned of an American woman composer; it was herr von Eichendorff (1788–1857) and one poem each performed at the dedication ceremonies of the Women’s by Ludwig Uhland (1787–1862), Emanuel von Geibel Building at the Chicago World’s Columbian Exposition (1815–1884), and her husband, Wilhelm Hensel (1794– in 1893. Canticle of the Sun, which also premiered at St. 1861).5 Bartholomew’s Episcopal Church, sets an English trans- In England, Ethel Smyth is remembered by the cho- lation by Matthew Arnold (1822–1888) of the Canticum ral world for her colossal one-hour choral-orchestral Solis of St. Francis of Assisi (1181/82–1226). Beach’s work the Mass in D. Smyth composed the work during most well-known secular works include Three Shakespeare the summer of 1891 while she was a guest of the Em- Choruses, Op. 39 (1897), The Sea-Fairies, Op. 59 (1904), press Eugénie (1826–1920) at Cape Martin.6 The mass and The Chambered Nautilus, Op. 66 (1907). was orchestrated over the next eighteen months, and the Although she died at the young age of twenty-four, premiere took place at Royal Albert Hall in London on Lili Boulanger nevertheless produced an extensive cat- January 18, 1893, in a performance by the Royal Cho- alog of works, and her oeuvre includes fi fteen choral ral Society conducted by Joseph Barnby (1838–1896). pieces: eight for chorus and orchestra, three for chorus The Mass in D is unique because of its unconventional and orchestra or piano, and four for chorus and piano.10 six-movement structure and reordering of the fi ve texts Her best-known and most often-performed choral works of the mass ordinary; Smyth splits the Sanctus-Bene- are her three psalm settings for chorus, soloists, and or- dictus into two separate movements, and—more sig- chestra: Psalm CXXX (“Du fond l’abîme”), Psalm XXIV nifi cantly—stations the Gloria last instead of second. (“La terre appartient à l’Éternel”), and Psalm CXXIX Smyth wrote that her that her rationale for reordering (“Ils m’ont assez opprimé).11 Other notable choral piec- the movements was because she wanted the piece to end es include four works for a single soloist with chorus: Les triumphantly, which is more diffi cult with an Angus Dei sirènes and Hymne au soleil, both for an alto (or mezzo-so- text.7 Although the Mass in D is by far Smyth’s most fa- prano) soloist; Pour les funérailles d’un soldat for bass; and mous choral work, she also composed Five Sacred Part- Vielle prière bouddhique, a Buddhist prayer with a text from Songs Based on Chorale Tunes (1884), Wedding Anthem (1900), the Visuddhimagga. Psalm CXXX is Boulanger’s most ad- and a cantata titled The Song of Love (1888). She also venturous work, featuring complex rhythms and impres- composed several secular works for choir and orchestra, sionistic harmonies that mark a turning point away from including a cantata titled The Prison (1930), which was Romanticism and toward the new era of Modernism. one of her fi nal works.8 American composer Amy Beach was a prolifi c com-

CHORAL JOURNAL May 2019 Volume 59 Number 10 11 CHORAL MUSIC COMPOSED BY WOMEN A Brief History

The Modern Era: 1930–Present strength and at the same time established some- thing against which to rebel. It is in this context The United Kingdom that the successful compositional careers of Elis- Ethel Smyth may have been the matriarch of women abeth Lutyens, Elizabeth Maconchy, and Thea composers in Great Britain, but for most of her career Musgrave were allowed to fl ourish.13 she was very much a lone woman in a man’s profes- sion, having few female colleagues throughout most of Elisabeth Lutyens (1906–1983) studied at the her long career. The generations that followed Smyth École Normale in Paris and at the Royal College of introduced a surge of women who began contributing Music in London, where she excelled as a violist. Her hundreds of new works to the repertory. In the choral earliest works were twelve-tone and serial, but she soon world, Elizabeth Poston (1905–1987) emerged as the adopted a free chromaticism that characterizes her fi rst important composer of the post-Smyth generation. mature compositions. One of Lutyens’s earliest choral Poston studied at the Royal Academy of Music, where works was a full-length secular oratorio titled Requiem for she met Peter Warlock (1894–1930) and Ralph Vaughan the Living, Op. 16 (1948), a piece she later withdrew from Williams (1872–1958), who both encouraged her work.12 her canon. Her most famous choral works include the Over the next several decades, she wrote several dozen motet Excerpta tractatus logicophilosophici, Op. 27 (1953) for choral works, including Laudate Dominum (1955)—a set- mixed chorus; the cantata De amore, Op. 39 (1957), for ting of Psalm 117 for mixed voices and organ—and soprano and tenor soloists, mixed chorus, and orches- a Magnifi cat for treble voices and organ (1961). Her tra; and The Essence of Our Happiness, Op. 69 (1968), for most frequently performed piece is the a cappella “Jesus tenor soloist, mixed chorus, and orchestra. Elizabeth Christ the Apple Tree,” often presented as a carol during Maconchy (1907–1994) was an astonishingly prolifi c the Christmas season. An advocate for women compos- composer across all genres. At the age of sixteen, she en- ers, Poston served as president of the Society of Women rolled at Royal College of Music, where she studied with Musicians from 1955 to 1961. Vaughan Williams and Charles Wood (1866–1926). Al- But Poston’s conservative compositional style—very though Maconchy is primarily known for her symphonic much in the post-Victorian mold of Vaughan Williams, works and string quartets, she also composed dozens of Gustav Holst (1874–1934), and Herbert Howells (1892– choral works. These pieces—both a cappella and or- 1983)—was not to last for long. An emerging genera- chestrated—are mostly secular, setting texts written by tion of English modernists also began to compose works prominent British poets. Thea Musgrave (b. 1928) is during this time, with three women in particular contrib- a Scottish composer who studied at the University of uting to the choral genre. Musicologist and conductor Edinburgh and with Nadia Boulanger (1887–1979) in Catherine Roma (b. 1948) writes: France. She moved to London in 1954 and ultimate- ly settled in the United States in 1970. Mostly known The importance of the English Musical Renais- for her operas, Musgrave also composed twenty choral sance and the revitalization of the British choral works, most of which are scored for a cappella chorus. tradition cannot be overestimated. Musicolo- Rorate coeli is one of her most interesting choral pieces, gists have looked back, sometimes with disdain, combining two texts: the sacred Latin text “Rorate coeli on the provincialism and resistant shores of En- desuper” and the Medieval poem “Done Is a Battle on gland’s green and pleasant land. In addition, the the Dragon Black” by the Scottish poet William Dunbar various British institutions and individuals dedi- (1459–1520). cated to the performance and promotion of new The next generation of British women choral com- music of native composers laid the groundwork posers were all born in the 1940s. Rhian Samuel (b. for the development of a recognizably nation- 1944) was born in Aberdare, Wales, into a Welsh-speak- al school. The increased compositional activity, ing family. Although she studied at the University of coupled with quality and confi dence, generated Reading in England and at Washington University in St.

12 CHORAL JOURNAL May 2019 Volume 59 Number 10 Louis, she has kept strong ties to her native Wales. Sam- istic paint. The work opens in a dream-like way uel’s vocal and choral compositions sometimes set Welsh where the word “nympheas” rises from the tex- texts, and her 120 published pieces include twenty-one ture like sirens calling. The sound is warm and choral works. dreamy but gradually becomes more worrying. Nicola LeFanu (b. 1947), the daughter of Elizabeth In the middle section all is ice with tiny staccato Maconchy, studied at Oxford University, the Royal Col- chords and long high melodic lines. Finally the lege of Music, and Harvard University. She later taught summer returns, ecstatically, and the water lilies composition at Kings College, London, and the Univer- fl ower.14 sity of York, retiring in 2008. She has published over one hundred compositions, including eighteen choral Roxana Panufnik (b. 1968) is an English compos- works. Her most well-known choral pieces are three can- er of Polish heritage. The daughter of Polish conductor tatas published by Novello: The Valleys Shall Sing (1973), Andrzej Panufnik (1914–1991), she studied at the Royal Like a Wave of the Sea (1981), and Stranded on My Heart Academy of Music before embarking on her compo- (1984). Hilary Tann (b. 1947), another Welsh compos- sitional career. Her most famous choral works include er, holds degrees from the University of Wales, Cardiff , Westminster Mass, commissioned in 1997 by the West- and Princeton University. Although primarily an instru- minster Cathedral Choir to celebrate the seventy-fi fth mental composer, she has composed approximately one birthday of Cardinal Basil Hume (1923–1999); Dance of dozen choral works, including several psalm settings. Life, an oratorio commissioned in 2011 by the Tallinn Three additional seasoned women composers of cho- Philharmonic Society in Tallinn, Estonia; and Magnifi cat ral music, all of whom are English, must also be men- and Nunc Dimittis, canticle settings written in 2012 for the tioned. Cecilia McDowall (b. 1951) studied at the London Festival of Contemporary Church Music. Trinity Laban Conservatoire of Music and Dance be- fore proceeding to a marvelous career as a prolifi c and Canada prize-winning composer. Although she has composed Several Canadian women have also made import- across all genres, she is best known for her many cho- ant contributions to the choral repertory. Ruth Wat- ral works and was the recipient of the British Composer son Henderson (b. 1932) is a composer and pianist Award for Choral Music in 2014. McDowall’s commis- who accompanied the Festival Singers of Canada and sions include works for the BBC Singers, Westminster the Toronto Children’s Chorus until her retirement in Cathedral Choir, and the Choir of King’s College, Cam- 2007. Over the course of her long career, Henderson bridge. Judith Bingham (b. 1952) studied voice and wrote over two hundred choral works. In 1992, Voices composition at the Royal Academy of Music, winning of Earth—scored for double SATB choir and children’s the BBC Young Composer Award in 1977. After her choir—won the Canadian National Choral Award for schooling, Bingham sang full time with the BBC Singers Outstanding Choral Composition. A book about her il- for thirteen years (1983–1996); this experience as a per- lustrious career—I Didn’t Want It to Be Boring: Conversations former of choral music was essential to the formation about the Life and Music of Ruth Watson Henderson—was pub- of her mature compositional style. Many of her works lished in 2017.15 Eleanor Daley (b. 1955) was educat- have been recorded by professional choral ensembles. ed at Queen’s University in Kingston, Ontario, and the Water Lilies (1999) is a seven-minute work that is typical Royal Conservatory of Music in Toronto. Since 1982 of Bingham’s compositional approach to choral music. she has served as director of music at Fairlawn Avenue She writes: United Church of Christ in Toronto. Daley has written over one hundred choral works, including commissions The idea was to create a tapestry of sound, from the Toronto Children’s Chorus, Vancouver Men’s multi-dividing the choir and having lots of tiny Chorus, and the American Choral Directors Associa- solos which would further thin out the texture. tion. She has won the Canadian National Choral Award This was something akin to dots of impression- for Outstanding Choral Composition twice: for Requiem

CHORAL JOURNAL May 2019 Volume 59 Number 10 13 CHORAL MUSIC COMPOSED BY WOMEN A Brief History in 1994 and Rose Trilogy in 2004. Her requiem setting is ert Shaw Chorale. It is these arrangements for which Daley’s most frequently heard work and almost perhaps Parker is most famous; they have become staples of the the most famous requiem written by a woman composer. repertoire and have cemented her legacy in the choral Nancy Telfer (b. 1950) is a choral conductor and world. Many people do not realize, however, that Parker composer who has written more than 350 works, many also composed over 250 original choral works. “You Can of which are for choral ensembles. In her compositions, Tell the World” is an excellent example of Parker’s con- she has the reputation for “creative experimentation,” tribution to the choral canon.19 which “is linked with the belief that all music should Although often overlooked in the music history books, delight the ears, capture the imagination of the mind, the contribution of women to church music should be and feed the soul.”16 Larysa Kuzmenko (b. 1956) is mentioned. Three women in particular—Jane Mar- a Toronto-based composer who has written many cho- shall (b. 1924), Emma Lou Diemer (b. 1927), and ral works, including a thirty-minute oratorio titled Golden Natalie Sleeth (1930–1992)—have had enormous Harvest (2016) for SATB chorus, orchestra, and soprano impact on the music programs of small parishes across and baritone soloists. She was commissioned to write a the United States, writing accessible anthems that can choral-orchestral work—Behold the Night (2011)—for the be sung successfully by volunteers in amateur church Toronto Symphony Orchestra and Toronto Children’s choirs. Marshall, who spent her long career as a member Chorus. Stephanie Martin (b. 1962) has written doz- of the sacred music faculty at Southern Methodist Uni- ens of choral works for various combinations of voices. versity, has written many choral octavos, perhaps none A choral conductor and church musician herself, many more famous than “My Eternal King” (1954). Emma of her compositions set sacred texts, including Requiem for Lou Diemer was born in Kansas City, studied at Yale All Souls (2017) and Missa Chicagoensis (2016). Ramona University and the Eastman School of Music, and even- Luengen (b. 1960) and Veronika Krausas (b. 1963) tually settled into a career as a composition professor at are two other Canadian women composers who have the University of California, Santa Barbara. Although made important contributions to the choral repertoire; she composed across all genres, Diemer is particular- and Kathleen Allan (b. 1989) is a young, award-win- ly recognized for contributions to church music in the ning composer who is already making a big impact on form of organ and choral works. Natalie Sleeth majored Canada and the world with her folk-infl uenced compo- in music at Wellesley College before moving to Dallas, sitions. where she became the director of children’s choirs at Highland Park Methodist Church. At the time of her The United States death, she had published over 180 choral pieces. She is As the twentieth century proceeded, choral music by especially known for her children’s choir anthems, many American women composers began to fl ourish. Louise of which were written for her very own children’s choir Talma (1906–1996) studied with Nadia Boulanger in at Highland Park. Paris before settling into a long career teaching at Hunt- Needless to say, the avant-garde music scene of the er College in New York, a position she held from 1928 to mid-century—which found its home in major metropol- 1979. Her seventeen choral works are mostly composed itan areas such as New York, Boston, San Francisco, and in what can be described as an “advanced tonal idiom.”17 San Diego— turned out a very diff erent kind of choral Let’s Touch the Sky (1952)—a setting of three poems by music. Pauline Oliveros (1932–2016), one of the most E. E. Cummings (1894–1962)—is her most recognized important forces in new music of the twentieth century, choral composition.18 Alice Parker (b. 1925) was born employs extended techniques in her most famous cho- in Boston, Massachusetts, and educated at Smith Col- ral work, Sound Patterns, written in 1961. Pozzi Escot (b. lege and Juilliard, where she studied conducting with 1933) was born in New York City, educated at Juilliard, Robert Shaw (1916–1999). During this time she began and joined the faculty of the New England Conserva- making choral arrangements of folk songs, hymns, and tory in Boston in 1964. Her most notable choral work, spirituals that were performed and recorded by the Rob- the Missa Triste of 1981, is a setting of four parts of the

14 CHORAL JOURNAL May 2019 Volume 59 Number 10 mass ordinary in an atypical order—Agnus Dei, Credo, (b. 1923) and Mario Davidovsky (b. 1934) and Colum- Kyrie, and Gloria—“as a representation of peace, belief, bia University, earning her DMA in 1993. She has com- mercy, and glory.”20 Escot’s other choral works include posed dozens of choral works, many of which set Chi- the a cappella works Ainu I (1970) and Visione 97 (1997). nese texts.21 Theodore Presser notes that Chen Yi is a Judith Lang Zaimont (b. 1945) studied at Queens “cultural ambassador” and a “strong advocate of new College and Columbia University, eventually becoming music, Asian composers, and women in music.”22 a professor of composition at the University of Minne- Over the course of the second half of the twenti- sota. Her many choral works include Sacred Service for the eth century and into the new millennium, numerous Sabbath Evening (1976), Serenade: To Music (1981), and Par- women composers have contributed to the American able: A Tale of Abraham and Isaac (1985). choral canon. Libby Larsen (b. 1950)—who earned Gwyneth Walker (b. 1947)—educated at Brown all of her degrees (BM, MM, and DMA) under the tu- University and the Hartt School—enjoys a full-time telage of Dominick Argento at the University of Min- career as a composer. She has written dozens of cho- nesota—has composed over one hundred choral works. ral works, including Harlem Songs (2000), An Hour to Dance Several of her best large-scale works include Dance Set (1998), Appalachian Carols (1998), and The Great Trees (1980), Ringeltanze (1983), A Creeley Collection (1984), and (2009). Walker also has one of the most extensive discog- The Settling Years (1988). Janika Vandervelde (b. 1955), raphies of all the composers discussed in this article. Now another Minneapolis-based Argento protégée, is primar- Let Us Sing! (2007), recorded by the Bella Voce Women’s ily known for her choral music, with commissions and Chorus of Vermont, is an entire CD devoted to Walk- performances from ensembles such as Chanticleer and er’s choral works for women’s voices. Carol Barnett (b. the Dale Warland Singers. The Chicago-born compos- 1949) studied with Dominick Argento (1927–2019) at er Joan Szymko (b. 1957) composes almost exclusively the University of Minnesota. A Minneapolis-based com- for choral ensembles. Eventually settling in the Pacifi c poser, she was composer-in-residence for the Dale War- Northwest, Szymko is conductor of the Aurora Cho- land Singers from 1992 until the ensemble’s disbanding rus—a one hundred-voice women’s chorus—in Port- in 2004. Barnett’s most important works include Cinco land, where she also founded a smaller select women’s poemas de Bécquer (1979), Requiem (1981), Epitaphs (1986), ensemble called the Viriditas Vocal Ensemble. Perhaps and The Last Invocation (1992). not surprisingly, many of her works are written for treble Two foreign-born women composers of this genera- voices. In 2015, Julia Wolfe (b. 1958) won the Pulit- tion have made a signifi cant impact on American cho- zer Prize for Anthracite Fields, a modern secular oratorio ral music. Tania Léon (b. 1943) was born in Havana, about Pennsylvania coal miners. Edie Hill (b. 1962) at- Cuba, where she studied music at the Carlos Alfredo tended Bennington College and the University of Min- Peyrellade Conservatory and the National Conservato- nesota. Her principal composition teachers were Vivian ry. In 1967 she moved to New York City to attend New Fine (1913–2013), Lloyd Ultan (1929–1988), and Libby York University and has based her career there ever Larsen. Hill’s style is more conservative than her Minne- since. A professor at Brooklyn College, her works across sota colleagues Larsen and Vandervelde, as can be heard all genres have been performed by prominent ensembles in the fi ve-minute Alma beata et bella (1999), a setting of a globally. Léon’s choral works are often written for unique fi fteenth-century Italian text commissioned by the Rose combinations of voices and instruments. Inura is scored Ensemble. for SATB voices, strings, and percussion; the work sets texts from the Yoruban Candomblé religion. Chen Yi African American Voices (b. 1953) was born and raised in Guangzhou, China, African American women composers have made an and was the fi rst Chinese woman to receive a master’s important impact on the choral world, bringing their degree in composition from the Central Conservatory heritage, traditions, and stories to an important body of of Music in Beijing. She later moved to New York City, works. Undine Smith Moore (1904–1989) was one of where she studied composition with Chou Wen-chung the most important African American women compos-

CHORAL JOURNAL May 2019 Volume 59 Number 10 15 CHORAL MUSIC COMPOSED BY WOMEN A Brief History

ers of the twentieth century. Although she wrote over The Next Generation: one hundred compositions, only twenty-six of these Women in the New Millenium works were published during her lifetime. Many of these A vibrant generation of female choral composers pieces were choral works, including the oratorio Scenes who were born after 1975 have emerged over the past from the Life of a Martyr (1982) and two cantatas: Sir Olaf several decades, ushering in the next millennium with and the Erl King’s Daughter (1925) and Glory to God (1976). a burgeoning oeuvre of evocative choral works. Anna She is also known for her many arrangements of spiri- Thorvaldsdottir (b. 1977), an Icelandic composer, has tuals. Moore spent most of her career as a professor at had enormous international success as a writer of cho- Virginia State University, where she taught for forty-fi ve ral pieces.26 According to the composer’s website, Thor- years (1927–1972). Bernice Johnson Reagon (b. 1942) valsdottir “works with large sonic structures that tend to enjoys a multifaceted career as a song leader, composer, reveal the presence of a vast variety of sustained sound scholar, and social activist. “Perhaps no individual today materials, refl ecting her sense of imaginative listening better illustrates the transformative power and instruc- to landscapes and nature. Her music tends to portray tion of traditional African American music and cultural a fl owing world of sounds with an enigmatic lyrical at- history… [Reagon] has excelled equally in the realms mosphere.”27 Thorvalsdottir’s success has transcended of scholarship, composition, and performance.23 Her the new music community to many of the world’s ma- choral works include a series of octavos and the Liber- jor orchestras; the New York Philharmonic, Los Angeles ty or Death Suite (2004), which was commissioned by the Philharmonic, and London Philharmonia Orchestra are MUSE-Cincinnati Women’s Choir conducted by Cath- three major orchestras that have performed and pre- erine Roma (b. 1948).24 miered her works.28 Santa Ratneice (b. 1977), a Lat- In recent decades, Rosephanye Powell (b. 1962) has vian composer, is another example of an adventurous emerged as an extraordinary force in the choral world. young woman who is transforming the choral landscape Powell was born in Lanett, Alabama, and studied music with works that challenge singers to explore nontradi- throughout her childhood, eventually earning degrees tional sounds and embrace post–bel canto vocal tech- from Alabama State University, Westminster Choir Col- nique. According to Ratneice’s blog: “words are not lege, and the Florida State University. An accomplished enough to describe her music and illuminate the process singer, Powell has conducted extensive research on the of creation… It is the abundant, plentiful imagination African American spiritual, and her compositional style that charms and even bewitches listeners.”29 “Horo horo “utilizes techniques that refl ect her African American hata hata” is an example of a choral work that is repre- heritage, including layering songs with multiple lines, sentative of Ratneice’s idiosyncratic sonic palette. syncopation, and strong rhythmic emphasis.”25 She has The United States continues to be a fruitful haven received commissions from organizations such as the for aspiring choral composers, and perhaps no city is American Guild of Organists and American Choral more supportive of the genre than Minneapolis, Min- Directors Association as well as numerous ensembles, nesota.30 Abbie Betinis (b. 1980) and Jocelyn Hagen including Chanticleer, Cantus, and the St. Olaf Choir. (b. 1980), both graduates of the University of Minne- One of the best-selling choral composers in the United sota, are two of the nation’s most accomplished young States, her works are published by Hal Leonard, Ox- choral composers. Betinis’s works have achieved positive ford University Press, Alliance Music Publications, and reviews in the New York Times and Boston Globe, and she Shawnee Press. Since 2001 she has served on the mu- has received commissions from many prominent cho- sic faculty of Auburn University, where she is a Charles ral groups, including the Dale Warland Singers and the Barkley Endowed Professor and Professor of Voice. Her Rose Ensemble. Hagen likewise enjoys a regular stream dozens of choral works include “The Word Was God” of commissions and awards from organizations like the (1996), “Still I Rise” (2005), Gospel Trilogy (2015), and The American Composers Forum and prominent ensembles Cry of Jeremiah (2012), a four-movement work for chorus, such as VocalEssence, Conspirare, and the Minnesota organ, and orchestra with narration. Choral Artists. In 2018, Hagen premiered a major work

16 CHORAL JOURNAL May 2019 Volume 59 Number 10 for choir, orchestra, and multimedia video projections (b. 1976) and Anna Clyne (b. 1980).36 titled The Notebooks of Leonardo da Vinci, which has since The future of women in music shows promise in the received performances on both sides of the Atlantic.31 emergence of new opportunities, the increasing accep- Caroline Shaw (b. 1982) is another American tance of gender diversity, and in the budding talent of composer who needs little introduction after bursting young female composers. Although the environment into fame on April 15, 2013—the day she became the is improving, it is still necessary to take a proactive ap- youngest composer in history to win the Pulitzer Prize proach. In the words of Pauline Oliveros: “if a performer for Music at the age of thirty-one. The prize-winning is playing a program, they need to play music by women work was Partita for 8 Voices, which was written for Room- as well as by men. And if an audience goes to a concert ful of Teeth, a new music ensemble with which Shaw and there’s no music by women, they have to confront performs. Another prominent choral work of hers is the management about it. If that doesn’t happen, the Ad manus (“To the Hands”), a “response cantata” that change is not going to take place.”37 was commissioned by the Crossing for their 2016 major Perhaps most important, men need to be proactive work, Seven Responses—a twenty-fi rst-century reimagin- about programming and singing music composed by ing of Membra Jesu Nostri (1680) by Dietrich Buxtehude women. Women don’t only write for women’s voices— (1737/39–1797).32 One of the youngest choral com- there is a wealth of repertoire out there for tenors, bari- posers who has emerged nationally is Dale Trumbore tones, basses, and even countertenors. Male conductors (b. 1987), who has been praised by the New York Times of choral ensembles also need to be mindful about in- for her “soring melodies and beguiling harmonies.”33 cluding women composers on their programs. If every- Her impressively extensive catalog of choral works has one—female and male—got on board with this mission, been performed by the American Contemporary Music the musical landscape of America and the world could Ensemble (ACME), Minnesota Choral Artists, and the change overnight. Los Angeles Master Chorale. Trumbore is a graduate Over the past several decades, professional organi- of the University of Southern California’s composition zations like the American Choral Directors Association program, where she studied with Morten Lauridsen (b. and International Federation of Choral Music have had 1943). “Threads of Joy” (2007) is one of her best-known signifi cant impact on promoting choral music in uni- choral compositions. In 2019 she won ACDA’s Raymond versities, colleges, and public schools. The explosion of W. Brock Professional Composers Award. professional choral ensembles and extensive discography of recordings that these elite groups produce has expo- nentially raised the bar of choral excellence. As a result, Final Thoughts choral culture—in both the United States and abroad— Music composed by women continues to be is thriving in the twenty-fi rst century. The rich catalog of underrepresented on concert programs, and people are works produced by the women composers introduced in starting to notice. Recently, the Baltimore Symphony this article deserve to be explored, programmed, sung, Orchestra completed a survey of twenty-one American and celebrated on a regular basis. If we do not actively orchestras, which revealed that works by women engage in this eff ort, think of the magnifi cent choral rep- composers comprised only 1.8 percent of the 2014– ertoire that we, and future generations, will never have 2015 concert season.34 Prominent female conductor and the privilege of hearing or singing. Baltimore Symphony Orchestra Music Director Marin Alsop (b. 1956) commented: “I thought it was changing, and then it didn’t change.”35 In June 2018, NPR NOTES reported that the Philadelphia Orchestra had no works by women programmed for its 2018–2019 season; but 1 This article is appearing in the Choral Journal with permission by August, public outcry led the orchestra to announce it of the publisher and the National Association of Teachers was adding compositions by two women: Stacey Brown of Singing (NATS).

CHORAL JOURNAL May 2019 Volume 59 Number 10 17 CHORAL MUSIC COMPOSED BY WOMEN A Brief History

2 Adriano Cavicchi and Suzanne G. Cusick, “Rafaella Aleotti,” 15 Hilary Apfelstadt, I Didn’t Want It to Be Boring: Conversations The Norton/Grove Dictionary of Women Composers, ed. Julie about the Life and Music of Ruth Watson Henderson (Toronto: Anne Sadie and Rhian Samuel (New York: Macmillan, Prism Publishers, 2017). 1995): 7. 16 https://www.musiccentre.ca/node/37343/biography; 3 Ibid. A recent doctoral dissertation by Tracy Wei Wen Wong 4 The works for SATB chorus and piano include Zum Fest der also off ers an in-depth study of Telfer’s oeuvre: “From heiligen Cäcilia (1833) and Enleitung zu lebenden Bilder (1841). Page to Performance through Pedagogy: The Choral A cappella choral works include Nachtreigen (1829) and Legacy of Nancy Telfer” (University of Michigan, 2018). Schweigend sinkt die Nacht (1846), both scored for SATB/ 17 Dennis Shrock, Choral Repertoire, 723. SATB double choir; Fanny’s husband, Wilhelm Hensel 18 The three Cummings poems are “anyone lived in a pretty (1794–1861), wrote the text for the Nachtreigen. The how town,” “love is more thicker than forget,” and “if two vocal quartets include the SATB Dämmernd liegt der up’s the word.” Sommerabend and the TTBB Lass fahren hin, both composed 19 At the time of this writing (2019), Alice Parker is ninety- in 1840. The SAB partsongs include Wer will mir wehren three years old and still keeping an extremely active zu singen, O Herbst, and Schweigt der Menschen laute Lust, all schedule traveling the country, headlining conferences, composed in 1846. and leading community hymn sings. In 1984, Parker 5 The specifi c poems set in Gartenlieder are as follows: “Hörst founded the organization Melodious Accord with the du night die Bäume raushen,” “Schöne Fremde,” and mission of presenting concerts, making recordings, “Abendlich schon rauscht der Wald” (Eichendorff); and providing opportunities for advanced study under “Morgengruss” (Hensel); “Im Herbst” (Uhland); and “Im her tutelage. In the summer of 2007, I (Matthew) was Wald” (Geibel). fortunate enough to be selected as a Melodious Accord 6 Cape Martin is a Mediterranean headland in the south of Fellow, which gave me the opportunity to study with France between Monaco and Menton. Alice as part of a small group at her home in Hawley, 7 Christopher St. John, Ethel Smyth: A Biography (London: Massachusetts. Living in the same quarters and cooking Longmans, Green & Co.), 187. Donald Francis Tovey also meals together over the course of three days fostered writes about the deliberate joyous and triumphant nature a unique and unforgettable seminar experience and of the Gloria in Essays in Musical Analysis, Volume V: Vocal revealed the endearing personal touch that Parker brings Music (London: Oxford University Press, 1937), 241–242. to all of her endeavors. 8 Smyth’s secular choral-orchestral works include We Watched 20 Dennis Shrock, Choral Repertoire, 747. Her Breathing through the Night (1876), A Spring Canticle (1903), 21 I (Matthew) had the privilege of working with Chen Yi Hey Nonny No (1910), Sleepless Dreams (1910), and Songs of when the Ithaca College Choir premiered her choral Sunrise (1910). work Spring Dreams in 1998. Her excitement, elation, and 9 Dennis Shrock, Choral Repertoire (New York: Oxford University kindness endeared her to the entire choir. I earned my Press, 2009), 556. BM in vocal performance, music education, and music 10 Ibid., 577. theory from Ithaca College in 1999. 11 Psalm XXIV (Psalm 24) and Psalm CXXIX (Psalm 129) were 22 https://www.presser.com/composer/chen-yi/, accessed both composed in 1916. Psalm CXXX (Psalm 130) was August 25, 2018. written in 1917. 23 https://www.bernicejohnsonreagon.com/about/, accessed 12 Poston’s Two Carols in Memory of Peter Warlock were written in August 24, 2018. 1956. 24 Some of Reagon’s most well-known octavos include Ella’s 13 Catherine Roma, The Choral Music of Twentieth-Century Women Song (1991); Seven Principles (1994); Greed (1995); We Are Composers: Elisabeth Luytens, Elizabeth Maconchy, and Thea the Ones We Been Waiting For (1995); I Remember, I Believe Musgrave (Lanham, MD: Scarecrow Press, 2006), 7. (1995); and Come Unto Me (1999). 14 Judith Bingham, Remoter Worlds: The Choral Music of Judith 25 http://blogs.jwpepper.com/index.php/19-groundbreaking- Bingham (London: Hyperion, 2008): CD liner notes. women-composers-part-2/, accessed August 25, 2018.

18 CHORAL JOURNAL May 2019 Volume 59 Number 10 26 Thorvaldsdottir’s last name is technically spelled 31 The Notebooks of Leonardo da Vinci will receive its European “Þorvaldsdóttir,” but most American publications premiere on July 9, 2019, as part of the Leonard da Vinci transcribe the fi rst character—which exists in Icelandic International Choral Festival. The festival honors the but not English—as Th. fi ve hundredth anniversary of the death of Leonardo da 27 http://www.annathorvalds.com/bio/, accessed August 24, Vinci (1452–1519). 2018. 32 Anna Thorvaldsdottir also contributed a movement to Seven 28 In April of 2018, Esa-Pekka Salonen (b. 1958) led the New Responses titled Ad genua (“To the Knees”). York Philharmonic in the premiere of Thorvaldsdottir’s 33 https://www.daletrumbore.com/about, accessed August 24, Metacosmos, which was commissioned by the orchestra. 2018. The work received its European premiere with the Berlin 34 https://www.bsomusic.org/stories/by-the-numbers-female- Philharmonic, conducted by Alan Gilbert (b. 1967), in composers/, accessed August 15, 2018. January of 2019. 35 Ibid. 29 http://santaratniece.blogspot.com, accessed August 24, 36 Tom Huizenga, “After Criticism, Philadelphia 2018. Orchestra Adds Female Composers to Its New 30 The Minneapolis-St. Paul metropolitan area is nestled in the Season,” NPR, https://www.npr.org/sections/ heart of “Luther Land”—a regional sobriquet refl ecting deceptivecadence/2018/08/02/634864751/after- the deeply rooted choral culture of the upper Midwest. criticism-philadelphia-orchestra-adds-female-composers- Lutheran liberal arts colleges such as St. Olaf, Luther, to-its-new-season, accessed August 13, 2018. Concordia, and Gustavus Adolphus all boast rich and 37 Pauline Oliveros, interview with Tara Rodgers, Pink Noises: storied choral programs and are home to some of the Women on Electronic Music and Sound (Durham, NC: Duke United States’s best choral ensembles. University Press, 2010): 31.

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CHORAL JOURNAL May 2019 Volume 59 Number 10 19 William Levi Dawson (1899 – 1990) Reexamination of a Legacy

Vernon Huff

The year 2019 marks the 120th anniversary of the birth of composer William Levi Dawson (1899-1990). Dawson’s arrangements of spirituals were groundbreaking in the way they elevated the genre. Thousands of people were introduced to spirituals by performances of the Tuskegee Institute Choir, as well as thousands more in the many years since his arrangements were fi rst published. This article will compare four of Dawson’s notable arrangements to earlier settings of the same tunes.

Vernon Huff Coordinator of Choral Ensembles The State University of New York at Fredonia vernon.huff @fredonia.edu

20 CHORAL JOURNAL May 2019 Volume 59 Number 10 Biography

William Levi Dawson was born in the town of As a child, Dawson knew about the Tuskegee In- Anniston, Alabama, in 1899. He grew up surround- stitute in Tuskegee, Alabama—a school fi rst led by ed by music; Dawson’s parents, who were likely for- the famous Booker T. Washington—and yearned to mer slaves themselves, sang the old spirituals to him. go there. Young Dawson saved his money and, with In his article “William Dawson and the Copyright the support of his mother, bought a train ticket and Act,” John Haberlen wrote: left Anniston for Tuskegee at the age of thirteen.2 After graduating from Tuskegee, Dawson contin- “Dawson knew the deep emotional content ued his education at Washburn College, the Horner and mood of the folk songs intimately since Institute of Fine Arts, and at the American Conser- he grew up with them. The songs were a vatory of Music. He was a high school choral direc- part of his consciousness through his child- tor, fi rst trombonist in the Chicago Civic Orchestra, hood experiences. As he recalled the mel- and in 1929 and 1930 he won several notable com- odies and words from the oral tradition, position prizes. Although he led a full life in Chi- Dawson wrote the melodies down from cago, Dawson felt the pull of Tuskegee when Pres- memory, freely improvising as naturally as ident Robert Moton asked him in 1931 to return any good singer would have interpreted the to his alma mater as director of the new School of songs.”1 Music and conductor of the Institute choir. After

CHORAL JOURNAL May 2019 Volume 59 Number 10 21 William Levi Dawson (1899 – 1990)

performing at the opening of Radio City Music Hall tains its original nature. In the following sections, early and in Carnegie Hall in 1933, the choir achieved na- published settings of four spirituals “Ain’t That Good tional success. Regular radio spots and annual nation- News,” “Ev’ry Time I Feel the Spirit,” “Soon I Will Be al tours contributed to the acclaim of the choir and Done,” and “Balm in Gilead”—will be compared to Dawson throughout the country. Dawson retired from William Dawson’s settings. teaching in 1955 but continued to travel around the The fi rst signifi cant publication of spirituals was world, lecturing and conducting festival choirs. Slave Songs of the United States in 1867. William Francis When choosing repertoire for the Tuskegee Insti- Allen, Charles Pickard Ware, and Lucy McKim Gar- tute Choir, Dawson, a composer by trade, set about rison gathered 136 tunes from all over the Southern arranging some of the old “plantation songs” from states into one single volume. Although most songs may his youth.3 Beginning in the 1930s, Dawson published not be familiar to modern audiences, the collection is a many arrangements of spirituals and several original treasure trove of valuable songs and a glimpse into the compositions under the Tuskegee Institute Press la- past. Only the melody line is notated, and no editing or bel (which was later acquired by Neil A. Kjos Music musical harmony was added. The book is still available Co.). As the acclaim of the Tuskegee Institute Choir from Dover Publications.5 grew, so did the appetite for Dawson’s arrangements. In the early part of the twentieth century, many His- Although Dawson’s arrangements have been sung by torically Black Colleges and Universities (HBCU) pub- choirs all over the world, it is important to note that lished anthologies of spirituals arranged in four-part, originally he wrote these pieces for his own ensemble. hymn-like settings. In many instances, university choir The Tuskegee Institute Choir was his laboratory, and directors, many of whom were also published arrang- his arrangements would not have exceeded their abili- ers of spirituals, edited these collections. Contained in ties. With the specifi city of the markings that he put in these volumes are many tunes that would be familiar to his arrangements, one can imagine that Dawson was modern audiences. very demanding of his choristers. Dawson and the Tus- To truly understand the transformative nature of kegee Choir released the album “Spirituals” in 1956,4 William Dawson’s arrangements, it is helpful to exam- just after his retirement from the university, so conduc- ine many of the musical precursors that are available tors can get a sense of the sound Dawson was trying to to us today. Of course, this music is rooted in oral tra- achieve. ditions and was passed on simply by singing the songs. Early twentieth-century devotees to the traditions and importance of spirituals recognized that if the songs Ground-Breaking Arrangements were to be passed on to later generations, they must be Dawson’s arrangements are extraordinary in their written down. The story of the earliest codifi ed versions own right, and when compared to earlier and contem- of spirituals is the eff ort to preserve an integral part of porary settings, they are ground-breaking. Most pub- African American culture and history. lished choral settings of spirituals from this era were One of the earliest books about the spiritual as a set as four-part hymns, but Dawson used his extensive genre is Folk Songs of the American Negro written by John classical training to arrange songs in new, more tech- Wesley Work Jr. (1871-1925) and published by Fisk nically challenging ways. In every piece, however, the University in 1915. Work was the choir director at Fisk main tune is always easily discernible. In an era when in the early part of the twentieth century, and he, along composers were moving toward more and more com- with other members of his family, were important ar- plex musical settings, Dawson could use complex musi- rangers and conductors of spirituals. The book tells the cal language, but never to the detriment or obfuscation story of the history of the spiritual as a genre of music.6 of the original tune. His arrangements are celebrations It examines many of the art form’s musical characteris- of songs from his youth, not merely academic exercises. tics, tells stories associated with many of the tunes, and They are crowd pleasers to be sure, but each piece re- chronicles eff orts to collect and preserve the music. The

22 CHORAL JOURNAL May 2019 Volume 59 Number 10 Reexamination of a Legacy

story of the original Fisk Jubilee Singers, whose early verses. In this piece, as in most settings from this era, tours were instrumental in the popularization of spiri- there are no directions for singers and director, or dy- tuals, is told in great detail. namics or articulation marks. This setting was strictly notes and text. It was Dawson and his contemporaries who took these tunes to the next level with their imagi- “There is a Balm in Gilead” native arrangements. One setting preserved in the book’s pages is “Balm William Dawson’s 1939 setting of the tune is titled in Gilead,” which was based on text from the Old Tes- “There is a Balm in Gilead” and is set for SATB chorus tament book of Jeremiah 8:22—“Is there no balm in and soprano soloist (although a tenor soloist would also Gilead? Is there no physician there? Why then is there be appropriate). Dawson uses an ABABA form, where no healing for the wounds of my people?” (Figure 1). the A is the chorus and the B is the verse. He only uses “Balm in Gilead,” as found in Folk Songs, is set in the the fi rst and third verses of the original tune and has key of B Major in a time signature of 2/4, with a two- the soloist sing the second verse text and the melody in line, standard hymn-like SATB chorus and three solo the fi nal chorus while the choir hums underneath.

CHORAL JOURNAL May 2019 Volume 59 Number 10 23 William Levi Dawson (1899 – 1990)

The opening melody is given to the tenor voice, with and bass are eff ective at pulling the audience in. The the alto part paired in thirds and sixths, and the so- solo is haunting, supported by the underlying humming pranos humming an “A” pitch almost the entire time. of the choir. Although the piece is set in a 4/4 time signature, at “makes the wounded whole, There is a Balm…” Daw- son extends the measure to 6/4 in every instanc so that “Ev’ry Time I Feel the Spirit” the singers can linger on “whole” (Figure 2). This has a The second piece is “Ev’ry Time I Feel the Spirit” subtle eff ect of stretching out the line, which adds em- (Figure 3 on page 25). The earlier setting is found in Re- phasis to that particular word of text. Dawson adds <> ligious Folk-Songs of the American Negro As Sung at the Hamp- markings on the word “wounded” and tenuto markings ton Institute. Originally published in 1874 under the title on the word “sin-sick” to give special emphasis to those Cabin and Plantation Songs As Sung by the Hampton Students, words. the 1929 fourth edition was edited by R. Nathaniel Dett For choirs able to sing a cappella music well, this is (1882–1943). Dett spent nineteen years on the faculty an accessible and dramatic piece. The staggered en- at the Hampton Institute (now Hampton University) as trances of the choir sections tenor, alto, soprano hum, choir director, and modern audiences will know many

24 CHORAL JOURNAL May 2019 Volume 59 Number 10 Reexamination of a Legacy

of his arrangements and compositions, including “Lis- which is reminiscent of a church choir or congregation ten to the Lambs.” His oratorio The Ordering of Moses singing behind a preacher during a worship service. was published in 1937 and has received renewed at- When the chorus returns after the fi rst solo line, the tention in the last few years with notable performances dynamic level is reduced to an unexpected piano, and by major choirs and orchestras. The set- ting examined here is straightforward. In the key of E fl at, the piece comprises a short chorus, which repeats once, followed by three verses, each sung by a soloist. The tempo is marked at 68–72 beats per min- ute. The solo line is rhythmically diffi cult, but the familiar cho- rus is very singable. William Dawson’s arrangement, fi rst published in 1946, has been a staple of church, community, and school choral programs for generations. Comparing the two settings, Dawson’s excellent craftsmanship is apparent. Dawson sets his arrangement at a much quicker tempo, allegro mod- erato, at quarter note equals 120 beats per minute. The fi rst two chords of the piece have fermatas over them—a sure way to grab the attention of the audi- ence, before launching into the opening chorus (Figure 4). Dawson sets only two verses of the original text, and those are reserved for a baritone soloist. The choir hums underneath the solo,

CHORAL JOURNAL May 2019 Volume 59 Number 10 25 William Levi Dawson (1899 – 1990)

Dawson subtly changes the harmony. The half- and “Soon Ah Will Be Done” whole-step motion in the bass line should be pointed “Soon I Will Be Done” is from the Hampton Insti- out to choirs who attempt this work. tute text and is another well-known tune (Figure 6 on As the piece builds toward the fi nale, it is important page 27). The words “Fisk Jubilee Collection, by per- to note the bass line again, as it rolls from measure 41 mission” appear in the margin of the page. This means to the end (Figure 5). As the upper three parts repeat that the piece was borrowed from Fisk University and material found earlier in the piece, the basses sing a may have been performed by the Fisk Jubilee Singers. rapid eighth-note counter melody that draws the lis- “Soon Ah Will Be Done” is set in B minor, in 4/4 tener’s attention all the way until the rit. and allargando time, for SATB choir and soprano soloist (or perhaps before the fermata in the penultimate measure. At the the soprano section sings the solo line). The opening fi nal cadence, the basses enter fi rst on the dominant, melody is notable in that it ascends and descends along ! and with the sopranos, sustain the E while the inner a harmonic minor scale from b1 to b2, while the bass parts sing, “Yes, I will pray” one more time to end the line simply starts by serving as a pedal point at the ton- piece. ic and subdominant in the opening chorus before the authentic cadence at the end. In each of the three vers- es, the soloist sings one line, and the entire choir then

26 CHORAL JOURNAL May 2019 Volume 59 Number 10 Reexamination of a Legacy

repeats the text twice before cadencing in a similar way other early arrangements examined. at the end of the chorus section earlier in the piece. William Dawson’s arrangement of “Soon Ah Will This setting would have been for an SATB choir. Un- Be Done” is one of his earliest published pieces. The like a congregational hymn, the piece is full of crescen- originally copyright is in 1934, three years after he be- dos and decrescendos and markings from mezzo piano to gan his tenure as the conductor of the Tuskegee Insti- forte. These dynamic markings are a departure from the tute Choir. As with the Fisk version, Dawson’s setting

CHORAL JOURNAL May 2019 Volume 59 Number 10 27 William Levi Dawson (1899 – 1990)

is also in B minor, but his tempo marking is much faster phrase “weepin’ and an’ a wailin’,” with portamentos on than the earlier version: half note equals 104 (Figure the word “wailin’” (Figure 8). This has the eff ect of 7). This is an exceptional diff erence from the earlier drawing attention to the despondent text in an eff ec- version. The form is ABACAD, with the A section be- tive way. At the end of every verse, Dawson treats the ing the chorus, and the other letters representing each text “Goin’ home t’ live wid God” a bit diff erently. The of the verses. Each verse is treated in a diff erent way, third verse contains the text, “I wan’ t’ meet my Jesus… with the melody at fi rst being set in the bass voice, then In de mornin’ Lord,” which ends with the fi nal, joyful the soprano voice, and then the bass voice again. In acclamation, “I’m goin’ t’ live wid God” on a B Major each verse, Dawson writes a more and more complex chord. treatment. The fi rst verse is a call-and-response for- Choirs that begin working on this piece may be de- mat between the bass line and the rest of the chorus. ceived at the ease with which they learn the chorus With the second verse, after a call-and-response, which section. The verses are rather diffi cult and can require echoes the fi rst verse, Dawson has the choir repeat the much focused attention. In “Soon Ah Will Be Done” as

28 CHORAL JOURNAL May 2019 Volume 59 Number 10 Reexamination of a Legacy

in Dawson’s other arrangements, he takes great care in tuals: A Comprehensive Collection of 230 Folk Songs, Religious giving the choir and director an abundance of dynamic and Secular, published in 1940. Like the Hampton Insti- and articulation markings. tute text, which was a narrative history of the spiritu- al, this book is a collection of “Spirituals, Blues, Work Songs, Hollers, Jubilees, [and] Social Songs.” Included “Ain’-A That Good News” in the collection is the well-known song, “Ain’t That John Wesley Work III (1901-1967) of Fisk University Good News?” (Figure 9). Like many other spirituals of compiled the anthology American Negro Songs and Spiri- this era, this is set in a call-and-response format, with

CHORAL JOURNAL May 2019 Volume 59 Number 10 29 William Levi Dawson (1899 – 1990)

the solo in the soprano line, and the choir responding. Dawson’s lively, up-tempo setting (quarter note The choir then sings, “I’m goin’ to lay down this world, equals 104) begins with a syncopated opening motive, Goin’ to shoulder up my cross, Goin’ to take it home to which is repeated in whole or in part for the rest of the Jesus, Ain’t that good news!” It is important to note that piece. Compositionally, Dawson uses the technique of the harmonies here are rather simple, especially in the fragmenting the melody and repeating short segments second line, in which the basses simply sustain an “f ” of it multiple times (Figure 10). The soprano line re- pitch. There are no dynamic or articulation markings gains the melody, which is no longer fragmented, and written. Dawson builds the piece toward a fortissimo fermata on Dawson fi rst released his setting, titled “Ain’-a That “my Lawd!” (Figure 11 on page 31), before rushing to Good News,” in 1937, and published an expanded ver- the fi nale. The arrangement, like his others, is full of sion in 1965. In the later edition, Dawson adds a two- articulation markings, and it seems that each note of page middle section. It is not uncommon to still fi nd the piece is treated with care. both versions in church and community choir libraries.

30 CHORAL JOURNAL May 2019 Volume 59 Number 10 Reexamination of a Legacy

CHORAL JOURNAL May 2019 Volume 59 Number 10 31 William Levi Dawson (1899 – 1990)

Conclusion from his remarkable craftsmanship for generations to With his arrangements for the Tuskegee Institute come. Choir, William Dawson transformed the concerted, choral spiritual.7 His music set a new artistic standard in the genre—a high bar for all who followed him. In NOTES fact, a clear line can be drawn between arrangements that were crafted before and after Dawson published 1 John Black Haberlen, “William Dawson and the Copyright his works. Dawson grew up hearing spirituals at church Act,” Choral Journal 23, no. 7 (1983): 5–8. and home, and he continued singing them during his 2 By far the most comprehensive look at the life and music years studying at the Tuskegee Institute. They were a of William Dawson is Mark Malone’s PhD dissertation part of him. When Dawson assumed direction of the at Florida State University, “William Levi Dawson: Tuskegee Choir, his arrangements of spirituals soon American Music Educator,” 1981. All biographical became the core of the group’s repertoire. Through information in this article is taken from that work. the group’s extensive touring and national radio broad- Malone discusses the major periods of Dawson’s life, casts, his music became known throughout the country. examines his arrangements, and Dawson’s philosophy And luckily for millions of choral singers and audience of teaching. members, Dawson published his arrangements for all 3 Dawson’s most popular arrangements and compositions can to enjoy. be found in Neil A. Kjos Music Co. anthologies, Dawson Dawson’s music was born from his knowledge and Spirituals, Volume One and Two, 2008, including all of the love of spirituals coupled with his prodigious classical arrangements discussed in this article. musical training. When studying his music, his crafts- 4 Spirituals: Tuskegee Institute Choir, directed by William L. manship and artistry are apparent. Instead of present- Dawson, MCA MSD-35340, 1956, re-released in 1992. ing pieces in hymn-like fashion, as was the prevailing 5 For the backstory to the creation of this volume, read tradition, Dawson brought his considerable musical Samuel Charter’s Songs of Sorrow: Lucy McKim Garrison skills to elevating the form even further. For hundreds and “Slave Songs of the United States,” University Press of of years, spirituals were the music of slaves. Born out of Mississippi, 2015. tragedy, spirituals have been called the fi rst American 6 One such notable recording is The Ordering of Moses: Live folk music. During the 1930s and 40s, African Ameri- From Carnegie Hall, May Festival Chorus, Cincinnati can choirs who sang spirituals were becoming popular Symphony Orchestra & James Conlon, Bridge 9462, with audiences of all colors. Collegiate choirs such as 2016. the Hampton Institute Choir, the Fisk Jubilee Singers, 7 For further study about William Dawson and his work, the the Tuskegee Institute Choir, and professional choirs author suggests these studies: Huff , Vernon Edward, such as the Hall Johnson Choir and the Wings Over “William Levi Dawson: An Examination of Selected Jordan Choir were popularizing spirituals like never Letters, Speeches, and Writings.” DMA diss., Arizona before. State University, 2013; Johnson, David Lee, “The Since 1867 when Slave Songs of the United States was Contributions of William L. Dawson to the School of published, there has been a steady publication of solo Music at Tuskegee Institute and to Choral Music,” EdD, and choral arrangements of spirituals. It was Dawson’s University of Illinois and Urbana-Champaign, 1987. arrangements, however, that completely transformed the genre. With his musical intellect, attention to de- tail, and love of the music, his works have been a part of the standard canon of choral repertoire for decades. His arrangements have withstood the test of time, and hopefully choirs and audiences will continue to benefi t

32 CHORAL JOURNAL May 2019 Volume 59 Number 10 THE SIXTEEN AN ENDURING VOICE

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CHORAL JOURNAL May 2019 Volume 59 Number 10 33 34 CHORAL JOURNAL May 2019 Volume 59 Number 10 Hallelujah, Amen! A Focus on Music in Worship

SACRED MUSIC PUBLICATION IN THE SECOND HALF OF THE 20TH CENTURY TIM SHARP

The confl uence of the professionalization of sacred music choral leadership with the com- mercialization of sacred music publication in the second half of the twentieth century re- sulted in a renaissance of publication and performance throughout mainline churches in the United States. The purpose of this article is to describe the conditions that led to this era of professionalization and commercialization, and to survey the composers who contributed to this period of intense church music attention and activity. The period of common practice embracing established musical eras including the Renais- sance, Baroque, Classic, Romantic, and twentieth century provides convenient labels when looking at broad sweeps of time and style related to sacred music of the past. Eras of reform and surges of activity are apparent from a distance. As a result, a musical movement as clear as the Reformation can be identifi ed within the Renaissance, and a distinctive repertoire of music that developed for use in sacred settings can be defi ned within this broader period that endured the test of time. The closer we get to our present moment in history, however, the more blurry stylistic lines become, and the harder it is to label periods of homogenous activity called “peri- ods” or “eras,” and it is challenging to project the music that will survive the test of time. This is the problem in any attempt to categorize sacred music in the second half of the twentieth century.

A version of this article appears as a section in the book Sacred Choral Music Repertoire: Insights for Conductors (Sharp, 2019). It is printed in Choral Journal with permission of GIA Publications, Inc. Copyright © 2019 GIA Publications, Inc.

Tim Sharp Executive Director American Choral Directors Association [email protected]

CHORAL JOURNAL May 2019 Volume 59 Number 10 35 Hallelujah, Amen! SACRED MUSIC PUBLICATION IN THE SECOND HALF OF THE 20TH CENTURY

A New Era cred Liturgy of the Second Vatican Council (1962-1965) With the death in 1956 of Ralph Vaughan Williams, for the Roman Catholic Church, which permitted the followed by the death of Benjamin Britten twenty years liturgy to be off ered in the vernacular.2 We can broaden later in 1976, an era of sacred music composition can be the word vernacular to mean all forms of communica- seen coming to a close. This was the end of an era where tion used by the church, including its musical language. the towering fi gures in composition were equally active Of the many factors that resulted in a shift in style for setting sacred music texts, hymns, and other liturgical the music of the church during these years, the list in- and service material, as they were known for composing cludes this focus on celebration and the encouragement opera, symphonies, and chamber music for the secular of the vernacular in all its forms in the language and concert stage. Simultaneously, a new era was beginning. expressions of the church; a spring awakening of youth In the emerging period that took hold between the music specifi cally for the church; a population boom co- death of Vaughan Williams and Britten, church music inciding with the growth in mainline church attendance historian Donald P. Hustad describes a new idea that was and choir growth; the infl uence of popular music on sa- taking hold throughout the church that would change cred music composition; an awareness and desirability the nature of compositions used in worship and liturgy. of music and liturgies from non-Western cultures; the As he describes it, the idea that was emerging in services professionalization of choral music leadership and edu- of worship could be characterized by the word celebration, cational programs and degrees in the academy and the ushered in through the Anglican Church around 1960 church; the growth in amateur participation in choirs; with Geoff rey Beaumont’s 20th Century Folk Mass.1 The the rapid development of commercial publication and essence of this wave was that worship should use con- distribution for sacred music; the birth of self-publish- temporary music language that was the vernacular of ing, music licensing, and Internet marketing, sales, and the people, combined with the historic forms and music distribution of choral music; a growing awareness and that made up its historic musical tradition. This move- recognition of issues related to civil rights and social jus- ment paralleled the teaching of the Constitution of the Sa- tice; and other social, psychological and economic cul-

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36 CHORAL JOURNAL May 2019 Volume 59 Number 10 A Focus on Music in Worship

tural shifts. statement was included in the purposes of the organiza- Among these developments, the two seismic changes tion: “to foster and promote the development of choral that would infl uence and embrace all other factors were music in the church and synagogue.”6 The birth of this the rise in the professionalization of sacred choral music choral association signaled the rise in the professionaliza- leadership and training, and the growth in the commer- tion of choral music pedagogy and performance, along cialization of sacred music composition and publication. with training and degree programs that would assist and These two factors grew hand-in-hand and encompassed identify the development of sacred music. Training pro- all developments that resulted in the excellent in sacred grams and advanced degrees in choral music conducting music that will likely endure, the good in sacred music and sacred music studies could be found in the years that that served a temporal purpose, and the ephemeral in followed not only in the legacy schools and universities sacred music that will unlikely remain in use. of the northeast but all across the country. In 1992, theologian Robert Webber looked back from Furthermore, colleges and denominational seminar- that moment on what had developed since the 1960s ies dedicated specifi c training programs and terminal in worship and projected, “Christian worship will be degrees to the study of sacred music. Along with this em- characterized by the blending of the traditional and the phasis came a natural emphasis on sacred music compo- contemporary into a vital experience of worship and sition, which grew hand in hand with educational and praise.”3 The combination of the words “worship and performance programs. In many instances, the person praise” are another way of describing the celebration leading the charge in education was also a choral com- character that had taken hold in the church overall, and poser and a choral conductor. particularly with the music of the church. As a prime example, church music educator/conduc- In his fi nal chapter of A Short History of English Church tor/composer Lloyd Pfautsch led the way into this new Music, British church music historian Erik Routley called era for the United Methodist Church. Pfautsch provid- this period in church history the age of “Anxiety and ed a model that can be found in most denominations in Opportunity,” off ering both his concern and his op- the second half of the twentieth century in the United timism.4 In summary, Routley says, “But one does see States.7 He was a pioneer fi gure in the early days of the quite a new style of choral music appearing in the fi eld professionalization of choral conducting and in estab- of church music, which has been generated by a new lishing the possibility of a career in sacred music. He and strictly contemporary demand.” He continues, “I is mentioned often in the literature of his day for such mean the demand created by the sudden establishment foundational programs. Lloyd Pfautsch was a pivotal in England and Scotland of new university campuses, so musician and choral conductor in what may have been that by 1965 or so England had, instead of Oxford and the “greatest generation” of United States church musi- Cambridge and a few respectable nineteenth-century cians of the twentieth century. Succeeding generations provincial universities, as many universities as it has di- of choral and sacred music leaders were infl uenced by oceses.”5 Routley connects the emerging contemporary his teaching and composition. Signifi cantly, the primary style of church music composition to the commission- publisher of his compositions was the United Methodist ing taking place for chapels at these various schools that Church owned and operated publishing house, Abing- were experimenting with all things non-traditional, spe- don Press. cifi cally citing compositions by John Gardner and John Born in 1921 in Washington, Missouri, Pfautsch Joubert. earned his bachelor’s degree from Elmhurst College in 1943, where he was preparing for a career in ministry. He continued his education that fall at Union Theolog- Rise in Professionalization ical Seminary and sang as soloist at Brick Presbyterian The same development took place within academia in Church and in Toscanini’s NBC Symphony Chorus. He the United States. In 1959, the American Choral Direc- continued his graduate work at Union, narrowing his tors Association (ACDA) was chartered and the following focus to sacred music, graduating from Union in 1948

CHORAL JOURNAL May 2019 Volume 59 Number 10 37 Hallelujah, Amen! SACRED MUSIC PUBLICATION IN THE SECOND HALF OF THE 20TH CENTURY with the Master of Sacred Music degree. While in New infl uences playing out in sacred music composition in- York City, Pfautsch sang on the early Robert Shaw re- tended for use in worship. cordings, and it was Shaw who recommended him as the choral conductor for the 1965 Convocation of Re- ligion for World Peace. This relationship with Shaw be- Contemporary Composition came one of the most fortuitous events in his career. In Similar works followed Pfautsch’s publication such Pfautsch’s words: “I was a typical Shaw disciple. I used as the youth musical Tell It Like It Is (1969) by Ralph a lot of his rehearsal procedures. But I had also learned Carmichael and Kurt Kaiser.9 In 1971 two incredibly the dangers of blindly copying someone else’s style and infl uential musicals with Christian themes opened on techniques.” He studied with both Shaw and Julius Her- Broadway: Godspell by Stephen Schwartz, and the rock ford while in New York. opera Jesus Christ Superstar by Andrew Lloyd Webber. Fol- Pfautsch taught at Illinois Wesleyan University from lowing on the heels of these works, Broadway-inspired 1948 to 1958, and then at Southern Methodist Univer- extended compositions appeared such as Celebrate Life! sity from 1958 to 1992. At both schools he established (1972) by Buryl Red and Ragan Courtney published by prominent choirs. At SMU, he established the Master the Southern Baptist Convention, the largest Protestant of Sacred Music and the Master of Choral Conducting denomination.10 Such publications and movements were programs, teaching both in the School of Theology and visible in the United Methodist and Southern Baptist de- the School of Music. He later held the administrative nominations, and at fi rst, throughout other evangelical post of associate dean. He wrote three books: the widely denominations. Later, this emphasis would be observ- used English Diction for the Singer (1971), Mental Warm-ups able in every mainline denomination. The musical lan- for the Choral Director (1969), and Choral Therapy (1994). guage may have varied, but the cultural infl uence taking The point in establishing Pfautsch’s legacy is that his place was undeniable and universal. most popular composition, the twenty-fi ve-minute 1969 If this were an isolated phenomenon, it would be sacred cantata A Day for Dancing, inspired by the English at the most a footnote to church music history. To the traditional carol Tomorrow Shall Be My Dancing Day and contrary, these experimentations led to a contemporary John Gardner’s setting of it (1966), is an archetype of church music style of composition that could be seen what became the American school of church music throughout Catholic and Protestant churches. Simulta- composition. This is Pfautsch’s account of the writing neously, elements of historical musical orthodoxy held of this work: ground by the same professionals and practitioners, fi t- ting nicely but not always comfortably in the newborn The idea for A Day for Dancing sort of came from focus on celebration. These changes were taking place in having done the Britten Ceremony of Carols. I England and in the United States simultaneously, with thought, you know, there ought to be another Geoff rey Beaumont and John Gardner leading the way. way of celebrating Christmas with instruments The giant push forward came, however, when sacred because the Britten is not long enough to fi ll a music composer John Rutter emerged from his editorial concert by itself.”8 post at Oxford University Press into the mainstream of Protestant church music choral composition. In 1974, Tomorrow Shall Be My Dancing Day was the fi rst carol that Rutter was commissioned to write a setting of the Latin came to his mind as he composed the work. Gloria text, resulting in his three-movement Gloria pre- With this work by Pfautsch and the sacred music miered in Omaha, Nebraska.11 The piece is scored for environment surrounding it, we witness the traditional choir, brass, percussion, and organ and was published in sacred choral canon, the infl uence of master compos- 1976 by Oxford University Press. Rutter’s Gloria captured ers such as Britten on composers of this era, sensitive the same elements that John Gardner, Lloyd Pfautsch, choral craftsmanship, all fused into a contemporary and John Ness Beck, Natalie Sleeth, Austin Lovelace, Kath- celebrated expression of faith, and all with new cultural erine K. Davis, Gordon Young, Emma Lou Diemer,

38 CHORAL JOURNAL May 2019 Volume 59 Number 10 A Focus on Music in Worship

Kirke Mechem, Leo Sowerby, Everett Titcomb, Alice There are also signifi cant composers of sacred mu- Parker, Healey Willan, Martin Shaw, Edwin Fissinger, sic who are somewhere in-between the categories listed Ruth Watson Henderson, Robert Young, Hank Beebe, above in terms of where their music fi nds an audience. Jane Marshall, Gilbert Martin, Ron Nelson, and a long They either did not write or are not known for compos- and golden list of composers embraced in their sacred ing the large classical forms, but were universally accept- music compositions. The music was immediately acces- ed both inside the church and on the school and concert sible by conforming to music and textual parameters stage. This group is represented by composers such as suitable for the trained volunteer church choir. These Randall Thompson, Morten Lauridsen, Jean Berger, composers were informed by ancient liturgy and tradi- John Tavener, Ned Rorem, Vincent Persichetti, Arthur tion but were not inhibited by it. Contemporary com- Frackenpohl, Howard Hanson, Daniel Pinkham, Con- posers later in this period dropped the false distinction rad Susa, Eric Thiman, and Peter Warlock, once again, between sacred and secular, permitting the familiar, the to name just a few. vulgar, the kitsch, the cliché, the relational, the inspired, For musicians working in sacred choral environments and the transformational to enter contemporary sacred such as worship services, academic chapel settings, and choral music expression. college and seminary laboratories, it is imperative that This group of composers active between 1960 and developments in hymnody not only be observed but that 2000 could be called the American school of sacred mu- a study of the emerging trends in hymn writing and sic composition. They form a separate group altogether hymnal publication inform an understanding of a very from the classical composers of an earlier era who com- signifi cant body of fundamental choral composition. posed in multiple areas and for multiple genres, includ- Throughout the second half of the twentieth century, ing the large forms of opera, symphony, and multi-move- the new hymn most likely served as tomorrow’s choral ment chamber music compositions. The American arrangement, anthem foundation, or basis for a signifi - school of sacred music composition wrote music specifi - cant choral work. cally intended for church music presentation by the vol- unteer church choir. Their sphere of composition and interest was intentionally focused on the worshipping Revision of the Hymnal church, and the publishing industry surrounding them By 1965, in light of hymn writing activity since World was intentionally focused on their style of composition. War II, it became apparent that the hymnals of the var- As to the larger body of classical choral composers, ious denominations needed revision. However, both the occasionally world-renowned composers set a biblical economy and the diffi culty of judging quality of hymns text, which may or may not have ever been intended for made new hymnal publication prohibitive. Every major church or cathedral performance. To be sure, most of denomination both in England and America decided to the works written on biblical texts by these composers solve the matter in the same way. They produced a sup- found their way into performance within the walls of plement that was to be used along with the existing par- cathedral, church, and synagogue, but the composers ent hymnal. Eric Sharpe points out in the article “De- would hardly be classifi ed as church music composers velopments in English Hymnology in the Eighties” that in the practical sense. To use a commercial term, their this decision was “a wise and diplomatic way of keep- “market” was never primarily the church. Composers ing the hymnology of the church up-to-date.12 For one of this category include Samuel Barber, Ernest Bloch, thing, it bowed to the economic stringencies of the time, Dominick Argento, Leonard Bernstein, Pablo Casals, which favored postponing the very costly publication of William Schuman, and William Mathias, to name only a completely new hymn books as long as possible; and it few, all who wrote great pieces on sacred texts or sacred recognized the assaults that were being made on tradi- subject matter but operated outside the scope of church, tion, leaving the old undisturbed.” This solution had its cathedral, or synagogue as their primary compositional advantages: “The editors of a new supplement could focus. concentrate on what was new, without feeling that one

CHORAL JOURNAL May 2019 Volume 59 Number 10 39 Hallelujah, Amen! SACRED MUSIC PUBLICATION IN THE SECOND HALF OF THE 20TH CENTURY new piece meant the extinction of one old one; and the Other Sources relatively inexpensive supplements might be renewable Alive Now, July/August, 1981 in a shorter time than economics would dictate in the Praise for Today (Augsburg Press), 1964 case of a full-sized hymnal.”13 This posture of “let’s wait Because We Are One People (Ecumenical Women’s and see what sticks” was indeed an appropriate response Center), 1974 during this explosive period of hymn composition. The following list represents hymnal supplements and As an indicator of hymn popularity, the following list their “parent” hymnal published prior to 1982: of “Top Ten Hymns” resulted from a 1990 poll of the listeners of the BBC Radio 2 program, Good Morning Sunday: Protestant Sources Broadcast Praise (BBC), 1981 No. 1 Dear Lord and Father of Mankind English Praise (The English Hymnal), 1975 No. 2 How Great Thou Art 100 Hymns for Today (Hymns Ancient and No. 3 The Old Rugged Cross Modern), 1969 No. 4 The Day Thou Gavest Hymns III (Episcopal), 1980 No. 5 When I Survey the Wondrous Cross Hymns and Songs (English Methodist), 1969 No. 6 Love Divine all Loves Excelling More Hymns and Spiritual Songs (Hymns Ancient No. 7 What A Friend We Have in Jesus and Modern), 1980 No. 8 O Love That Will Not Let Me Go New Church Praise (United Reformed Church of No. 9 Great is Thy Faithfulness England), 1975 No. 10 Abide With Me Praise for Today (English Baptist), 1974 Psalter Hymnal (Christian Reformed Church), 1974 At the same time of this poll, each of those top ten Praise Ways (The Presbyterian Church in Canada), hymns existed in multiple published choral settings: 1974 Supplement to the Book of Hymns (United Method Dear Lord and Father of Mankind—Choral settings ist), 1982 by Whittier, Wesley, Pedrette, Parry, Maker, Soderwall, Songs of Celebration (Episcopal), 1980 and Pottle. Sing and Rejoice (Mennonite), 1979 Worship Supplement (Lutheran Missouri Synod) How Great Thou Art—Choral settings by Bock, Bolks, Cain, Elrich, Lojeski, Mickelson, Mieir, Carter, and Catholic Sources Hine. Hundredfold, 1978 New Hymns for all Seasons The Old Rugged Cross—Choral settings by Red, A Song in Season, 1970 Marsh, Bock, Brown, Bolks, and Mercer. Veritas Hymnal, 1973 The Day Thou Gavest—Choral settings by Chambers, Non-Denominational Sources Scholefi eld, and Schalk. Ecumenical Praise, 1977 Gospel Songbook, 1967 When I Survey the Wondrous Cross—Choral settings Partners in Praise, 1979 by G. Martin, Schalk, Allen, Carter, Hopson, Leech, Songs for the Seventies, 1972 Mason, and Young. Sixty Hymns from Songs of Zion, 1977 Love Divine All Loves Excelling—Choral settings by Songs of Thanks and Praise, 1980 Andres, Archer, Stainer, Nicholson, Pritchard, Rorem, Westminster Praise, 1976 Rhiman, and Van der Hoeck.

40 CHORAL JOURNAL May 2019 Volume 59 Number 10 A Focus on Music in Worship

What A Friend We Have in Jesus—Choral settings by and independent publishers (Table 1). In the years that Althouse, Best, Coates, Haan, and Young. followed, new hymnals were published by the Covenant Church, Mennonite Church, Church of Christ, Disci- O Love That Will Not Let Me Go—Choral settings by ples of Christ, Christian Scientists, Friends Conference, Ness Beck, Carter, Ferrin, Purifoy, and Peninger. Assemblies of God, American Moravian Church, Wis- consin Evangelical Lutheran Synod, and Unitarian Uni- Great is Thy Faithfulness—Choral settings by Lorenz, versalists. Hayes, Hall, Bock, and Clydesdale. Throughout the century and up until this current mo- ment in time, texts continued to pay respect to the canon Abide With Me—Choral settings by Gardner, Barnby, of sacred literature taken from the Psalms of the He- Bennett, Monk, Wilson, Manookin, Gratton, 14 and Lee. Table 1.

As further proof of this popularity and the Lutheran (Missouri Synod) Lutheran Worship 1982 connection between hymns and choral settings, Sacred Choral Music in Print and The Christian Mu- Brethren in Christ Hymns for Praise and Worship 1984 sic Directory lists over thirty choral arrangements Episcopal The Hymnal 1982 1985 alone of the gospel hymn “What a Friend We Have in Jesus,” over forty choral settings of Reformed Church in America Rejoice in the Lord 1985 “Great is Thy Faithfulness,” and over seven- Seventh-day Adventist Seventh-day Adventist Hymnal 1985 ty-fi ve arrangements of Isaac Watts’s “When I Survey the Wondrous Cross.” Roman Catholic Worship III 1986 In the narrowest defi nition, a hymn is simply a song of praise. In considering the development Christian Reformed Psalter Hymnal 1987 of the hymn since Chrysostom and on through Church of God Worship the Lord 1989 Luther and Calvin, the hymn is more complete- ly defi ned as a strophic song on a Christian sub- United Methodist The United Methodist Hymnal 1989 ject capable of being sung by a congregation. Presbyterian (U.S.A) The Presbyterian Hymnal 1990 Austin Lovelace defi nes a hymn more narrowly as “a poetic statement of a personal religious Presbyterian (P.C.A.) Trinity Hymnal 1990 encounter or insight, universal in its truth, and suitable for corporate expression when sung in Nazarene A Hymnal 1990 stanzas to a hymn tune.”15 Whether presented Baptist (Southern) The Baptist Hymnal 1991 to an audience through a crafted and refi ned performance of a choral setting, or sung in its Non-denominational Hymnals original form by the musically untrained con- gregation, the hymn remains at the heart of the The Hymnal Word Music 1986 choral medium for worship. In his book Prot- Worship His Majesty Gaither Music 1987 estant Worship, James F. White states, “It is not always easy to fi nd which are the most represen- Sing Joyfully Tabernacle Publishing 1989 tative hymns, but the genre certainly has to be The Worshiping Church Hope Publishing 1990 recognized as highly signifi cant in shaping and refl ecting both piety and belief.”16 Hymns, Psalms, and Spiritual Songs John Knox Press 1990 The 1980s witnessed the publication of over twenty new hymnals by major denominations Hymnal for Colleges and Schools Yale University Press 1990

CHORAL JOURNAL May 2019 Volume 59 Number 10 41 Hallelujah, Amen! SACRED MUSIC PUBLICATION IN THE SECOND HALF OF THE 20TH CENTURY brew scriptures, historic liturgies, prose from Hebrew pel music network exploded in the United States. Five and Greek scriptures, and ancient through contempo- decades of blending old-time religion and technology rary poetry inspired by these sources and captured in produced a small army of highly skilled music business hymns. proprietors, educators, engravers, marketing specialists, In form, the American school of church music entertainers, composers, arrangers, studio engineers, composition followed norms that had been solidly es- and publishers who were able to create music with sa- tablished since the polyphony of the Renaissance, the cred and secular appeal.17 chorale of the Reformation, and the homophony of the At a moment when the vernacular was desirable in high Baroque. While text, form, and timbre remained sacred music, an entire professional network and in- orthodox for the most part, it was elements of melody, dustry was developing to speak to this growing appe- rhythm, and harmony that appeared most susceptible tite. And to add to this expansion of interest, due to the to the vernacular, the popular, the experimental, and advent of radio and television broadcasting, the time the ephemeral. needed to disseminate new musical styles was greatly shortened. While proponents of musical change still had to contend with skeptical publishers or reactionary Growth in Gospel Music congregations, they established large followings and de- Flowing into this new era of celebration and fusion veloped support through denominationally sanctioned with the vernacular was a steady growth in the area of radio and concert tours that provided exposure to mar- gospel music popularity and publication. After World quis personalities and new choral models. War II, following decades of steady growth, the gos- Denominational growth in the 1950s, the establish-

The ACDA CAREER CENTER acda.careerwebsite.com

42 CHORAL JOURNAL May 2019 Volume 59 Number 10 A Focus on Music in Worship

ment of Bible colleges and para-church organizations, the ability to sort through all the creative expressions and the migration from rural to urban centers all aff ect- available in sacred choral music composition. No lon- ed the expansion of various popular and gospel music ger is availability of sacred choral music limited by styles within church music. And although they were not established publishing companies. For practical rea- aware of it, the Pentecostal church in the United States sons, much of the best music of this style remains the helped produce Elvis Presley, Jerry Lee Lewis, and “Lit- intellectual property of established publishers, but by tle Richard” Penniman, which fueled a movement that no means do they retain a monopoly in this area. This would also change the nature of the music of the main- new reality of the twenty-fi rst century has led to a re- line church in years to come.18 Mass evangelistic cam- naissance of creativity, accompanied by a new burst of paigns with fi gures such as Billy Graham, the advent of entrepreneurialism. At this moment, any attempt to list radio, and the youth movement each contributed to the the sacred music composers who are actively creating growth and infl uence of gospel and popular religious the excellent, the good, and the ephemeral in sacred music. The explosion of interest in sacred music com- choral music would result in a grossly incomplete list position was fueled by a developing and prosperous mu- and would be out of date the moment it was printed. sic publishing and distribution commercial enterprise. The market for a growing base of amateur church choral singers was served, resourced, and fueled by Conclusion commercial publication and mass distribution. As mar- Sacred music compositions of the second half of the ket and capitalistic realities took hold, the commercial- twentieth century are still widely performed in church- ization of this industry increased in activity through es that value and support a trained choir, in the historic denominational publishing houses, profi t-based cor- and traditional sense of choral performance. Sacred porations, and private entrepreneurs. The church and music settings where 1) the presentation of composi- its music was economically vibrant, leading to full-time tions and arrangements are conceived for a trained professional positions for vocational church musicians, group of singers and 2) that use compositional elements and a commercial market of resources to service the idiomatic to the choral ensemble, still draw upon this variety of expressions of musical taste represented by vast body of sacred music repertoire. However, the de- a divergent population of professionally trained leaders cline of choirs in churches, the rise of pop music idioms and engaged amateur participants. replacing choirs in some churches, and the decline in As resource needs were met through publications, church attendance in the last twenty years have all con- and as profi ts were realized, an explosion of creativity tributed to a decline in the programming of this body was enhanced by a complete industry that formalized of repertoire and classical repertoire in general. Never- every conceivable aspect of the musical creative pro- theless, much of this body of music remains relevant. cess. In 1985, the prototype was launched that led to The one thing that does not change for church, the founding in 1988 of Christian Copyright Licensing synagogue, and cathedral music is the fact that there International (CCLI), a privately owned company that are still fi fty-two Sundays in the church year, complete off ered copyright licensing of hymns, anthems, songs, with multiple festivals of celebration spread throughout and other music resource materials for use in Christian the seasons and inserted into the worship ordo. And worship.19 A commercial industry continued to develop with that certainty comes an equal certainty that sa- devoted to capturing revenue for every aspect of intel- cred choral music in some form will freight the texts lectual property off ered through the medium of poetry of prayer, praise, theological understanding, and cel- and music. ebration, through a harmonizing community of faith From the ephemeral to the next sacred music classic, singing “psalms and hymns and spiritual songs, singing the time between completing a composition to its per- with grace in your hearts to the Lord.”20 formance in multiple locations throughout the world is limited now only by one’s access to the Internet and

CHORAL JOURNAL May 2019 Volume 59 Number 10 43 Hallelujah, Amen! SACRED MUSIC PUBLICATION IN THE SECOND HALF OF THE 20TH CENTURY

NOTES 10 Buryl Red and Ragan Courtney, Celebrate Life! A Pulpit Musical Drama (Nashville: Broadman Press, 1972). 1 Donald P. Hustad, Jubilate II: Church Music in Worship and 11 John Rutter, Gloria (Oxford: Oxford University Press, 1976). Renewal (Carol Stream: Hope Publishing Company, 1989): 12 Eric Sharpe, “Development in English Hymnody in the 537-8. Eighties,” The Hymn 42, April 1991: 7-11. 2 http://www.vatican.va/archive/hist_councils/ii_vatican_ 13 Ibid., 7-11. council/index.htm 14 Gary S. Eslinger and Mark F. Daugherty, Sacred Choral Music 3 Robert Webber, Signs of Wonder: The Phenomenon of Convergence in Print, Second Edition (Philadelphia: Musicdata, Inc., in Modern Liturgical and Charismatic Churches (Nashville: 1985). Abbott Martyn, 1992): 80-87. 15 Austin Cole Lovelace, The Anatomy of Hymnody (Chicago: GIA 4 Erik Routley, A Short History of English Church Music (Carol Publications, 1965): 5. Stream: Hope Publishing Company, 1997): 104-5. 16 James White, Protestant Worship: Traditions in Transition 5 Ibid., 104. (Louisville, KY: John Knox Press, 1989): 21. 6 Christina Prucha, American Choral Directors Association 17 Vernon M. Whaley, Trends in Gospel Music Publishing 1940- (Charleston, SC: Arcadia Publishing, 2009): 2009, 20-26. 1960 (Norman, OK: Unpublished Doctoral Dissertation, 7 Kenneth W. Hart, A Day for Dancing! The Life and Music of Lloyd 1992): 62-76. Pfautsch (Denton, TX: University of North Texas Press, 18 Martha Bayles, Hole in Our Soul: The Loss of Beauty and Meaning 2014): 20-54. in American Popular Music (New York: The Free Press, 8 Ibid., 112. 1994): 127-134. 9 Ralph Carmichael and Kurt Kaiser, Tell It Like It Is: A Folk 19 https://us.ccli.com Musical about God (Waco: Lexicon Music, 1969). 20 The Holy Bible, Colossians 3:16 (Cambridge: Cambridge University Press).

WSCM2020 in New Zealand – the choral experience of a lifetime!

Planning continues in earnest for the 12th World Symposium on Choral Music, to be held in Auckland, New Zealand, July 11-18, 2020.

The Symposium is the fl agship event of the International Federation for Choral Music and is regarded as the showcase for the best the choral world has to off er. Up to 2,000 delegates gather to enjoy a week of con- certs, lectures, workhops, and master classes given by many of the top choirs and presenters on the planet. There is a large music trade expo and ample opportunity to exchange information, ideas, and repertoire with choral practitioners from a host of other countries.

www.wscm2020.com

44 CHORAL JOURNAL May 2019 Volume 59 Number 10 Sacred Music Choral Reviews

The Final Harvest fl orid violins. The second verse is Fix Me, Jesus Music: ST. GEORGE’S, WIND- set with octave patterns in the pi- Music and Text: Traditional African SOR ano which sparkle underneath an American Spiritual George J. Elvey (1816-1893) echoing choral texture. The violins Arr. Brandon Waddles Arr. Jonathan Stommen Campbell double the voices, providing an al- SATB, divisi, unaccompanied Text: Henry Alford (1810-1871), alt most orchestral timbre to the ensem- GIA Publications SATB, piano with 2 violins ble, which leads to a subtle crescendo G-8293 Augsburg Fortress and interior climax. The third verse www.giamusic.com 978-1-5064-1397-6 features the sopranos and altos in a Performance demonstration: Free violin parts available for down- chant-like texture, lightly accompa- www.giamusic.com/store/resource/ load from the publisher nied by the violins. The entrance fi x-me-jesus-print-g8293 www.augsburgfortress.org of the tenors and basses concludes Performance demonstration: the verse unaccompanied. Finally, https://soundcloud.com/jon-camp- Campbell eff ectively concludes the bell-589736139/9781506413976- piece with a satisfying canonical the-fi nal-harvest alleluia. The violins soar above the choir on the hymn melody while the piano provides forward momentum through pedaled arpeggios. Brandon Waddles opens his mov- ing arrangement of Fix Me, Jesus with

Johnathan Strommen Camp- bell’s setting of the hymn “Come, Ye Thankful People Come,” aptly named The Final Harvest, begins with a poignant violin duet beautifully descending in sequence to usher in the opening bars of the hymn. The violins continue in counterpoint to Campbell’s warm, comforting cho- ral writing. The choir remains molto sostenuto throughout in a slow simple quadruple meter against a fl owing piano accompaniment and more

CHORAL JOURNAL May 2019 Volume 59 Number 10 45 Hallelujah, Amen! Sacred Music Choral Reviews

an extended, eight-part chromatic Midwinter Song any fi nely crafted melody must. choral tapestry, weaving voices to- Music: Susan Labarr The second verse is highlighted gether into what he instructs should Text: Daniel Elder by a counter melody in the tenor and be a warm, seamless whole. The in- SATB, piano bass under the unison sopranos and troduction gives way to the chorus of Walton Music, Andrew Crane altos. The full choir enters for the the piece, fi rst introduced by a sim- Choral Series fi rst time on the consequent phrase ple soprano solo that fl oats over the WW1723 accompanied by a busier and fuller vocal “oohs” like prayer. The choir www.giamusic.com piano, before soaring into a gorgeous repeats the soprano solo material in Performance demonstration: melodic bridge that is Labarr’s most a hymn-like four part texture that www.giamusic.com/store/resource/ compelling moment. The gentle re- nevertheless remains chromatic. midwinter-song-pdf-dww1723 turn of the melody on the third verse The music features a call-and- is made even more touching by the response structure, though the slow warm choral harmony, light soprano tempo obscures this. The chromatic descant, and fi nal tenderhearted pi- material and signifi cant divisi call for ano gestures. an accomplished sacred ensemble and enough singers to adequately sustain the phrases through stagger Adoravit breathing. The middle section of the Susan Labarr’s Midwinter Song is Music: Michael Bussewitz-Quarm piece features the fi rst two verses of a new work for Advent or Christ- Text: Traditional Latin the spiritual. The choir continues mas featuring a unique collabora- SATB, double chorus, divisi, the chorus material, however, while tion with composer Daniel Elder, unaccompanied the soloist juxtaposes the verses so who penned the text. Labarr opens MB Arts that the text “fi x me, Jesus, fi x me” the piece with a gentle piano solo MB1037-SATB functions as a choral refrain. that perfectly captures the mystery https://mbqstudio.com/ Waddles gives the third verse to of Elder’s poetry—the words seem Performance Demonstration: both the choir and the solo, though to travel out of a time in the deep https://soundcloud.com/ now the soprano functions as a soar- past and give homage to the neglect- michael-bussewitz-quarm/adorav- ing descant, reaching a beautiful ed art of both rhythm and rhyme. it-bussewitz-quarm climax at the words “starry crown.” In particular, the description of the The fermata gives way to a short world gathering in “amber halls” in bridge, wherein the soprano soloist the fi rst verse wonderfully conjures echoes the choir three times, build- images of medieval castles or mead ing even more musical tension. The halls lit only with fi relight and can- fi nal return of the chorus is peaceful, dles, full with the sound of carols. cathartic, and profound. The sopranos and altos begin the fi rst verse with a haunting d minor Michael Bussewitz-Quarm’s set- melody, lightly punctuated by syn- ting of the charming Latin text Senex copation. The tenors and basses puerum portabat explores mysterious introduce the consequent melodic paradox in the context of the In- line before being joined by the up- carnation. The music successfully per voices for the concluding phrase. straddles the demarcation point be- Labarr’s accompaniment never in- tween ancient and modern. Set for trudes on the poignant tune, which double SATB choir with divisi, the immediately penetrates the ear as piece alludes to a late-Renaissance

46 CHORAL JOURNAL May 2019 Volume 59 Number 10 A Focus on Music in Worship

homophonic ethos, particularly Bound for the Promised Land Throughout the setting, the voices in the antiphonal passages, which Music: Matilda T. Durham act in concert with the orchestral ac- would delight the ear in a venue like (1815-1901) companiment to provide rhythmic the famous St. Mark’s Basilica. The Arr. John Leavitt punctuation and percussive energy. music’s use of a half-note pulse even Text: Samuel Stennett (1727-1795) In the SATB setting, the opening seems to mimic the look of a Vene- SATB, divisi, piano, optional orches- stanzas are set in sectional unison, tian motet. Harmonically, however, tration but later verses employ exciting the piece fl utters with very modern Hal Leonard three-part divisi in both upper and dissonance, opening with a full de- HL00248982 lower voices, requiring an ensemble clamatory announcement in f mi- www.halleonard.com with suffi cient numbers and expe- nor, highlighting the text’s wordplay Performance demonstration: rience to pull it off . There are also “an ancient held up an Infant, but https://www.youtube.com/ alternative SSA and SAB versions the Infant upheld the ancient.” watch?v=A-xuXWo0Nfc available that provide attractive op- Bussewitz-Quarm begins the B tions for smaller choirs. Leavitt’s section of the piece in a lilting fi ve string quintet and percussion parts pattern—a modern plainchant— are available from the publisher, building tension through increas- breathing further energy and life ingly complex divisi and subtle into the piece with only minimal chromaticism. The return of a de- investment. It is an exciting edition clamatory homophonic passage at to the piece, providing an attractive fortissimo completes the B section. John Leavitt’s Bound for the Promised timbre to an already well-written set- The antiphonal fi nal passage in- Land is a new setting of the beloved ting. troduces the double choir. The up- hymn “On Jordan’s Stormy Banks I per choir sings “adoravit,” or “she Stand.” This hearty, rustic approach Timothy Michael Powell adored,” in half-notes, echoed each to the tune and text perfectly aligns Atlanta, GA time by the lower choir in quar- with its colonial American roots, uti- ters on the Latin text “ipsum quem lizing a minor variant of the tune. genuit,” or “the one she brought forth.” Bussewitz-Quarm begins in the subdominant, increasing the dynamic at each repetition, mir- Attention: Student Chapter Presidents rored by an ever-extended range in the upper choir. The climax of the Every year ACDA Student Chapters are required to submit an annual piece is highlighted by a particularly report by May to reactivate their chapter for the next school year. Th ese high-tessitura tenor and alto, which reports give us vital feedback about the growth and activities of choral ushers in a fi nal homophonic state- students across the nation. Th is year the report can be fi lled out online ment of “adoravit” in both choirs at at http://bit.ly/2Hl1XFg See also: https://acda.org/ACDA/Repertoire_ fortissimo. The choir fi nishes the piece and_Resources/Collegiate/Student_Chapters.aspx with two more solemn repetitions of “adoravit”—the fi rst an unresolved Th roughout the year we will share some of the summaries of activities dissonance, and the second a Picar- of various chapters, so be sure to include those activities that really make dy resolution at the dominant. your chapter stand out.

CHORAL JOURNAL May 2019 Volume 59 Number 10 47 Joseph Flummerfelt 1937–2019

Joseph Flummerfelt passed away on March 1, Choral Artists recording of John Adams’s On 2019, at the age of eighty-two. He studied organ the Transmigration of Souls and also received two and church music at DePauw University, and Grammy Award nominations and fi ve honorary choral conducting at the Philadelphia Conserva- doctoral degrees. tory of Music and University of Illinois. Early in Flummerfelt collaborated on hundreds of his career, he taught at the University of Illinois, choral/orchestral performances and recordings DePauw University, and Florida State Universi- throughout his career; he worked with noted ty. He was named Musical America’s Conductor conductors and numerous American and in- of the Year in 2014 and was founder and musi- ternational choral ensembles and orchestras. cal director of the New York Choral Artists. For He was highly sought after for conducting and thirty-three years he conducted the Westminster teaching engagements, and a number of his Choir before retiring in 2004. He was an artis- former students hold major choral positions tic director of the Spoleto Festival USA for thir- throughout the United States. Conducting en- ty-seven years, holding the post since the birth of gagements have taken him to the world’s most the festival in 1977 until his retirement in 2013. prestigious concert halls. He was awarded a Grammy for the New York

48 CHORAL JOURNAL May 2019 Volume 59 Number 10 Duane Cottrell, editor

“Put Me in, Coach!” Rethinking the Needs of the Vocal Athletes on Your Team by Noël Archambeault and Blake Smith

The concept of the vocal ath- So, what is a vocal athlete? The vo- notion that organized singing activ- lete has been surfacing frequently cal component is obvious, but the ities, such as choir, do not require throughout voice pedagogy litera- usage of the term “athlete,” which “dedication, focus, intelligence, and ture for the last decade. This rela- has so many obvious popular associ- work ethic?” In short, treating the tively new concept was developed ations, is worth investigating. Sarah voice like a high-performance ma- in an eff ort to reorient singers’ per- Elizabeth Richards, from the Daily chine and an ensemble as a highly spectives regarding the training and Burn, an online fi tness site, states the integrated and effi cient cooperative maintenance of their instruments. following: eff ort can assist young choral mu- Thinking of oneself as a vocal athlete The term “athlete” is both confus- sicians in the care of their instru- recognizes that singers command ing and loaded with stereotypes. Merri- ments and the care of their team- an uncommonly refi ned skill that am-Webster defi nes it as “a person who mates. requires a unique combination of is trained or skilled in exercises, sports, or The choral setting provides talent, training, and, ultimately, games requiring physical strength, agility, a uniquely keen microcosm of deliberate care with which most or stamina.” Meanwhile, the top entry on “team” mentality and its many non-singing voice users are rarely Urban Dictionary is more inclusive and challenges. A fundamental idea concerned. Adapting this emergent democratic: “An individual who partici- of team sports is that we prioritize idea into the choral classroom pro- pates in sports. Characterized by dedica- team success over our own indi- vides an exciting new way to inspire tion, focus, intelligence and work ethic.”1 vidual success, and the value of student participation in singing and Parallels to physical singing skills this metaphor to choral singing can empower the choral director are immediately apparent with the has both ideological and practical to better serve both the needs of mere adjustment of a few minor benefi ts. This mentality in a choral their ensemble and the individual words in the above defi nitions; per- ensemble creates an environment needs of their singers. This article haps the addition of a word like co- where students support one anoth- will briefl y investigate the concept ordination, which is so critical in sing- er enthusiastically through individ- and usage of the term vocal athlete ing, and also highly valued in many ual challenges while encouraging and discuss how the choir director sports, would draw an even closer growth and better decision making. might act as an eff ective coach to parallel to singing if included in our The wisdom to decline an invitation guide the vocal development of the defi nition of an “athlete.” More- to a noisy restaurant, not have that ensemble and the individual. over, who could argue with the extra drink or late-night snack, or

CHORAL JOURNAL May 2019 Volume 59 Number 10 49 consider an early bedtime before • physical fi tness However, even the most skilled, un- a big event may be impactful and • nutrition amplifi ed professional solo singers practical considerations for those • mental preparedness try to avoid high-impact singing with athletic lifestyles. • training pace (warm-up, cool days in close succession, as such in- The physical and ideological ra- down, and taper) tense usage requires recovery, like a tionales for calling singers vocal ath- • cross-training starting pitcher in baseball may re- letes appear to be both prudent and • feedback and analysis quire several days of rest between empowering, so how does the cho- • preventative care starts. ral director eff ectively “coach” all • support team It is critical that choral directors of the skills they want their students • targeted training establish an honest dialogue and to develop? The good news is that rapport with the vocal athletes on much of that training is already We would like to bring a par- their team. Young voices are typi- happening, as many choral direc- ticularly valuable resource to your cally resilient, but taking the time to tors execute strategic “game plans” attention before beginning an in- discuss changes that a singer may in daily rehearsals to help their sing- depth discussion of these elements. perceive in their voice, addressing ers achieve optimal performance. The National Center for Voice and healthy voice habits with the en- Physical stretches can help release Speech is an interdisciplinary orga- semble, and building strong vocal tension and develop body aware- nization with many resources for fundamentals is the cornerstone ness, strategically chosen ensemble all professional and amateur voice of a positive relationship with your warm-ups can be utilized to build users. Their website includes one team. strong vocal habits and address the particularly valuable document unique needs of repertoire, music called “Tips to Keep You Talking,”2 Game Plan: Most choral rehears- theory and sight-singing train the which we would highly advise post- als that happen during the day are senses and mind, and, ultimately, ing in your classroom and, perhaps, not especially long, but extend- thoughtfully programmed choral providing a copy in your students’ ed rehearsals before concerts and and solo repertoire can provide the choir folders on the fi rst day of re- community organizations that may practical, game-time challenges hearsal. have only a single, longer rehears- that increase the fi tness levels and al each week should be planned emotional fulfi llment of the entire carefully and executed deliberately. team! Training Threshold Teach your ensembles to displace Many of these great things are The voice, as an instrument, octaves (this includes higher voices being done daily to encourage the has a daily usage threshold that is taking notes down an octave AND vocal health and enjoyment of our diff erent for everyone and highly allowing lower voices to sing notes choral singers, but additional paral- dependent upon genetics, age, con- up an octave) and encourage them lels from the sports world can pro- ditioning, and, sometimes, natural to do so frequently when repeating vide new and exciting strategies for ability. Many vocal athletes may challenging passages. Finally—and coaching the development of your experience vocal fatigue on occa- the authors understand this is a singer/athletes. Let us consider the sion and, hopefully, learn to moni- highly nuanced issue—be mindful health and performance of a sing- tor their behavior to prevent it from of extensive pre-concert rehearsals ing athlete through the metrics we interrupting their lifestyle or work. and the impact they may have on might use to investigate the perfor- Perceptive vocal athletes can be- younger singers. mance of other athletes: come extremely sensitive to minute changes in the fl exibility, clarity, and • training threshold power of the voice, which might Rest • rest go unnoticed to the untrained ear. All physical exercise requires

50 CHORAL JOURNAL May 2019 Volume 59 Number 10 recovery of some sort to maintain your singers to rest. One fun way fi tness on singing, and this area of- physical equilibrium. Furthermore, to do this is to have a designated fers a rather literal view of singers most of our young vocal athletes “Story Time” or some other fun as physical athletes. The positive will spend more time each day or informative ritual to insert into impacts of functional fi tness and using their voices outside of the re- the rehearsal that gets your ensem- cardiovascular, fl exibility, and resis- hearsal hall or studio. It is quite im- ble off of their feet and quiet while tance training to overall wellness is portant that all voice professionals still maintaining their attention. exceedingly clear and strongly rec- clearly communicate with young Some strategic three- to fi ve-min- ommended by the American Col- singers regarding the need to treat ute breaks in a particularly intense lege of Sports Medicine.3 There the voice well when not using it rehearsal can easily become some is considerable extant research on for singing. Practicing good vocal of the more valuable team-building pulmonary function in diff erent hygiene, maintaining adequate hy- opportunities for your ensembles. types of training among profession- dration, getting enough sleep, and al athletes; this has inspired quite deliberately monitoring healthy a bit of voice pedagogy scholar- speech habits are valuable physical Physical Fitness ship, some of which suggests that skills for both general and vocal fi t- There has been much recent re- aerobic training aids singers in the ness, and choral directors are often search about the impact of physical execution of vocal tasks and re- the fi rst point of intervention for young singers. Students who care about singing will need to prioritize rest as much as they prioritize prac- tice. In addition, it is useful to address vocal rest as a therapeutic tool. Ef- fective use of rehearsal time is of- ten of paramount importance to choral directors, and it can be an “This was my third tour with Witte Tours, and the fourth different agency with enormous source of frustration if which I have toured with my choirs. critical individuals or large groups They are well-organized, professional, of singers are not able to participate resourceful, cooperative and respectful. in a rehearsal. However, the im- They deliver what they promise in all portance of rest simply cannot be respects at a moderate, affordable price. overstated in regard to high-impact I highly recommend Witte to any touring musical group!” athletes, particularly in cases of ill- — Craig Fields, Music Director, MacPhail’s Sonomento ness or injury. Encouraging your Concert Tour of Ireland, Wales & England - July 2018 athletes to be students of their own instruments and communicating clearly with their coach and support GO BEYOND A Leader In Concert Tours team is invaluable for a lifetime of SINCE healthy singing. GO WITTE 1975!

Game Plan: Communicate with your students about the need to 800 GO WITTE rest their voices during the day, and www.wittept.com create time in intense rehearsals for

CHORAL JOURNAL May 2019 Volume 59 Number 10 51 covery.4 One of the author’s high movement activity in your rehears- importance of proper hydration has school choral directors used to have als provided they are chosen strate- long been a cornerstone of vocal students run laps around campus gically, respect personal space, and hygiene, and the eff ects of alcohol, before every choir rehearsal and, do not cause physical or emotional dairy products, and certain foods while this was likely a little superfl u- discomfort. One might even consid- have been frequent areas of both ous, their value of the relationship er starting an ensemble club team if scholarly investigation and anecdot- between physical activity and vocal the school or institution has the ex- al observation. The common occur- health was quite clear! isting infrastructure, or encouraging rence and treatment of acid refl ux the students to informally partici- in the singing community in partic- Game Plan: The fi rst and best pate in a running or walking group. ular has become a rather prominent thing we can do is to simply encour- area of frequent concern and study age our students to be physically for laryngologists and other voice re- active outside of school. Stretches Nutrition searchers. Current advancements in at the beginning of rehearsal can The impact of nutrition on sing- medical science and voice research be valuable, and some teachers ers, much like that of physical fi t- are allowing for more objective in- may even be able to include some ness, has only recently come into fo- vestigation of the impact of diet on low-impact yoga, Tai chi, or other cus amongst voice researchers. The the voice. It is highly recommend- ed that choral directors make every attempt possible to stay abreast of this evolving fi eld of research in or- der to make informed voice-related recommendations regarding nutri- tion and to identify signs that may No other folder holds up like ours. indicate the need for a student to seek additional care.5

Game Plan: Nutrition is a high- ly individual issue and sometimes deeply personal. There are, howev- er, some basic tenets of voice-relat- ed nutrition that are quite innocent and universal. The single most im- portant is to simply stay hydrated; drink lots of water, particularly if you drink caff eine or alcohol, which You can feel the quality the moment you pick one up – from the sturdy can dehydrate the vocal folds. Large rear hand strap to the heavy-duty stitching and metal corner protectors. meals, spicy foods, and eating late Our folders have been the fi rst choice of more than half a million choir may lead to acid refl ux, so try to singers, instrumentalists and directors since 1993. Now how about you? plan accordingly when preparing 5PMMGSFF

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52 CHORAL JOURNAL May 2019 Volume 59 Number 10 is an oft overlooked area of singing • The Perfect Wrong Note: Learning to However, how often have you made that has, in the last decade become Trust Your Musical Self by William time for a cooldown? Cooling the an area of considerable research Westney voice down has many benefi ts and and scholarship. The mere notion should be included as often as pos- of mental preparation in singing is Going through some of the sible, particularly at the end of long a potentially vast area of inquiry techniques listed in these resources or late rehearsals.6 Young vocal ath- and could include topics as diverse during the choral rehearsal might letes may be trained in techniques as performance anxiety, memoriza- highlight and better prepare your to cool down independently after a tion skills, and musical perception. singers for the next concert or ex- rehearsal, but the value and execu- Many celebrated athletes have spo- tended rehearsal. Every sound we tion of the exercise must be clearly ken or written about the mental part make begins in the brain, and train- demonstrated by their “coach.” of competition, and considerable ing the brain for success is almost Another recent introduction to information and coaching is avail- certainly worth some time in each the vocal athlete regimen is the idea able regarding game/race day per- rehearsal. of tapering, or decreasing activity formance. Naturally, vocal athletes immediately before a demanding could benefi t from similar mindful- Game Plan: Expose your students contest.7 Professional athletes fre- ness and routines, particularly in re- to the practice of mindfulness and quently do this before big events; lation to competitions or auditions. visualization during the rehearsal for example, many football teams There is an abundance of resourc- process. There are numerous guid- don’t even practice in full pads the es available to singers looking to ed meditation apps (Headspace is day before a game. How much bet- improve their mental preparation, a particular favorite of one of the ter would your choir sound if they from books on musical perception authors) available for smartphones were vocally “fresh” for that com- and aesthetics, articles on memo- and tablets, some of which off er petition or concert? rization techniques and practice short sessions that could be uti- Unfortunately, the rehearsal par- strategies, apps for mindfulness and lized in a rehearsal and all of which adigm is often the exact opposite, meditation, and the engagement of provide some very basic guidance as concerts are typically preceded a trusted mentor. in how to quiet the senses and en- by several days of intense rehears- The following books represent courage focus and mental presence. als and early rehearsal calls on the some insightful examples that could Mindfulness and quiet can be a dif- evening of the performance. What be of particular use when working fi cult sell to younger ensembles, but if much of the “heavy lifting” was with student singers: small bits infused into a rehearsal done far in advance of a big event? or pre-performance ritual can be as Perhaps re-thinking the pacing of • Power Performance for Singers: Tran- valuable to the teacher as they are our rehearsal processes could en- scending the Barriers by Shirlee Em- to the student. courage better practice habits and mons and Alma Thomas vocal health in our singers.

• The Singer’s Ego: Finding Balance Training Pace (Warm-Up, Game Plan: Re-visit your warm- Between Music and Life, a Guide for Cooldown, and Taper) ups and their pedagogical rationales Singers and Those who Teach and Work Warming up, cooling down, and to ensure they are building the voic- with Singers by Lynn Eustis tapering are concepts no longer ex- es and skills you seek and, if you are clusive to professional athletes. Most not already, build a short cooldown • Mind-Body Awareness: Unleashing Op- choral rehearsals include warm-ups, into your rehearsal schedule. An- timal Performance by Karen Leigh- most of which are, hopefully, delib- other popular pacing tactic is to Post erately chosen for their voice-build- prepare your most vocally taxing ing or repertoire-specifi c value. and challenging repertoire in small

CHORAL JOURNAL May 2019 Volume 59 Number 10 53 sections and piece it together pro- unique competencies and expe- tify and consider both positive and gressively to build stamina. More- riences to their ensembles, and a constructively critical elements of over, consider scheduling longer re- wealth of educational resources ex- the performance. Consider using hearsals, perhaps a retreat, early in ist to expand those skill sets. Spend online learning communities pro- the preparation process rather than time training your own ears and the vided by your institution (Black- later. ears of your ensemble to stylistic boad or Canvas, for example) or and aesthetic details of less famil- closed social media groups to post iar genres. Investigate workshops content and request responses if re- Cross-Training and summer training programs in hearsal time is limited. Cross-training, or incorporating CCM or a cappella styles, if your exercises from other sports for op- background is mostly classical, and timal fi tness, has long been a part decode these popular, and poten- Preventative Care of traditional training plans for tially rewarding, musical worlds. Every athlete deals with inju- the professional athlete. The con- ry, and it is actually quite normal ceptual benefi t of cross-training is for those who frequently engage to disrupt familiar muscle function Feedback and Analysis in high-impact activities with their patterns with less common actions The value of feedback seems bodies. However, modern medical in order to stimulate growth and quite obvious and is an aspect of care is designed around the notion foster more refi ned coordination. professional training in virtually all of preventative care and early interven- There is considerable interest in the sports, but how often do we employ tion, and one should certainly seek voice pedagogy world in the value it with our singers and ensembles? a similar paradigm with their vocal of vocal cross- training for this very Many classic sports movies have health. The evidence-based voice reason, particularly between tradi- those obligatory moments where pedagogy community advocates tional “classical” vocal techniques the team is reviewing game fi lm or the assembly of a voice care “team” and contemporary commercial mu- scouting an upcoming opponent, for those experiencing some sort of sic (CCM) forms. Previous chasms and the value of this process can be vocal diffi culty, and, very often, the between traditional and CCM ped- immense when guided by a thought- choral director is a de facto member agogical methods are quickly nar- ful coach/teacher. Recordings are of this voice care team. Most avo- rowing, and voice research has con- uniquely unbiased, and a deliberate cational singers will never develop sistently demonstrated that proper and constructive approach to the a vocal injury, but it is critical that techniques exist to safely execute analysis of audio and video footage the choral directors have a network virtually all vocal styles. Investigat- can be truly formative to a choir or of qualifi ed vocal professionals in ing effi cient and healthy ways to a solo singer. It can be a diffi cult their area for when the care of such execute diff erent styles can be both process, particularly for young solo a team is necessary. vocally and holistically valuable to singers, but we should seek to devel- The fi rst component one should your young vocal athletes. There is op critical and constructive listening seek is a laryngologist, not merely an no need to choose exclusively be- skills in our students. otolaryngologist (typically referred tween choral and solo singing, clas- to as an ENT). A laryngologist is sical and CCM singing, or some- Game Plan: Utilize any and all a specifi c type of otolaryngologist thing as simple as straight tone and technology you can to support your with a specialization in patholo- vibrato. They all have a place and instructional goals. Make audio gies of the entire vocal mechanism, can help your vocal athlete achieve and video recordings of strategic and they typically have specialized total fi tness!8 rehearsals. Encourage the students training in dealing with injuries of to listen once with music and once the voice. In addition, one should Game Plan: Every teacher brings without, and then have them iden- seek out a speech pathologist and

54 CHORAL JOURNAL May 2019 Volume 59 Number 10 a singing health specialist or voco- tive pianists, vocal coaches (who are support staff , but there will be times logist.9 These professionals would quite diff erent than voice teachers), in their musical life when there are make an excellent team should care and any other person whose work many other sources of input or in- be necessary, but it is never a bad informs or impacts their singing. It struction, particularly if they are in- idea to encourage your more seri- is rarely necessary for a young vocal volved in a school musical or other ous singers to seek out a “baseline” athlete to need such an expansive extracurricular musical activities. laryngoscopic exam, taken when in good health for future comparison. Singing is a deeply personal process and there are still many stigmas sur- rounding vocal health; choral direc- tors have the ability to largely de- mystify the potentially frightening Make the world a bettebetter place. prospect of a medical evaluation, and having a relationship with that We can help. voice care team will be a source of comfort for everyone involved.

Game Plan: Identify key members of your preventative care team and invite them to interact with your ensemble. Even a recorded video message specifi cally for your group Colorado Symphony CChorurususs from a local laryngologist, speech pathologist, or singing health spe- cialist can signifi cantly decrease anxiety and hesitation related to seeking care. Finally, always en- courage your students to err on the side of caution when experiencing sudden vocal changes and seek care Emory University Concert Choir Boston Gay Men’s Chorus Portland Symphonic Girlchoir as soon as possible. SharingSh i music i means strengtheningtthit communities,iti building b ildi understanding and spreading joy and peace. As fellow musicians, Support Team we know concert tours have the power to do just that. As global Support staff for sports organi- travel experts, we can handle the special needs you have on tour. zations could include anyone from For over 60 years, we’ve been helping groups change the world. an athletic trainer to a strength and We can help you be next. conditioning coach, and many sim- ilar support networks exist in the voice world. A support team for (800) 627-2141 vocal athletes could be voice teach- Performing ers, choral directors, other music Arts Tours CST 2063085-40 [email protected] teachers, diction coaches, stage di- TOUR CONSULTANTS Since 1955 WST 600 470 812 rectors, choreographers, collabora-

CHORAL JOURNAL May 2019 Volume 59 Number 10 55 Communicate with your students computer spreadsheet with email and former NATS president, Dr. regarding their vocal commitments and phone numbers for a student’s Scott McCoy, yielded a particularly outside of your ensemble. Some voice teacher, accompanist, theater profound observation regarding the of these activities, such as applied teacher, etc., can facilitate effi cient incredible breadth of skills and ten- voice lessons, could and should be communication regarding a stu- dencies that may be represented in a extremely positive for their develop- dent’s vocal health. It is very likely room full of young vocal athletes: do ment and, ultimately, impactful to that you will never need to contact you have a room full of power lift- the ensemble, but respecting bound- any of these individuals, but quick ers, marathon runners, sprinters, or aries, demonstrating professional access to them can prove invaluable. a very diverse set of players? There courtesy, and communicating with are certain musical and vocal com- those other parties when appropriate petencies we can expect all function- will allow you to be the best mentor Targeted Training al singers to demonstrate, but how possible to your young vocal athletes. Finally, there are many factors often do we observe the individuals that impact what type of role a par- in our ensembles closely enough to Game Plan: Collect contact infor- ticular player fulfi lls on a team or the understand their unique strengths mation for other professionals with specifi c sport to which an individual and weaknesses? Any healthy team whom your students musically col- is drawn. A recent conversation on will require a variety of “skill play- laborate. A simple note card fi le or this very topic with celebrated author ers,” and the greatest contribution a

56 CHORAL JOURNAL May 2019 Volume 59 Number 10 choral director can make to the vocal mance skills that they are creates 5 Chayadevie Nanjundeswaren, Jessie health of their team is understand- a template for thoughtful care and VanSwearingen, Katherine ing these critical components and individual growth while supporting Verdolini Abbott, “Metabolic planning accordingly, particularly the strength and success of the en- Mechanisms of Vocal Fatigue.” with regard to vocalization exercis- semble. The choral director is typ- Journal of Voice 30, no. 3 (2017): es, repertoire, and rehearsal pacing. ically the fi rst, and often the only, 378.e1-378.e11. https://doi. “coach” a singer may have, and it org/10.1016/j.jvoice.2016.09.014 Game Plan: Develop a set of brief is worth the extra time and eff ort (accessed June 6, 2018). diagnostic exercises, including tests to put together the most deliberate 6 “Is Your Voice Changing Due to of agility, sustain, pitch retention, and comprehensive game plan pos- Acid Reflux?” https://www. and interval recognition, and take sible for the success of your team keckmedicine.org. Keck Medicine the time to evaluate each student and your players. of USC. 2018. Accessed June 6, individually a few times throughout 2018. https://www.keckmedicine. the year. Plan and/or create vocal org/is-your-voice-changing-due- exercises that develop specifi c skills NOTES to-acid-refl ux/. and fi nd strategic segments of rep- 7 Kari Ragan, “The Impact of ertoire to apply these skills. We un- Vocal Cool-down Exercises: A derstand this requires a substantial 1 Sarah Elizabeth Richards, “Do You Subjective Study of Singers’ and investment of time, but the famil- Call Yourself an Athlete? Here’s Listeners’ Perceptions.” Journal of iarity it will provide with the voices Why You Should,” The Daily Voice 30, no. 6 (2016): 764.e1-764. of your ensemble and the ability to Burn. 7/13/2015. Accessed June e9. https://doi.org/10.1016/j. monitor their progress and develop- 6, 2017. https://dailyburn.com/ jvoice.2015.10.009 (accessed June ment can be truly transformative to life/fitness/definition-of-athlete- 6, 2018). the success of the individual and the motivational-quotes/. 8 Mary Gorham-Rowan, Karl Paoletti, “team.” 2 This helpful list can be found at Richard Morris, “Effect of a http://www.ncvs.org/products_ Tapered Rehearsal Schedule tips.html. on Voice in Choir Singers.” Conclusion 3 “American College of Sports Journal of Singing; Jacksonville, Most reasonably healthy people Medicine position stand. Quantity Fla. Vol. 73, Iss. 4, (Mar/Apr, would be able to run for forty yards, and quality of exercise for 2017): 391-401. but few people could cover that dis- developing and maintaining 9 Nancy Bos, “Where We Were Then tance in 4.2 seconds. Most people cardiorespiratory, musculoskeletal, and Where We Are Now: A could throw a baseball sixty-and-a- and neuromotor fitness in Singing Teacher’s Perspective.” half feet, but very few can throw it at apparently healthy adults: Journal of Singing; Jacksonville, a speed of 104 miles per hour. Vir- guidance for prescribing exercise.” Fla. Vol. 71, Iss. 3, (Jan/Feb tually everyone sings, but relatively https://www.ncbi.nlm.nih.gov. 2015): 347-348. few have the opportunity or ability to National Center for Biotechnology 10 Debra Greschner, “Bookshelf: “50 use their voices in the way that even Information. July 2011. Accessed Ways to Abuse Your Voice: the most modest amateur would in a June 6, 2018. https://www.ncbi. A Singer’s Guide to a Short Palestrina motet or a Brahms waltz. nlm.nih.gov/pubmed/21694556. Career,.” by Robert T. Sataloff , Singers train in order to accomplish 4 Shashikala L and Ravipati Sarath, Mary J. Hawkshaw, Jaime Eaglin elite tasks with their bodies, much “Eff ects of Exercise on Pulmonary Moore, and Amy L. Rutt.” like the runner and pitcher in the Function Test,” Indian Journal of Journal of Singing; Jacksonville, above examples. Treating these vo- Applied Life Sciences, Vol. 1 (2011): Fla. Vol. 73, Iss. 3, (Jan/Feb, cal demands like the high-perfor- July-September, pp. 230-231. 2017): 347-348.

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58 CHORAL JOURNAL May 2019 Volume 59 Number 10 Inspiring a Growth Mind-Set in the Choral Classroom

by Matthew Potterton

Mind-Set Philosophy or, conversely, that they have no tal- usually that someone or something Last year I read a book that com- ent and nothing will fi x that fact. else had caused his lack of progress. pletely changed my thinking about Students with a growth mind-set, John had gotten through high my students, my program, and even however, believe that their own ef- school because of his innate capabil- my personal life. As I was preparing fort will infl uence their achievement. ities, but when he got to college and for the upcoming year and refl ect- Regardless of their inherent skills or was challenged, he froze. He didn’t ing on the previous one, I realized talent, they believe that they can in- know what to do. Teachers were up- how much I had been infl uenced fl uence outcomes through practice set with his work ethic and wrote him by the ground-breaking research in and hard work. off as a failure. He knew he was tal- the book Mindset: A New Psychology of I recently had a student (whom ented but he was failing school and Success by Carol S. Dweck.1 I became we’ll call John) who came to our uni- was afraid to work to try to fi x the convinced that her thought-provok- versity with a great deal of natural issue. Instead, he decided that music ing discoveries had great relevance talent. In fact, we gave him a large just wasn’t for him and he ended up to our music programs and could scholarship and accepted him as a dropping out of school all together. both strengthen our teaching and music major. John came from a rural I had another student whom I will enhance our relationships with stu- school where he often got the solo call Anna. Anna was moderately tal- dents. and his teachers and parents enjoyed ented. We gave her a scholarship but In her book, as well as in her TED telling others how talented he was. not as much as John’s. Anna came Talk presentation,2 Dweck discusses I felt fortunate to have him as my from a strong music program and two ways people approach learning. voice student as he was the best tenor she had to work very hard to learn She labels these two attitudes fi xed I had heard in some time. However, her music. If she didn’t get the solo mind-set and growth mind-set. She it quickly became clear that he was that she auditioned for, she worked describes students with a fi xed mind- not progressing. He came into each hard the next time with the goal of set as those who believe that talent lesson sounding about the same as at earning that honor. and intelligence are inherent and the previous one. As I gave him more Anna was also one of my voice that hard work or eff ort have little challenging literature, he had excuse students. She came in every week impact on success. Fixed mind-set after excuse as to why he couldn’t do with her assignment learned and I individuals are prone to believing it. Rarely did he admit that he just could hear some growth in her tech- they were born a cut above the rest, didn’t work at it. The excuse was nique. While not as naturally gifted

CHORAL JOURNAL May 2019 Volume 59 Number 10 59 Rehearsal Break

as John, she made steady progress. freeze, afraid to do anything, feeling But, sometimes there is an unfor- If something was hard for Anna, she powerless or incapable. He may de- tunate realization for fi xed mindset took the steps needed to overcome cide that he must not be good at this. people when they fail multiple times. the challenge. This can lead to the student feeling Often, the student simply decides like a failure and just giving up. that he is a failure and can’t do this. What happens when a fi xed mind- Remember, the belief is either you The Fixed Mind-Set Student set person is faced with an obstacle? are good at it or not. As was true in Because they believe that ability is When John got his fi rst theory test John’s case, this belief can lead to a inherent, fi xed mind-set students like back and the grade was an F, his student quitting altogether. John see little reason to work hard. attitude was, “It doesn’t really mat- Moreover, working to reach the ter—I’m good.” He also blamed the next level has potential downfalls: teacher for not explaining the mate- The Growth Mind-Set Student the fi xed mind-set person fears the rial well enough. For a fi xed mind- Anna has a growth mind-set. possibility of failing and therefore set person, it’s a sign of weakness to While she was not the most talent- relies on his current talents. Fixed have to work hard. Therefore, for ed student in my ensembles, she was mind-set individuals believe that the next test, a fi xed mind-set person successful. Regardless of skill level, intelligence is static; you are either will seldom expend the eff ort needed growth mind-set students believe good at something or not. These in- to improve, and may fail again. Even that they have to continue to work dividuals often ignore criticism, and, when confronted by a teacher about hard to achieve what others may if and when they do fail, may blame having to step up one’s eff ort or per- achieve easily. They are confi dent their teachers or others for their fail- formance, a fi xed mind-set person but they have their doubts. These in- ings. One might hear, “That teach- tends not to take this criticism to dividuals embrace challenges and do er doesn’t know how to teach!” Or, heart. not mind facing obstacles. “That person doesn’t know what he Failure does not prompt a fi xed Growth mind-set students have a is talking about.” Or, a student might mind-set individual to extra eff ort. much diff erent perspective on feed- back. Diff erent from a fi xed mind-set student, a growth mind-set student CUULLTTUURRAALL TOOUURR COONNSSUULLTTAANNTTSS welcomes constructive feedback and C T C will take criticism and learn from Specialists in InternaƟonal Concert Tours mistakes. A growth mind-set person is not threatened by other’s success and often will feel inspired by other’s successes, and in fact may even be inspired by it to work even harder. If she doesn’t get the solo, she will de-

EUROPE cide to work harder for the next one. and When faced with the same failing Beyond theory grade, Anna reacted with, “Oh my, this is going to be more of a challenge than I thought!” Anna asked questions in class, sought outside help from the teacher, and 259 E. Michigan Ave., Suite 206A | Kalamazoo MI 49007 USA | (866) 499-3799 toll-free worked with a tutor to help her im- prove. Growth mind-set individuals [email protected] | www.CulturalTourConsultants.com will put in the eff ort it takes to do

60 CHORAL JOURNAL May 2019 Volume 59 Number 10 better because they know that hard to laugh about a certain response. her hard work, she surpassed more work is what it takes to master some- Once the wall begins to come down, naturally talented students like John thing. They take failure as a learning I provide small steps to success and I to achieve great musical success. experience and they will attempt to praise the process and eff ort that the I have seen a turn around in my do better the next time. student is going through rather than teaching since I embraced Dweck’s the fi nal outcome. Dweck describes mind-set theory. In the process, I’ve in her TED Talk a college class that become more aware of my own Working with a gives the grade “yet” and “not yet.” mind-set. We all have a little fi xed Fixed Mind-Set Student Learning is a process and getting an and a little growth mind-set within So, what do we do as teachers? answer wrong is not a failure—it’s a us. If we recognize our own mind- I have taught students with a fi xed “not yet.” Focusing on helping the set and the mind-set of our students, mind-set many times throughout student understand his or her own we can become better educators and my high school and college teaching mind-set and then giving them small help more students succeed. With career. They sometimes present as action plans and praising their work my own children, I have begun to students with poor attitudes or large eff ort and improvement has made a acknowledge how their hard work egos and may exhibit a sense of en- tremendous diff erence in my teach- has helped them achieve success titlement. Sadly, as educators, our ing. I have seen the negative mind- as opposed to just complimenting fi rst reaction may be to write these set reactions slowly shift to, “I can do their talents. I don’t allow the word students off —declare them lazy and this!” “can’t” to be spoken in my studio. unteachable and perhaps determine Teachers should praise students They are allowed to say “not yet.” prematurely that they will fail. for their eff ort, not their innate tal- The key, as Dweck explains, is ent. Instead of saying, “You are real- Matthew Potterton is the depart- fi rst to understand their mind-set. ly great at that,” try, “You have really ment of music chair and director of If we realize that we are faced with worked hard to achieve this.” Also, choral activities at East Tennessee a fi xed mind-set individual, we can be sure that students who receive State University. potterton@etsu. guide them to more productive ways poor grades are not treated as fail- edu of thinking. She continues to explain ures. Yes, they did poorly, but discuss that we are changing the student’s what they can learn from this. Re- brain. Our brains are quite capable member, the fi xed mind-set person NOTES of change and even though our stu- will push back and their fi rst impulse dents’ ways of thinking and coping may be just to give up. They are not 1 Carol S. Dweck, Mindset: The New have been engrained from child- used to failure, especially if they Psychology of Success (New York: hood, they can change. The fi rst step have been a high achiever through- Ballantine Books, 2016). may be to explain mind-set theory out high school. For new college stu- 2 Carol S. Dweck, “The power of and how it eff ects their approach to dents, the shock of becoming a small believing that you can improve,” life and their music. This knowledge fi sh in a large sea can be devastating. https://www.ted.com/talks/carol_ can start them thinking and reacting Had I been aware of Dweck’s the- dweck_the_power_of_believing_ in new ways.3 ory, I might have been able to inspire that_you_can_improve#t-740, I have started to explain mind-set John to succeed. He had an incredi- (November, 2014). theory to my students. This helps ble voice and I’m still sad that he was 3 Carol S. Dweck, Mindset: The New open the conversation for strug- not able to reach his full potential as Psychology of Success (New York: gling fi xed mind-set students. I will a musician. Anna, however, is now in Ballantine Books, 2016) pp. 228- point out behaviors that fall into the her second year of graduate school 231. fi xed mind-set category. Sometimes, preparing to get her master’s degree it even allows the student and me in vocal performance. Because of

CHORAL JOURNAL May 2019 Volume 59 Number 10 61 62 CHORAL JOURNAL May 2019 Volume 59 Number 10 CCHORALHORAL CCONVERSATIONSONVERSATIONS

A Conversation with Emma Lou Diemer

by Amanda Bumgarner with Hilary Apfelstadt

Emma Lou Diemer played and sang. All of them played are broad in their abilities to write is a composition an instrument except my father, who instrumental and choral music at all graduate of Yale was a busy school administrator. I levels. And most of all, I appreciate and Eastman (Ph.D.) can remember as a child sleeping choral conductors who have an in- and also studied through the annual performances nate understanding of one’s music. composition at at the college of Messiah, waking up One sometimes becomes a better Tanglewood and in when Handel arrived at “For unto composer of choral music by watch- Brussels on a Fulbright Scholarship. us a child is born,” excited by the ing a talented conductor. She was composer-in-residence in rhythm and vitality of that partic- the Arlington, Virginia, schools un- ular chorus. I sang second soprano Tell us how your compositional der a Ford Foundation Young Com- in the girl’s glee club in high school style and approach developed posers Grant from 1959 to 1961 and in Warrensburg, Missouri, but I over time. professor of theory and composi- had become organist of my church tion at the University of Maryland at age thirteen, and being at the Choral music didn’t interest me before holding the same position at keyboard precluded singing in the as much as instrumental music un- the University of California, where church choir. til I spent two years as compos- she was on the faculty from 1971 to Of course, through accompany- er-in-residence in the Arlington, 1991 and is now professor emeritus. ing my siblings and other singers and Virginia, schools and wrote a great Her compositions have been pub- choirs then and for many years since, deal of choral music that was tai- lished since 1956 and include works I became well-aware of vocal ranges lored somewhat to the spirit and for many mediums from orchestra and timbres and choral writing and abilities of young choral groups and and band to chamber, solo, and cho- its possibilities. As a composition and their conductors. Out of that expe- ral works. piano student at Yale, I wrote a few rience came the Three Madrigals, a choral pieces and discovered an in- work that has been in the repertoire terest in poetic texts and their inspi- since 1962, and some other pub- Who were the major musical ration for musical settings. I’m a pi- lished works that have braved the role models in your life and anist, organist, and for the most part constant wave of new choral mu- how did they infl uence you? prefer choral music that includes sic and survived. The later writing instrumental color but also like a cap- of music for more mature voices in My earliest infl uences were family pella sound that is nuanced and tim- professional choruses and in church members—mother, father, grand- brally varied. I am infl uenced and has produced many works of vary- mother, sister, twin brothers—who admiring of composers who were/ ing diffi culty. My more adventur-

CHORAL JOURNAL May 2019 Volume 59 Number 10 63 CCHORALHORAL CONVERSATIONSCONVERSATIONS ous musical styles have not been in bells.” Those excursions always have bushes…” I found the word “shad- choral music but rather in keyboard a textural purpose rather than “ef- owed” especially conducive to rep- works and some orchestral/chamber fect for eff ect’s sake.” My favorite etition and the pauses easy to set. compositions infl uenced by elec- medium is chorus/orchestra. These Never feel that composers are so in- tronic music while on the faculty of are well covered in Jennifer Flory’s A terested in the music they are writing the University of California, Santa Conductor’s Guide to the Choral/Orches- that the words have no importance. Barbara. However, there have been tral Works of Emma Lou Diemer. It is the sound of words that encour- excursions into more “avant garde” age the music. Of course, the Bible writing: breathing sounds in “Blow, How do you select texts for has some of the most beautiful texts blow, thy winter wind” and the use your choral works? in existence. I have set almost all the of clusters in “Sweet dreams form psalms either vocally or chorally or a shade” in A Feast for Christmas and I look for texts that are not wordy, for instruments. the choral speaking in Three Anniver- not “preachy,” not burdened by sary Choruses and the buildup of tonal overly weighty thoughts that do not Looking back at your career, blocks in the recent “Ring out, wild need to be set to music. I like poems what impact, if any, did your about nature, love, joy, praise, re- gender have on your develop- membrance, sadness, texts that have ment? rhythm, imagery, sometimes humor. Brevity is an asset because words/ This is a huge aspect. Women phrases can be repeated. (Some of composers can readily be accept- us have written works using just the ed as the writer of piano pieces for word “Hallelujah!) Emily Dickinson children, songs (especially pop songs is a favorite of composers perhaps that are popular, whether it is known because of her brevity and depth that a woman composed them or and quantity. The lightness and not), perhaps short organ composi- rhythm of Renaissance poets is en- tions. But women have written mass- ticing. When looking through sourc- es, symphonies, concertos, much of es I fi nd that the fi rst line is the most it neglected or of short life. I’m sure important, and that ensuing ideas/ there was (and still is) a great deal images need to be striking, moving. of impact especially regarding pub- A text becomes more vivid and un- lication and performance. Female derstandable as one sets it to music composers may tend to be looked and fi nds inspiration in the sounds upon with suspicion by publishers of certain words and their mean- and performers unless there is a ing. In a recent work written for the women’s festival or a conscious ef- Huntsville (AL) Master Chorale, fort and need/obligation to include the poet at the time of the writing music by women. However, women of the poem was ten years old, and composers of music for fi lm have be- she had won fi rst place in a Young come prominent and outstanding. I Writers contest. Her poem, “My Ap- would not like to be labeled a “cho- ple Orchard” has a fl ow that poems ral composer” or “organ composer,” must have and an innovative use of etc., any more than men have liked punctuation: “Inside my orchard, to have those labels when they have summer green. Quiet. Gentle. Still. written music in many kinds of me-

Serene…Lush grass shadowed by diums. My main interest is to write

64 CHORAL JOURNAL May 2019 Volume 59 Number 10 music, and it has been a great joy mediums, inspiring texts. Sometimes (or always) a sensitive to do so for most of my ninety-one and skilled conductor will bring years. How does one capture, recon- more life and beauty to a piece than cile, and balance the conduc- the composer imagined was there. What advice would you give tor’s interpretation with the That has happened to me more than young composers as they em- composer’s vision and inten- once. bark on a career? tions of a choral work? (This question was supplied by the What else would you like our Be acquainted with and knowl- previous column interviewee.) readers to know about you from edgeable in all styles and periods this article? and forms of music and profi cient in The composer can only try in a one instrument at least and sensitive sometimes imprecise use of notation I feel that choral music is the most to vocal/choral sound and words. to write down her musical intent. It intimate musical communication. Be motivated and “set on fi re” by is up to the conductor to study oth- music and the writing of it. Write er works by the composer, consult Please provide a question for music for your friends to play and with the composer if possible, and the next interviewee to answer. sing. Say “yes” more often than “no” interpret the music in the most ef- when asked to write a new compo- fective way. This varies greatly from Which is more important to you: sition. Try diff erent styles, diff erent conductor to conductor, of course. the text or the music?

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in 1961, he traveled to Amsterdam primarily functional purpose, Gun- VVocalocal JazzJazz to continue his studies at the Con- nar Reynir Sveinsson does not ap- Greg Amerind servatory until 1966 and then at the pear on the Icelandic popular music National R&R Chair State University Institute of Sonol- scene; instead, his compositions are [email protected] ogy (1973-74).3 After returning to foremost for amateur choirs, theater, his native country, Gunnar worked church, and jazz clubs. Gunnar uti- as a jazz musician and composer lized his varied musical education in Reykjavík and as a teacher at the in compositions that, while eclectic, Gunnar Reynir Sveinsson: New School of Music. show a marked jazz infl uence from Jazz-Infl uenced Choral Music Although jazz is relatively new to his own performance history along by Sarin Williams Iceland, the country’s vocal music is with elements of his classical conser- an old tradition that grew from the vatory training. “He has composed Composer and percussionist Gun- Viking recitation of folk poetry and many works in the Third Stream nar Reynir Sveinsson (1933-2008) eventually moved into the Christian spirit [infl uenced primarily by Len- has the distinction of being the fi rst, church and sacred plainsong in the nie Tristano and Lee Konitz], where and still primary, Icelandic compos- medieval era. Due to the country’s he uses classical music and jazz as a er of jazz. His fi rst infl uence with geographical isolation, it was not starting point—not as opposites but the genre was during the American until the late nineteenth century that as matching genres.”6 Beyond these occupation of his homeland during musical activities blossomed in Ice- infl uences, Icelandic folk music often World War II, where he received land and choral singing became a appears in his oeuvre, particularly “two yards of jazz records from an favorite pastime. The Pólyfónkór [The in his compositions for choirs. The American guitarist who had previ- Polyphonic Choir] was founded by composer himself was open about ously played with Benny Goodman’s Ingólfur Guðbrandsson (1923–2009) his international musical back- orchestra and led the dance orches- in 1960 and established new stan- ground: “If you start at the age of tra at the American soldiers’ most dards for the a cappella choral art, nine with jazz, then you are interna- popular dance hall in Reykjavík.”1 aff ecting the many church, school, tional. I look at the universe, not at Perhaps because of this infl uence, youth, and children’s choirs in the Iceland alone.”7 Gunnar became a vibraphonist who country. By 1990 there were over Although the word jazz covers a began his career with the KK Sextet 4,000 members in the Landsamband divergent group of musical practic- and played percussion for nine years blandaoðra kóra4 [The Federation es, including some popular musical in the Iceland Symphony Orchestra. of Mixed Choirs, LBK, founded styles, certain elements pervade its His fi rst formal musical education in 1938], with thirty-fi ve member history. The following list of seven was at the Reykjavík College of Mu- choirs still today.5 salient jazz features has been adapt- sic.2 Three years after his graduation Preferring to write music for a ed from Frank Tirro’s book Jazz: A

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History8 and is useful when consider- • Timbral features particular to the expanded percussion in the form ing the application of jazz to choral voice, including shakes, glissandi, of nontraditional jazz instruments. music: and falls The composer also frequently uses syncopation, scat syllables, and pop- • Vocal improvisation (both solo and • A performer-centered aesthetic ular song form, with syncopation group), including the use of scat syl- occurring in three works and the lables Of all of Gunnar’s compositions, latter two elements—scat syllables four stand out as a combination of and popular song form—utilized in • Rhythm sections jazz and the choral art featuring two. Another rhythmic element— the jazz elements of improvisation, swing—can be found in one work: • Rhythmic features involving swing, rhythm sections, rhythmic features, Söngvaseiður. syncopation, and cross-rhythm popular song form, and extended tonalities9: Maður Hefur Nú • Popular song or blues forms Year of Publication: 2000 • Maður Hefur Nú in two arrangements Duration: 3:00 • Pitch materials consisting of the for either SATB or SSAATTBB un- Scoring: SATB and SSAATTBB, blues scale, blue notes, and extended accompanied choir unaccompanied tonalities • Söngvaseiður for Mixed Choir, Alto With both a tune and text by Gun- Saxophone, Piano, Guitar, Double nar Reynir Sveinsson, Maður Hefur Bass, and Percussion Nú [One Really Has] appears in two diff erent arrangements. The fi rst, by • Ég Heyri Vorið Vӕngjum Blaka for Hildigunnur Rúnarsdóttir (b. 1964), Mixed Choir, Alto Saxophone, Gui- is for unaccompanied SSAATTBB tar, Double Bass, and Percussion chorus, while the second, arranged by Sigurður Halldórsson (b. 1963), is • Alt Fram Streymir for Mixed Choir, for four-part mixed choir, also unac- Clarinet, Guitar, Double Bass, and companied. Both arrangements are Percussion available through the Iceland Music Information Centre and feature the Jazz infl uences abound, with ex- extensive jazz elements of popular tended tonalities and a rhythm sec- song form, scat syllables, improvisa- tion occurring in all four analyzed tion, a rhythm section, syncopation, works. Improvisation is also includ- and extended tonalities. ed in each composition, although in Sveinsson’s original tune is in G three of the four pieces it is instru- Minor, and both arrangements hold mental improvisation; the only vocal to that basic key, although Halldórs- improvisation occurs in Maður Hefur son’s veers away to end a minor Nú. As Gunnar was a vibraphonist, third lower, imitating a blue-note percussion plays a prominent role relationship (lowered third) through in these compositions. A percussive the arrangement’s tonal centers. element is included in each—with The minor key is appropriate to a Maður Hefur Nú even featuring a vo- text that speaks of enduring through cal rhythm section—and both Alt winter: Fram Streymir and Söngvaseiður feature

68 CHORAL JOURNAL May 2019 Volume 59 Number 10 Oh, one really has, one really has ements in these two arrangements. These scat syllables lead to A1 and endured such already this winter Both pieces maintain an AABA pop- tag sections that sound like group and done, yes, done ular song form with the text of the A improvisation in both arrangements. ever so much, so much better. sections either the fi rst stanza of the Although scat is frequent through- poetry or scat syllables, while the B out both works, the A1 section does If it goes slowly, almost not at all section text is stanza two of the po- not use Sveinsson’s poetry at all but we will see to it in the spring. etry. Scat syllables more familiar to moves to Icelandic scat syllables in If without success in spring and the Icelandic language have a prom- all voices—a change from all other not at all in summer inent place, with syllables like “dú” longer sections in which the melody then surely all will come to be by and “bí” common to both arrange- carries poetic text. In addition, the autumn.10 ments (Figure 1); the acute accents melody moves from the soprano to over the vowels “u,” “i,” and “a” are the alto voice, and the accompany- Scat syllables anchor the jazz el- characteristic of Icelandic. ing voices have quicker rhythmic

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fi gures (triplets and sixteenth notes, ing of a vocal rhythm section in the typical drum cadence. These rhyth- see Figure 1), a change from the con- second appearance of the A section mic sounds add to the feeling of an sistent quarter- and half-notes of all in both arrangements, although this improvisatory section as discussed other sections of the works. The tag jazz element is not as prominent above. of both arrangements also feels like as others are. The A1 section uses A prominent, albeit brief, in- group improvisation, with a freer “bramm” (notated in m. 15 of the stance of syncopation occurs in the melodic line in either the alto or so- Rúnarsdóttir and continuing in mm. tag section of each work (mm. 54 – prano voice, and a syncopated har- 16 – 20 of Figure 1) or “brm” (in the 55, Figure 2), and extended tonali- monic fi gure using only scat syllables Halldórsson) to imitate percussive ties are prolifi c in both arrangements (Figure 2). Halldórsson’s arrange- sounds in the tenor and bass voices, (for example, the E11 chord in m. 18 ment even specifi es “ad lib.” above followed by a walking bass line imi- of Figure 1 or the unlabeled C9 of the soprano melody. tating a string bass. The section ends m. 56 in Figure 2). Scat syllables also lead to the feel- with triplets in all voices intimating a

70 CHORAL JOURNAL May 2019 Volume 59 Number 10 Söngvaseiður with songs of celebration through labeled by the composer) and fea- Duration: 3:00 the night. tures the jazz elements of syncopa- Scoring: Mixed Choir, Alto Saxo- We will drink the splendid nectar, tion, swing, a glissando, scat sylla- phone, Piano, Guitar, Double Bass, joyfully empty in one the cup of bles, a rhythm section, instrumental and Percussion life. improvisation, and extended tonali- With song our wishes come true, ties. Söngvaseiður [Song], available sorrow and pain fade away. Syncopation is prominent through the Iceland Music Informa- Joy smiles bright and clear, throughout Söngvaseiður, occurring tion Centre, is a lively drinking song the seabirds chatter softly round mostly in an eighth-quarter-eighth text by Árni úr Eyjum11 set to an the valley. rhythmic pattern, and only in the original nocturne by Oddgeir Krist- The fi re burns on Fjósaklettur;13 sections with a Latin feel. This jánsson. in the night, love binds soul with rhythm is found in both the vocal soul. and instrumental parts (Figure 3) (Let us, brothers, meet in Her- and helps to give the piece a strong jólfsdalur)12 It utilizes a rondeau-like form, and jazz infl uence. youth will reign at the feast the feel of the piece alternates be- Swing appears in contrast to the Let’s fi ll the high mountain hall tween Latin rhythms and swing (as prevalent Latin feel of the work

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and occurs in only twelve of the The rhythm section in Söngvaseiður instruments and spelled in the pitch- eighty-fi ve measures of the piece. consists of percussion, piano, guitar, es of the instruments and voices; Sveinsson specifi es this feel (Figure and double bass; but, as in his oth- and, second, the penultimate chord 4) and notates swung eighths as reg- er pieces that include instruments, is an E11. Although not notated by ular straight eighth patterns in the Sveinsson goes beyond the expected symbol, this chord is spelled in the vocal parts and as a dotted-eighth combo instrumentation, adding Lat- pitch content of the measure. sixteenth pattern for the percussion in percussion (claves, congo drums, with an indication for the pattern to timbalas, and maracas) as well as the repeat. melodic alto saxophone. Although Ég Heyri Vorið Vӕngjum Blaka One timbral eff ect particular there is no vocal improvisation in Duration: 3:00 to the voice—a glissando—can be this piece, instrumental improvisa- Scoring: Mixed Choir, Alto Saxo- found in the fi nal measures of the tion occurs almost constantly for the phone, Guitar, Double Bass, and tag. It occurs in all voice parts, the guitar, saxophone, and percussionist. Percussion alto saxophone, and the double bass Extended tonalities are also frequent from the penultimate E11 chord to throughout the work, occurring in The Spring Poem Ég Heyri Vorið the fi nal E7 (Figure 3, mm. 84 – 85) both the written chord symbol no- Vængjum Blaka, set to a song by Odd- along with a decrescendo. This ex- tation for the guitar, and through geir Kristjánsson and text by Ási ample also shows the scat syllables spelled chords in the instruments í Bæ (1914–1985),14 is a light work that are found throughout Söngva- and chorus. Figure 3 shows sever- with two verses and a “tra la la” re- seiður, both interspersed with the po- al extended tonalities. First, an A9 frain (Figure 5). The text lends itself etic text and occurring alone. chord is notated as a symbol for the to this F Major setting:

72 CHORAL JOURNAL May 2019 Volume 59 Number 10 I heard Spring fl utter her wings, Ég Heyri Vorið Vængjum Blaka is in er in the arrangement’s instrumen- echoed by my hopes, AABA popular song form, with one tation), bass, and drums to include for I am a child of Summer additional A section appearing at a melodic instrument—alto saxo- and my spirit yearns for the sun. the end (Table 1), which is labeled phone—who has one “solo” area (as by Sveinsson as an “extra chorus.” marked by the composer) in the B When sea glitters under blue The introduction, B section, and tag section. Chord symbols are the only domed sky are instrumental, featuring the alto included notation for the guitar, ne- and tiny birds are rocked by the saxophone as the lead. The only me- cessitating improvisation throughout breeze lodic instrument, the saxophone also the work. The double bass provides and love shines in your eyes, appears in sections A and A3 with the standard harmonic function with I gladly accept my lot. the “tra la” text, but not in A1 or pizzicato writing (Figure 5, m. 33) A2 while the chorus sings the poet- but also has moments of arco bow- The piece is available through the ic verses. The B section provides the ing as indicated by the composer. Iceland Music Information Centre standard break from the tuneful A While extended tonalities are present and features three jazz elements: section melody. Ég Heyri Vorið Vængjum Blaka through popular song form, a rhythm section Sveinsson expands the typical jazz both written chord symbols for the with instrumental improvisation, rhythm section of guitar (included in guitar and in the pitches notated in and extended tonalities. the score but not listed on the cov- the instruments and chorus, they are

Table 1. The Popular Song Form of Ég Heyri Vorið Vængjum Blaka by Gunnar Reynir Sveinsson Sections Intro A A1 B A2 A3 Tag Measures 1 - 16 17 - 48 49 - 84 85 - 100 101 - 132 133 - 164 165 - 169 Text “Tra La” Verse 1 Verse 2 “Tra La”

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a minority of the harmonies in this written chord symbols for the guitar three of the four works utilizing both work. and are created by pitch composi- an original tune and text by a native tion in both voices and instruments. Icelander; only the text and tune of In Figure 6, a C9 chord ends the fi rst Maður Hefur Nú are the composer’s Alt Fram Streymir half of the B section and leads into own creation. Ég Heyri Vorið Vængjum Duration: 3:00 verse 2. Blaka has a particularly strong folk Scoring: Mixed Choir, Clarinet, Other jazz elements of instru- infl uence with its “Tra La” refrain. Guitar, Double Bass, and Percussion mentation and syncopation are prev- With the depth and breadth of alent as well. Although the composer Sveinsson’s compositional output, To an original song by Sigfús Ein- strays past the instruments included these four works are his only choral arsson and a text by Kristján Jóns- in a traditional rhythm section16 they pieces to include a jazz infl uence and son Fjallaskáld,15 Alt Fram Streymir are still present, with guitar, double are quite diff erent from one another. [All Flows Endlessly] has a melancholy bass, and drums. Syncopation ap- From the lighthearted Ég Heyri Vorið tone that begins with the text and pears throughout the work, in both Vængjum Blaka to the more complex pervades its G Minor music. This the instrumental and vocal parts, arrangements of Maður Hefur Nú, work, available through the Iceland although the most prominent uses these compositions demonstrate the Music Information Centre, features appear in the instruments. composer’s folk and jazz infl uence in three jazz elements: extended tonal- a variety of settings. While extended ities, a rhythm section with instru- tonalities are frequent, all of these mental improvisation, and syncopa- Conclusion arrangements are appropriate for tion. Beyond jazz elements, other infl u- amateur choral ensembles and can Extended tonalities appear ences of Sveinsson’s native Iceland also provide an accessible introduc- throughout Alt Fram Streymir. These are apparent in the works analyzed. tion to the Icelandic language. jazz chords are indicated both in the Folk elements are prominent, with

74 CHORAL JOURNAL May 2019 Volume 59 Number 10 NOTES eff ects are typically added as a part Dalvegur, Iceland, south of the of a performer-centered aesthetic, main body of land. 1 Göran Bergendal, New Music in Iceland, along with the similar jazz element 13 A city just North of Rekjavík, Iceland. trans. Peter Lyne (Reykjavík: of improvisation. Because of 14 Ási í Bæ denotes the poet’s connection Iceland Music Information Center, Sveinsson’s jazz background and to a particular location—Ási 1991), 103. inclusion of improvisation, it is at Bær—a community fond of 2 Iceland Music Information Centre, probable that the composer would the arts North of Reykjavík in Brief Biographical Notes about Living want performers to bring their own Western Iceland (Oliver J. Kentish, Icelandic Composers and a Catalogue fl avor to his jazz-infl uenced works, composer and conductor, e-mail to of Their Works (Reykjavík: Iceland but aural evidence of this does not author, November 2, 2014). Music Information Centre, 1983), currently exist. 15 Kristján Jónsson is known as 4. 10 Icelandic translations by Oliver J “fjallaskáld” or “mountain poet” 3 Gunnar was a pioneer in this area and Kentish. (Oliver J. Kentish, composer set a trend for Icelandic musicians 11 Árni úr Eyjum denotes the poet is and conductor, e-mail to author, to travel to Holland for further connected to a particular place— November 2, 2014). musical education. Árni from Eyjar in the Westmann 16 Beyond the traditional guitar, drums, 4 Svavar Gestsson, forward to Arts and Islands (Oliver J. Kentish, composer and pizzicato double bass, Culture in Iceland: Music, by þorkell and conductor, e-mail to author, Sveinsson also includes a gong for Sigurbjörnsson (Reykjavík: The November 2, 2014). the percussionist and some bowed Icelandic Ministry of Culture and 12 A prominent city on the island of double bass. Education, 1990), M-9. 5 Margret Boasdottir, Chairman of LBK, e-mail message to author, October 19, 2014. 6 Vernharður Linnet, “Hot Music in a Cool Zone,” Nordic Sounds 3 (2006): 17. 7 Bergendal, New Music in Iceland, 105. 8 Frank Tirro, Jazz: A History, 2nd ed. (New York: W. W. Norton and Company, 1993), xvii. 9 There is a notable lack of any blues infl uence in Gunnar’s compositions; A service learning program opportunity for student chapters blues form, the blues scales, and blue notes are not used in any of ChorTransform takes students into settings with underserved populations – such as his included compositions. Cross- urban or rural schools, under-resourced programs, or programs that lack administra- rhythms are also entirely absent. tive or community support – to help pre-service choral directors gain insights into the The fi nal two jazz elements from Tirro’s list—timbral features and challenges of early career. a performer-centered aesthetic— Interested? Want to learn how to start a program on your campus? are particularly hard to identify Contact the ACDA National Offi ce (Sundra Flansburg - sfl [email protected]) and ask without any extant recordings of these works. Although there is one for the ChorTransform Toolkit, which describes program requirements and provides notated instance of a glissando template agreements and other documents. at the end of Söngvaseiður, timbral

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CHORAL JOURNAL May 2019 Volume 59 Number 10 77 Dominick Argento 1927–2019

Dominick Argento, Pulitzer Prize-winning al contributions to music in America. He was composer and America’s leading composer of honored with the title of Composer Laureate lyric opera, passed away on February 20, 2019, to the Minnesota Orchestra in 1997, a lifetime at the age of ninety-one. He was born in Penn- appointment and the fi rst such appointment in sylvania and as a small child taught himself the nation. Best known for his operas, Argen- music theory from library books. He served the to also composed works for orchestra, chamber United States Army in East Africa as a cryptog- choir, and music for plays. He won the Pulitzer rapher for two years (1945-47) before receiving Prize in 1975 for his song cycle “From the Diary degrees from Peabody Conservatory (BM, MM) of Virginia Woolf ”; in 2004 he won a Grammy and Eastman School of Music (PhD). After Award for best contemporary classical composi- earning his doctorate, he spent a year in Italy tion (“Casa Guidi”). He was married to sopra- on a Guggenheim Fellowship. He taught mu- no Carolyn Baker from 1954 until her death sic at the University of Minnesota from 1958 in 2006. Dominick Argento was highly sought until his retirement in 1997, later becoming after as a beloved mentor, teacher, and commis- Professor Emeritus. In 1993, he was awarded sioned composer. the George Peabody Medal for his exception-

78 CHORAL JOURNAL May 2019 Volume 59 Number 10 Herford Prize Julius Herford Prize Julius Herford Prize Julius Herford Prize Julius Herford Pr Herford Prize Julius Herford Prize Julius Herford Prize Julius Herford Prize Julius Herford Pr Herford Prize Juliusullius HeH rfordrford PrPrizeize JuJ liuslius Hereerfordford Prirrizezez Juliusulius HeH rfordrforo d PrPrizeize JuJ liusliu Herford Pr Herford Prize Juliusulliuus HerfordHHeerfforrd PrizePPrrizze JJuuliuslil uus HerfordHerfoordr PrizePrizze Juliusuliuus HerfordHHeerfr ord PrizePPrizze JJuliuslliu Herford Pr Herford Prize JJuliusuluuliusiius HHeerford Prizeize JuHerforduliusllius Herfoerfordrdd Prize Jululiusiuu s HHePrizeerford PPrrize JuJuliliusu Herford Pr Herford Prize Julius HerffSponsoredorord Prizze JuJu bylil usu sClassicalHerrfoordr P rirMovements,zez Julu iuus HeH rf Inc.forord Prize JuJ liusu Herford Pr Herford Prize Julius Herford Prize Julius Herford Prize Julius Herford Prize Julius Herford Pr Herford Prize Julius Herford Prize Juuliiusu Herrfof rdd Priizez Julius Herford Prize Julius Herford Pr Heerford Prize Julius Herffoord PPrizze JJuuliiuss Heerrfofordr Prizez Julius Herffoord PPrizze JJuliuss Heerford Pr Herford Prize Julius Herford Prize JuJ2018lius Herford Prize Julius Herford Prize JuJ lius Herford Pr H Call for Nominations

The Julius Herford Dissertation Prize: Each year the Julius Herford Prize Subcommittee of the Research and Publications Committee accepts nominations for the outstanding doctoral terminal research project in choral music. Projects are eligible if they comprise the principal research component of the degree requirements, whether the institution defi nes the project as a “dissertation,” “document,” “thesis,” or “treatise,” etc.

When a dissertation may be nominated: The prize name’s date (above) indicates the year in which the relevant doctoral degree was conferred. Dissertations must be nominated in the calendar year following the year in which the degree was conferred. The prize is awarded in the calendar year following the year of nomination. Thus, the dissertation of a student with a 2018 degree can be nominated between January 1 and June 1, 2019; the prize will be awarded in 2020 (at the relevant ACDA conference).

The award: The winner will be awarded a $1000 cash prize and a plaque. The committee reserves the right to award two prizes or no prizes in any given year.

Nomination Requirements and Procedure: 1. An institution may submit only one document for that year’s prize. In the event that there are two nominations of equal merit from one school, the letter from the Dean, Director or Chair of the music school (described below) must justify the additional nom- ination. The submitting faculty member, institution and/or the writer must be currently a member of ACDA in good standing.

2. To nominate a dissertation send, by US mail: A) A signed letter from the Dean, Director, or Chair of the music school recommending that the dissertation be considered for the Herford prize. (Letters from the Chair of the Choral area are not acceptable.) The letter must include the following infor- mation: the complete name of the student, the year in which that student’s degree was granted, and the full title of the dissertation B) An abstract of the dissertation, from which any material identifying the student or institution has been removed. C) An unbound copy of the dissertation (it may be double-sided). Excepting the title page, any material that identifi es the student or the institution must be excised from the document before it is submitted. D) The full name, title and complete contact information for the area faculty member making the submission and the full name, current position(s) and contact information for the dissertation’s author (USPS address, email address and phone number(s)).

3. The dissertation and accompanying materials must be received at the national offi ce (address below) by the date announced wbelow (and in the Choral Journal and on the website). Faxed material will not be accepted.

4. All materials must be submitted together in one envelope.

If one or more of these requirements is not met, the dissertation will be eliminated from consideration. Nominations for the 2018 Julius Herford Dissertation Prize must be received between Jan 1 and June 1, 2019.

Mail applications to: Sundra Flansburg, ACDA National Offi ce, 545 Couch Drive, Oklahoma City, OK 73102-2207 phone: 405/232-8161-5328; e-mail: sfl [email protected]

CHORAL JOURNAL May 2019 Volume 59 Number 10 79 PROJECT : ENCORETM NEWS A Catalog of Contemporary Choral Music ProjectEncore.org

QUARTERLY ENDORSEMENTS

CHRISTOPHER HOH Come, Love We God • SATB; incidental divisi; a cappella; English and Latin (attr. Richard Shanne) • 3’30”. Lively setting of the story of the shepherds and the three kings, bringing their gifts to the newborn Child. Macaronic poetic text of 15th-century origin. Four-part homophonic writing alternates with men’s/women’s duets. Fluid mix of simple and compound meter. Viable for good church and high school choirs. ProjectEncore.org/christopher-hoh

LAURIE BETTS HUGHES I Died For Beauty • SATB; piano accompaniment; some spoken utterances; English (Emily Dickinson) • 4’. Composer's description: ". . . a reminder of the relationship between creativity and emotional expression." In memory of a singer who took her own life. Broad programatic use, however. Gentle lyricism sometimes imitatively presented sustains interest. Accessible for high school and community choirs. ProjectEncore.org/laurie-betts-hughes

ANDREW JACOBSON At the Mid Hour of Night • SSAATTBB; piano accompaniment; brief aleatoric section; English (Thomas Moore) • 4’11”. Moving art song for choral ensemble. Soaring melodies and tender, pensive moments. Often soprano melody with ATB harmonic support; some imitative writing. Dreamlike quality. Piano writing contributes its own unique character. Thick texture, requires numbers; but accessible for good high school choirs. ProjectEncore.org/andrew-jacobson

CAROLINE MALLONEE Light Through Windows • SATB; some S/A divisi; a cappella; English (Caroline Mallonée) • 3’15”. A portrayal of meaning through architecture and stained glass artistry (which is compared to manuscript illumination). Perfect for celebration of a gothic space; but broader programmatic use through concepts of light, hope. Lyrical lines; compound and non-symmetrical meters. Solid high school and above. ProjectEncore.org/caroline-mallonee

PROJECT : ENCORE™ is sponsored by Schola Cantorum on Hudson home of the Ember Ensemble ScholaOnHudson.org PROJECT : ENCORE™ is an online catalog of post-premiere, new choral music, reviewed and endorsed by an international panel of prominent conductors.

Four times each year, P:E adds newly accepted scores to its catalog. Score submission deadlines are the 15th of January, April, July, and October.

JOHN MUEHLEISEN River Moons • SSAATTBB; a cappella; English (Carl Sandburg) • 6’30”. Portrayal through voices of "the sacramental beauty of Nature." Companion piece to "Prairie Waters by Night" (also endorsed by P:E). Evocative of memory and wonder. Rich harmonic palette, frequent antiphonal passages, abundantly programmable. Requires solid choir with excellent intonation. ProjectEncore.org/john-muehleisen

DONALD M. SKIRVIN Sometimes, for eternity • SATB; some incidental divisi; with violin; English (Gordon E. Abshire) • 3’19”. Written as "an ode to those whose lives were well-lived in music;" poem written as by one who has passed on. Rich harmonic palette, accomplished with minimal divisi. Violin paints each described scene, while voices tell the story. Beautifully direct and accessible. Must have excellent violinist and fl exible voices. ProjectEncore.org/donald-m-skirvin

KEANE SOUTHARD In this short life • SATB; divisi in all parts at times; English (Emily Dickinson) • 5’. Conceived as a "meditation focusing on the transience and preciousness of life and what one can (or can't) accomplish within it." Requires an ensemble capable of sustaining long lines with control, and producing the substantial dynamics and articulations indicated. Challenging; worth the work! ProjectEncore.org/keane-southard

DEANNA WITKOWSKI (NEW to PROJECT : ENCORE) A Christmas Carol • SATB; minimal divisi; a cappella; English (G.K. Chesterton) • 3’6”. In this mostly-strophic setting of the four-stanza poem, both poet and composer have gone beyond the traditional nativity story, suggesting the road that would lie ahead. Expansive programmatic use beyond seasonal. Largely homophonic, with some imitative elements. Clear intonation a must; excellent high school and above. ProjectEncore.org/deanna-witkowski

DEBORAH SIMPKIN KING, PHD. Conductor P:E Director and Founder DeborahSKing.com +VMZ

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DDavidavid PPuderbaugh,uderbaugh, eeditor Davidditor Puderbaugh, [email protected] rEditorbaugh @ [email protected]

Ēriks Ešenvalds: The Doors of grief came into the world, using Na- and New Testaments. It begins with Heaven tive American fl utes, jaw harps, and a portion of a Renaissance motet by Portland State Chamber Choir drums to tell the story. Over lush, Cristobal de Morales. Overlaid by a Ethan Sperry, conductor sustained choral chords, antipho- string orchestra in a diff erent key, the NAXOS 8.579008 (2017; 58:37) nal soloists deliver the narrative, on choir continues unaltered, led by ex- occasion building to more dramatic cellent soprano soloist Hannah Con- Born in Latvia in 1977, Ēriks declarations. Bolstered by the bass senze, whose bright, dramatic voice Ešenvalds is well known to choirs and drum and the spectral power of the and sterling intonation highlight conductors worldwide. A number of fl ute fi gurations, it is a moving intro- Mary’s observation of the events and recent albums have been released duction to the recording. her wondering if her own sins are to dedicated to his works, including this The next track, Rivers of Light, is blame. The next section is more ac- one by the Portland State Universi- one of several works by Ešenvalds tive, recounting the horror of the ar- ty C ha m ber Choir. The auditioned about the Northern Lights. It uses rest and crucifi xion, with Psycho-like choir was founded in 1975 and has ancient Sami Scandinavian folk mel- repeated notes in the strings. been conducted by Ethan Sperry odies (with texts al- The work concludes with human- since 2010. luding to the aurora) ity’s response to the crucifi xion. The Those familiar with Ešenvalds’s with passages from Renaissance homophony returns works know his compositional style is British explorers’ and is greeted with haunting unease fi rmly rooted in the twenty-fi rst cen- journals describing by the strings. At the end, instead of tury, featuring sustained chords with the sight of the auro- a triumphant Hallelujah, there is a expanded harmonies (using rich dis- ra for the fi rst time. While the mid- repeated chant of “Mariam Rab- sonances found in the diatonic scale, dle section is less compelling, it is boni” as Mary sees Jesus from be- such as sevenths and ninths); timbral bolstered by the Suzanne Vega-like yond the grave and follows him into eff ects including whistling, audible soprano folk melody surrounding it. Eternity. breathing, and chanting; and un- A Drop in the Ocean is a well-known Sperry and the Portland State even meters. Ešenvalds, however, of- choral work written in memory of University Choir should be com- ten eschews the homophonic texture Mother Theresa. mended for this fi ne album. The lis- so common in many modern works The fi nal work on the recording tener nearly forgets one is listening for lyrical melodies and, at times, is Ešenvalds’s Passion and Resurrection. to a choir of college singers and not polyphonic sections. Frequently, his Written in 2006, it is his fi rst oratorio a professional ensemble. The singers advanced choral techniques are in and is scored for soprano soloist, vo- approach the music with a free, re- service of the texts, which are often cal quartet, choir, and string orches- laxed sound, and one can only fi nd assembled by Ešenvalds himself. tra. The libretto comes from a va- brief moments where there are some The First Tears is a powerful song riety of liturgical sources, including slight intonation problems. Due to based on the Inuit legend of the Ra- the Byzantine liturgy, Stabat Mater, the large amount of reverberation, ven and the Whale, a story of how and scriptural passages from the Old the songs could use more diction.

CHORAL JOURNAL May 2019 Volume 59 Number 10 83 RRecordedecorded SSoundound RReviewseviews

And in some areas, the string orches- here beautifully embodied by soloist Provenance tra eclipses the choral voices. These Lindsay Kesselman. This ensem- Kinnara Ensemble are lesser fl aws. ble also explores forgotten women J. D. Burnett, conductor Ultimately, this album represents composers of the past by including Aff etto Records AF1708 fascinating contemporary music that recordings of new editions by Mere- (2017; 67:27) is worth hearing and acquiring. It dith Bowen of music by Sulpita Cesis rivals the quality of other albums (1577-?) and Chiara Margarita Coz- With a multitude of new a cappel- of Ešenvalds’s music and should ap- zolani (1602–1678). The Cesis piece, la choral recordings to choose from peal to both choral music lovers and performed with cello, is haunting each year, a few still manage to stick more general audiences. and contrasts with the Baroque style out in the crowd. Provenance, the de- and phrasing of the Cozzolani. but album by the Kinnara Ensemble Tobin Sparfeld The tone of the choir is vibrant and conductor J. D. Burnett, is a jew- Los Angeles, California and mature. There are beautiful ex- el that combines appealing, varied amples of supported low singing on programming with sterling musical this album, most notably in Lineage qualities and direct, memorable ar- Ecstatic Songs by Andrea Ramsey. This album can tistic communication. mirabai be a teaching tool Founded a decade ago in New Sandra Snow, conductor for K-12 choral ed- Jersey, and initially comprising most- Blue Griffi n Recording, Inc. ucators; it provides a ly Westminster Choir College grad- B07B9R8DF8 (2018; 1:13:09) beautiful vocal mod- uates, Kinnara now draws profes- el for young sopranos sional singers from across the United In her 1998 Choral Journal article and altos. This new States. The album design by Cory titled “A missing chapter from choral ensemble brings a rich tapestry of Klose and the CD notes by the con- methods books: How choirs neglect vocal colors and life experiences to ductor greatly increase the visual girls,” Patricia O’Toole wrote, “di- their singing, especially highlighted and intellectual appeal of this al- rectors and singers have an implicit in pieces like Sean Ivory’s setting of bum. A diverse repertoire, covering sense that choirs with males in them “The Peace of Wild Things.” One six languages, three continents, and command more attention, a more complaint is that, now and again, four centuries, has been carefully ar- diverse repertoire, and greater au- the recording quality is not what one ranged so that each piece illuminates thority.” With the appearance of would wish based on the talent of the selections immediately before the new professional treble ensemble the singers. and after when the album is heard mirabai (Sandra Snow, artistic direc- Dr. O’Toole’s article questions without pause. tor) and their inaugural recording the norm that SATB choirs are of- Gitanjali Chants, by Craig Hel- Ecstatic Songs, this paradigm is hope- ten considered the “elite” ensemble, la Johnson, opens the album with fully changing. especially in school and college/uni- haunting simplicity. This is an ide- Ecstatic Songs features a wide va- versity settings. If there were more al opener that highlights the depth riety of repertoire, much of which choirs like mirabai present in the of the ensemble’s sound while also is composed by women for wom- American choral scene, perhaps this preparing the listener for the varied en. The texts represented here fea- norm would be disrupted. aural landscape to come. Di Las- ture a wide variety of experiences, so’s sublime Musica Dei donum opti- from the lovelorn The Kiss by Jussi Joshua Palkki mi unfolds with a beautiful serenity, Chydenius to the rich tapestry of Long Beach, California sounding in its richness like a work the three-movement Ecstatic Songs that would not be out of place in a cycle by David Brunner in which much later era. One is aware here the mystic Mirabai is given voice— of the superior vocal and ensemble

84 CHORAL JOURNAL May 2019 Volume 59 Number 10 Recorded Sound Reviews

skills in this group, which allows the Chants: the listener can regroup, re- reach their apex in the third move- elaborate counterpoint to shine ef- fresh, and prepare for the challenges ment, “Recordare domine,” fi nally fortlessly. ahead. dissolving into a sublime resolution. Johannes Brahms’s careful study Hieremiae prophetae lamentationes, a Of all the works in this album, this of Renaissance choral writing three-movement work by Alberto piece most seriously tests the range, heavily infl uenced his own a cappel- Ginastera, provides a sonic lacera- depth, and vocal versatility of Kin- la work, especially Fest- und Gedenk- tion that challenges the works on ei- nara’s singers. They sound like a sprüche. Indeed, the distance from di ther side. The opening measures of very diff erent ensemble here—and Lasso to this three-movement piece “O vos omnes” bring forth a sound rightly so. In this rendition, Burnett seems hardly a leap at all. Herein unlike any other we have heard to has made a commendable addition lies a tricky interpretive balancing this point. Though some of the com- to the small number of recordings of act, requiring a decision between a positional techniques are traditional, this signifi cant work. more restrained, transparent sound this composer pushes the emotion- The listener will appreciate the or a more full-throated Romantic al and harmonic palette, yielding inclusion of two lesser-known works approach. Kinnara splits the diff er- a more anguished, dramatic vocal by the late Stephen Paulus. Day Is ence: the fi rst and third movements quality that, at times, hints at the Done and The Old Church are both are more reserved, while a Roman- operatic. The discomfi ting qualities charming and quietly moving piec- tic robustness is clearly evident in the second movement. By not going too far in either interpretive direc- tion, they eff ectively create a bridge between eras. Poulenc’s choral chansons are always a pleasure for their quirky uniqueness, acidic harmonies, and unpretentious brevity. Three of the Sept Chansons are included here. Pou- lenc’s music is best performed with a touch of detachment, and Kinnara achieved this particularly in “A peine défi gurée” and “Belle et ressemblan- te.” The witty, clipped phrases are shaped to perfection, while linger- ing chords are exquisitely balanced. Morten Lauridsen’s Soneto de la Noche again tests the ability of the ensem- ble to achieve an even, balanced sound. Kinnara delivers just as sen- sitively in these dense homophonic textures as they did in the polypho- ny of earlier works, never breaking through the plush fabric of beau- tifully balanced harmonies. Lau- ridsen’s extended harmonies serve much the same function as Johnson’s

CHORAL JOURNAL May 2019 Volume 59 Number 10 85 RRecordedecorded SSoundound RReviewseviews

es. James Erb’s beloved arrangement David Bednall: Sudden Light even surreal, hues, but it’s unmistak- of Shenandoah sounds fresh and new Epiphoni Consort ably his own. For all this originality, in Kinnara’s hands, and the lovely, Tim Reader, conductor Bednall owes much to his training at though less oft-heard Marianne brings Delphian (DCD 34189) Oxford University and then various this recording to a satisfying close. (2017; 70:54) cathedrals, notably Wells, and he What strikes the listener immediate- has drunk deep of the Howellsian ly is not just the youthful energy and Approaching his fortieth birthday springs that inform so much of En- fresh perspective, but also a sense of and already enjoying a sizeable num- glish church music. emotional investment and shared ber of recordings that attest to his Unlike some of his musical ideals. Though each track playing and composition (principal- contemporaries, he retains its individuality, common ly on the REGENT label), it would is clearly a composer threads of eff ortless singing, lyrical be misleading to characterize David who is well versed in impulse, and thoughtful interpreta- Bednall as a new talent. His music, the organ, and not tion run through the whole. however, continues to amaze and an organist trying his hand at cho- impress for its invention and vivac- ral music. His accompanied works Nathan Zullinger ity. His harmonic opulence reminds are dramatic but not virtuosic, while Ardmore, Pennsylvania me of the painter Maxfi eld Parrish: his a cappella writing is exquisite and you either love or hate its brilliant, assured.

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86 CHORAL JOURNAL May 2019 Volume 59 Number 10 Recorded Sound Reviews

This new release serves him well, now a most worthy addition to Brit- tractive and helpful. The recording showing music written in the last ten ish choral writing from the past 100 in a prominent London church has years, especially 2015. Bednall’s will- years, from Howells to Gabriel Jack- been engineered somewhat close- ingness to take texts familiar from son. Some will detect the infl uence up, which helps to capture the tonal earlier versions and paint them with of French music, but as the extensive colors of the choir, as well as the as- his own palette is evident here, e.g., CD notes by Andrew Stuart are at sured organ playing by Stephen Farr. Rise Up, My Love combines with Set pains to suggest, the composer’s “art This is a release worth investigating Me As A Seal to form a wedding an- grows from the ground of native both for the beauty of its singing, them that recalls not Healey Willan tradition.” Stuart writes eloquent- and its largely unfamiliar repertoire, or Walton but rather Patrick Had- ly, even fl oridly, about Bednall; one much of which is recorded here for ley’s My Beloved Spake. Tallis is re- might have wished to know a little the fi rst time. called as an imitation of Te lucis ante more about the occasion prompting terminum that alternates plainchant each piece of the CD, but in gener- Philip Barnes with a harmonized verse, and in the al the accompanying booklet is at- St. Louis, Missouri disc’s opening track, the declamato- ry Lux orta est iusto, scored for forty voices and intended to complement that Tudor masterpiece, Spem in ali- um. While this track attests to Bednall’s inspired and sure hand as a choral writer, it also highlights one of the performers’ only weak moments on this disc. The Epiphoni Choir, made up of trained musicians who have decided not to pursue music as a ca- reer, is young both as an ensemble (it was founded in 2014) and in its vocal stamina. To perform the forty-part motet it is obliged to supplement its forces, and this exposes a coarseness and straining among some of the SSAVEAVE THETHE DATE!DATE! voices that is mostly absent from the rest of the disc. AACDACDA LeadershipLeadership ConferenceConference In general, though, we have here a most impressive debut recording JJuneune 5 - 7,7, 20192019 by this British chamber choir, led by OOklahomaklahoma CCity,ity, OOklahomaklahoma an inspired director, Tim Reader, who is to be congratulated for intro- ducing listeners to more outstanding FForor ACDAACDA LeadershipLeadership music by David Bednall. To con- ductors and singers who are tiring of minimalism or cluster chords ad nauseam, here is a brilliant composi- tional voice that has matured and is

CHORAL JOURNAL May 2019 Volume 59 Number 10 87 Column Contact Information

ACDA members wishing to submit a review or column article should contact the following column editor:

Book Reviews Gregory Pysh [email protected]

Choral Reviews Kevin Dibble [email protected]

ChorTeach (online) Terry Barham [email protected]

On the Voice Duane Cottrell [email protected]

Recorded Sound Reviews David Puderbaugh [email protected]

Rehearsal Breaks Christopher Eanes [email protected]

Research Report Patrick K. Freer [email protected]

Student Times Jason Paulk [email protected]

Technology and the Choral Director Kyle Hanson [email protected]

For feature article submissions, contact the editor, Amanda Bumgarner, at . View full submission guidelines at acda.org

Book and music publishers should send books, octavos, and discs for review to: Choral Journal, Attn: Amanda Bumgarner, 545 Couch Drive, Oklahoma City, Oklahoma 73102 For advertising rates and exhibit information, contact Sindy Hail, National Advertising & Exhibits Manager, at

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Featuring the NATIONAL FOR MORE INFORMATION CONTACT P (212) 279-1147 | E [email protected] FESTIVAL CHORUS 11/11/19 W www.mcp.us Conducted by JERRY BLACKSTONE American Choral Directors Association 545 Couch Drive Oklahoma City, Oklahoma 73102