Notive worked hard helping your students achieve their best. Ole Miss can take them to themext level. ,."~" ,ii ," \ Official Publication of the American Choral Directors Association Volume Thirty-eight Number Four

NOVEMBER 1997 CHORALJO John Silantien Jack Kilgore EDITOR MANAGING EDITOR

COLUMNS ARTICLES

From the Executive Director ...... 2 From the President ...... 3 Verdi's Opera Choruses: From the Editor ...... 4 Songs That Letters to the Editor ...... 4 Rallied a Nation ...... 9 by Lila Rhodes Compact Disc Reviews ...... 53 Richard J. Bloesch, editor

Book Reviews ...... 59 Stephen Town, editor The Seven

Choral Reviews ...... 67 Deadly Sins of Corydon J. Carlson, editor First-Year Teachers...... 17 by Scott W. Dorsey Repertoire and Standards Committee Reports ...... 41 Audition Application ...... 45 A Report on CHORUS ACDA Officer Candidates ...... 47 AMERICA'S Twentieth Newsbriefs ...... 52 Annual Conference ...... 25 In Memoriam ...... 58 by Earl Rivers AMERICA Advertisers Index ...... 80

Cover art, designed by Anrbony Saldivar, depicts Italian REHEARSAL BREAI(S rebels during rbe war of 1859 scrawling "Viva V.E.R.D.I." on a wall. Verdi's name formed an acronym for "Vittorio Emanuele Re D'ltalia" and became rbe rebels' rallying ely. Illustration for Scott Dorsey article by Paul Burron. How to Evaluate a Folk-Song Arrangement ...... 33 by Nina Gilbert

Manuscript to Printed Octavo-How the Pros Do It ..... 37 by Steven Powell

NOVEMBER 1997 PAGE 1 FROM THE AFFILIATED EXECUTIVE DIRECTOR ORGANIZATIONS Planning and Preparation INDIANA CHORAL DIRECTORS ASSOCIATION T YOUR SCHOOL or church, it probably seems as though planning and President - Daniel H. Graves preparation are never done. The same is true for ACDA. This issue contains 209 South Sixteenth Street Richmond, Indiana 37374 A three items of Association business to which I draw your attention. Treasurer - Paula]. Alles First are the guidelines and application for auditioning for the 1999 ACDA 1471 Altmeyer Road National Convention in Chicago. Although the convention is still eighteen months Jasper, Indiana 47546 away, the audition process begins early next year. Don't miss out on the opportunity to IOWA have your choir appear. CHORAL DIRECTORS ASSOCIATION President - Bruce Chamberlain Second is the biographical information on candidates for national president-elect 1211 Oak Park Boulevard designate and four division presidents-elect. Ballots for these elections will be mailed Cedar Falls, Iowa 50613 out at the end of the year. Voting is not merely a privilege, it is a responsibility of all Secretary/Treasurer - Bruce A. Norris ACDA members. Please review each candidate's biography so you may cast an in­ 404 Maple Street formed vote. Mondamin, Iowa 51557 Third are the guidelines and application for the inaugural Raymond W Brock MINNESOTA CHORAL DIRECTORS ASSOCIATION Student Composition Contest, which I announced in last month's column. This President - David Dickau competition, underwritten by the Brock Memorial Endowment Trust, promises to 104 Manchest COUrt become a major part of future ACDA division and national conventions. Please Mankato, Minnesota 56001 encourage your students to enter. Treasurer - Susan Zemlin 1029 Paul Pkwy NE, #304 Blaine, Minnesota 55434 Music Loses a Great Leader MONTANA In early September, when the world at large was mourning the deaths of the CHORAL DIRECTORS ASSOCIATION Princess of Wales and Mother Theresa, the choral world mourned the loss of a President - Marco Ferro 705 Blackmore Place pioneer and great leader. Elaine Brown died on September 6, 1997, at the age of Bozeman, Montana 59715 eighty-seven (see In Memoriam, p. 58). Treasurer - Larry Swingen Elaine was a moving force in choral music for nearly seven decades. After graduat­ Box 454 ing from Bush Conservatory, Chicago, at age nineteen with a B.M.E. degree, she set Malta, Montana 59538 out to make a difference-and what a difference she made. She began her career as an NEBRASKA CHORAL DIRECTORS ASSOCIATION educator/ conducror in 1942, and her legacy is evident today in the large number of President - James F. Hejdulr students she taught, conducted, and inspired. Everyone who sat in her classroom or Westbrook Music Building University of Nebraska sang under her baton realized they were in the presence of a master teacher who was Lincoln, Nebraska 68588 motivated by a passion for music and genuine love for people. Treasurer - Mark Butler Elaine saw choral music as a powerful force for human communication, and she 1014 Arthur Street had a vision of helping people of diverse backgrounds to achieve understanding Holdrege, Nebraska 68949 through choral music. She led the way in the development of music in the community. OHIO One of her greatest accomplishments outside the classroom was the Singing City CHORAL DIRECTORS ASSOCIATION President - Craig Johnson Choir, which she founded in Philadelphia nearly forty years ago. I know I will never Music Deparrment, Otterbein College Westerville, Ohio 43081 (Continued p. 24) Treasurer - Bob Hartigan STATEMENT OF MEMBERSHIP 8770 Landen Drive The American Choral Directors Association is a nonprofit professional organization of choral directors Maineville, Ohio 45039 from schools. colleges, and universities; community, church, and professional choral ensembles; and industry and institutional organizations. Choral Journal circulation: 18,000. Annual dues (includes TEXAS subscription to the Choral Journal): Active $55, Industry $100, Institutional $75, Retired $25, and CHORAL DIRECTORS ASSOCIATION Student $20. One-year membership begins on date of dues acceptance. Library annual subscription President - Marsha Carlisle rates: U.S. $25; Canada $35; Foreign Surface $65; Foreign Air $75. Single Copy $3; Back Issues $4. 10318 Royal Coach ACDA is a founding member of the International Federation for Choral Music. San Antonio, Texas 78239 ACDA supports and endorses the goals and purposes of CHORUS AMERICA in promoting the excellence of choral music throughout the world. Treasurer - Kelly Moore. ACDA reserves the right to approve any applications for appearance and to edit all materials proposed for distribution. 4021 Timberidge Drive Permission is granted to all ACDA members to reproduce articles from the Choral Journal for noncommercial, educational Irving, Texas 75038 purposes only. Nonmembers wishing to reproduce articles may request permiSSion by writing to ACDA. WISCONSIN The Choral Journal is supported in part by a grant from the National Endowment for the Arts, a federal agency. CHORAL DIRECTORS ASSOCIATION Recognizing its position of leadership, ACDA complies with the copyright laws of the United States. Compliance with President - Richard L. Bjella these laws is a condition of participation by clinicians and performing groups at ACDA meetings and conventions. 3011 Wesr Heritage Avenue Appleton, Wisconsin 54914 © 1997 by the American Choral Directors Association, 502 SW Thirty-eighth Street, Lawton, Oklahoma 73505. Telephone: 405/355-8161. All rights reserved. The Choral Journal (US ISSN 0009-5028) is issued monthly except for June and July. Secretary - Ronald C. Buckles Printed in the UnITed States of America. 18723 67th Avenue ~ Periodicals postage paid at Lawton, Oklahoma, and additional mailing office. POSTMASTER: Send address Chippewa Falls, Wisconsin 54729 EdPress changes to Choral Journal, P.O. Box 6310, Lawton, Oklahoma 73506-0310.

Volume Thirty-seven Number Four

PAGE 2 CHORAL JOURNAL ~------NATIONAL FROM OFFICERS THE PRESIDENT

PRESIDENT James A. Moore Programming Sacred Music School of Music. East Texas Baptist University Marshall, Texas 75670 HORAL CONDUCTORS across the country face serious concerns regard­ 903/935-7963 (voicel; 903/938-0390 (fax) ing the programming of sacred music in today's public school choral pro­ VICE-PRESIDENT grams. Many school districts have adopted policies restricting the use of Lynn Whitten C College of Music, University of Colorado music with a sacred text. This situation presents another opportunity for choral Boulder, Colorado 80309 303/494-6648 (voice); 303/492-5619 (fax) conductors to serve as advocates of our profession and to defend the musical heritage PRESIDENT-ELECT that is ours. In 1993 the ACDA National Board adopted a position statement Milburn Priee School of Music, Samford University pertaining to the performance of music from a sacred tradition in the public schools, Birmingham, Alabama 35229 205/870-2778 (voicel; 205/870-2165 (fax) with the goal of assisting "music educators in

TREASURER finding ways to study, create, and perform mu­ Maxine Asselin sic from a variety of cultural and religious tradi­ Music Department, Bridgewater State College Bridgewater, Massachusetts 02325 tions." The following is excerpted from the 508/697-1377 (voice); 508/697-1729 (fax) position statement: EXECUTIVE DIRECTOR Gene Brooks P.O. Box 6310, Lawron, Oklahoma 73506 405/355-8161 (voice); 405/248-1465 (fax) Any work of art studied or performed should [email protected] .be selected for its inherent beauty of structure CENTRAL DIVISION PRESIDENT and form. Its purpose in study should be Thomas J. Stauch Harper College learning for the sake of developing artistic 1200 Wesr Algonquin Road Palarine, Illinois 60067 understanding and responsiveness. Often 847/925-6566 (voice); 847/925-6039 (fax) artworks are related to a specific religious or [email protected] cultural tradition. Music can then be selected EASTERN DIVISION PRESIDENT Michele Holt on its own merit as an art form and as an object Stoningron High School 176 South Broad Screer for study that enhances the understanding of Pawcatuck, Connecticut 06379 the cultural development of a particular 203/599-5781 (voice) movement in human civilization. NORTH CENTRAL DIVISION PRESIDENT Lauretta Graetz 2706 River Woods Lane Burnsville, Minnesora 55337 The complete document can be found in the December 1993 issue of the Choral 319/334-2480 (voice) Journal or may be requested from the ACDA national office. NORTHWESTERN DIVISION PRESIDENT Thomas A. Miller Warner-Pacific College Division Conventions 2219 SE Sixty-eighrh Screer Porrland, Oregon 97215 Division presidents are finalizing plans for their respective 1998 division conven­ 503/788-7473 (voice) tions. It is not too early to make reservations for your divisions convention. An SOUTHERN DIVISION PRESIDENT Donald Trott outstanding program is scheduled for each city. Make plans now to attend: Eastern Music Deparernenr, Longwood College Farmville, Virginia 23909 Division, February 5-7, Providence, Rhode Island; Central Division, February 12- 804/395-2500 (voice); 804/395-2149 (fax) Detroit, Michigan; Western Division, February Reno, Nevada; Southern [email protected] 14, 19-21, Division, February 26-28, Charleston, South Carolina; Northwestern Division, March SOUTHWESTERN DIVISION PRESIDENT John Yarrington 5-8, Portland, Oregon; North Central Division, March 12-14, Minneapolis, Minne­ P.O. Box 250768 Lirde Rock, Arkansas 72225 sota; and Southwestern Division, March 26-28, Corpus Christi, Texas. 501/664-3600 (voice)

WESTERN DIVISION PRESIDENT Thomas Davies Why We Teach Music Department California Polytechnic State University I recently wrote to our ACDA student membership about the reason we teach San Luis Obispo, California 93407 music and the reason we teach others to teach music. "As each new year begins, we all 8051756-1548 (voice) seem to find the energy and enthusiasm to establish new objectives and to work with a INDUSTRY ASSOCIATE REPRESENTATIVE Kent Smith degree of diligence in reaching them, This pursuit is undertaken with the awareness Heritage Festivals P.O. Box 571187 that our work becomes our life and our life becomes our work. It then becomes Salr Lake City, Urah 84157 evident that it would be very difficult, and certainly not as fulfilling, to be in pursuit of PAST PRESIDENTS COUNCIL any other career objective. Most of our lives, as musicians and educators, are in a John Haberlen School of Music. Georgia State University continuous evolution, blending the growth we experience as music teachers with the University Plaza Adam';, Georgia 30303 reward and inspiration we receive from those we teach." 404/651-3676 (voicel; 404/651-1542 (fax) [email protected] Maurice Casey Elwood J. Keisrer Elaine Brown Walrer S. Collins Colleen J. Kirk Harold A. Decker Theron Kirk It is with regret that this issue of the Choral Journal announces the passing of Elaine William B. Harcher Diana J. Leland Morris D. Hayes Russell Marhis Brown. Her contribution to American choral music has been significant and extensive. As Charles C. Hirr H. Royce Salrzman Warner Imig Hugh Sanders David Thorsen (Continued p, 24)

NOVEMBER 1997 PAGE 3 FROM EDITORIAL THE EDITOR BOARD

EDITOR Fighting City Hall John SHanden P. o. Box 640 N THE PAST TWO Choraljournal issues, this column discussed music advocacy Helotes, Texas 78023 210/495-0833 (voice); 2101495-0838 (fax) and federal funding for the arts. In the October issue Daniel Gawthrop's article, [email protected] "The National Endowment for Football: We're Fighting the Wrong Battle," I ASSOCIATE EDITOR argued that the arts could be saved only by building local constituencies, one commu­ Nina Gilbert University of California-Irvine nity at a time. That same month in my home town, America's ninth largest city, the Music 292. Building 714 Irvine. California 92697 mayor and city council voted to cut spending on the arts by 15 percent across the 714/824-3854 (voice); 714/824-4914 (tax) board. Without warning or due process, the San Antonio Symphony is now faced with [email protected]) a $75,000 shortfall in its fiscal year budget, and other community arts presenters face MANAGING EDITOR Jack Kilgore similar hardships. Council also repealed an ordinance that set aside 1 percent of the P.O. Box 6310 Lawton, Oklahoma 73506 budget of city-funded building projects for commissioning art at the building sites. 405/355-8161 (voice); 405/248-1465 (fax) The mayor warned, however, "For those who design our projects, don't bring us an [email protected] ugly building." EDITORIAL ASSISTANTS Susan Gower Ironically, the symphony has received national recognition and major grant awards P. O. Box 640 Helores. Texas 78023 for its community outreach and programming. The weekend after the council vote, 210/495-0833 (voice); 210/495-0838 (tax) the symphony presented one of its foundation-funded "interactive concerts." It was an [email protected] Allison Lowe all-Russian program with preconcert activities spread throughout the theater, ranging 3889 Clover Lane Dallas. Texas 75220 from folk dancing to story telling. In one corner the symphony chorus sang the [email protected] Russian folk song quoted in T chaikovsky's Fourth Symphony, which the orchestra would play later in the program. The theater was packed with families; children EDITORIAL BOARD MEMBERS Richard J. Bloeseh mounted the maestro's podium before the concert to get a conductor's-eye view of the School of Music, University ofIawa Iowa City. Iowa 52242 orchestra; the players and singers fielded questions from the audience during a brealc [email protected] in the concert. That sounds lilce the kind of future-audience-building Gawthrop David L. Brunner Depanment of Music, University ofCenrral Florida advocated. It also sounds like the kind of community resource that community tax P.O. Box 161354 Orlando. Florida 32816 dollars ought to support. We hoped that some council members might have been in [email protected] attendance, but we looked in vain. Corydon J. Carlson P. O. Box 9517 Bolton. Connecticut 06043 Arts Build Infrastructure Christine D. de Catanzaro School of Music. Georgia Scare University The city council put forth a politically unassailable reason for cutting the arts University Plaza Atlanta, Georgia 30303 budget. They needed to find some $2.5 million for street and sidewalk repairs. [email protected] Business growth and development would not occur without a more solid infrastruc­ Sharon A. Hansen Department of Music, School of Fine Arts ture. Council does not seem to understand that without a solid cultural infrastructure, University of Wisconsin-Milwaukee P.O. Box 413 corporate expansion will likewise by stymied. A city's arts climate is one of the items Milwaukee. Wisconsin 53201 considered by corporate executives in choosing headquarters locations. Even during [email protected] Victoria Meredith (Continued p. 52) Faculty of Music. Talbor College University of\Vesrern Ontario London. Ontario N6A 3K7, Canada vmeredj[@julian.uwo.ca LETTERS Robert Provencio California State University-Bakersfield 9001 Srockdale Highway Bakersfield. California 93311 TO THE EDITOR [email protected] Dear Editor: Lawrence Schenbeck Department of Music, Box 316 Thanlc you for the August Choral Journal article "Conducting a Prision Chorus," Spelman College 350 Spelman Lane SW about Elvera Voth. What a challenge for active or retired musicians. To create a chorus Atlanta. Georgia 30314 that performs successfully in those unusual circumstances is a major triumph. I believe [email protected] the power of music can strengthen communities and singing in a chorus can restore Timothy W. Sharp School of Music, Belmont University values that can rebuild individual lives. Nashville. Tennessee 37203 Recently, the Cheektowaga Community Chorus, which I direct, performed a [email protected] Stephen Town benefit concert for Hospice of Buffalo. This gave each singer a deepened sense of the Department of Music Northwcst Missouri Scate University impact music has on the lives of others. Having a community purpose gives greater Maryville. Missouri 64468 dimension to our concerts. The published interview with Voth reminds us of the [email protected] power of musical performance and preparation with a strong purpose. By elevating the COORDINATOR OF STATE NEWSLETTERS joy of others, music receives its greatest prize. Perry-White 2726 S. Pickard Ave. Christina R Shrewsbury Norman, Oklahoma 73072 Music Director, Cheektowaga Community Chorus [email protected] Cheektowaga, NY

PAGE 4 CHORAL JOURNAL Children's Choirs High School Choirs NAT IONAL R&S CHAIRS

NATIONAL CHAIR Barbara Tagg 215 Crouse College Syracuse University Syracuse, New York 13244-1010 315/443-5750 (voice); 315/488-1155 (fux) [email protected]

BOYCHOIR Darrell James Salem Boys Choir 4373 Marker Street NE Salem, Oregon 97301 503/399-1364 (voice); 503/587-9208 (fux) [email protected]

CHILDREN'S CHOIRS Deborah A. Mello 435 Ridge Road Newton. New Jersey 07860 973/383-4323 (voice); 973/383-8066 (fux) mello; [email protected]

COLLEGE AND UNNERSITY CHOIRS William McMillan Departmem of Music University of Texas at EI Paso Choir Festival EI Paso, Texas 79968 915/747-6630 (voice) [email protected]

COMMUNITY CHOIRS June 18-21, 1998 Bill Diekhoff 5019 Hermitage Drive Anderson, Soum Carolina 29625 Princeton, New Jersey 864/287-2236 (voice); 8641261-3399 (fu.x) [email protected]

ETHNIC AND MULTICULTURAL Festival Conductors PERSPECTIVES Pending

JAZZ AND SHOW CHOIRS Pending @fames ~itton JUNIOR HIGHI MIDDLE SCHOOL CHOIRS Kathleen Anderson American Boychoir 1551 Parkview Avenue San Jose, California 95130 650/526-3570 x447 (voice); 650/965-9278 (fux) [email protected] @{arte 6rickson MALE CHOIRS Clayton Parr Department of Music, Miami University MetropOlitan Choir 201 Norrh College Ave. Oxford, Ohio 45056 513/529-3075 (voice); 513/529-3027 (fux) [email protected]

MUSIC AND WORSHIP Carl L.Sram • Opening concert featuring the American Boychoir Chapel Hill Bible Church 1200 Mason Farm Road Chapel Hill, Norrh Carolina 27514 • Private adjudication of each choir 919/968-4754 (voice); 919/918-4059 (fux) [email protected] • Individual choir performances in Princeton-area SENIOR HIGH SCHOOL CHOIRS Janice R.. Bradshaw churches 9 Morningside Drive Boonville, Missouri 65233 816/882-7558 (voice); 816/882-3368 (fux) • Competition (for choirs wishing to compete) [email protected] TWO-YEAR COLLEGE CHOIRS • Combined choirs Gala Festival Concert D. Brem Ballweg Collin Community College 2800 East Spring Creek Parkway Plano, Texas 75074 972/881-5653 (voice); 972/881-5103 (fax) [email protected] For further information contact:

WOMEN'S CHOIRS Monica Hubbard AD International, Inc. California Institure ofTechnology Mail Code 2-58 Pasadena, California 91125-0001 136 Lawrenceville-Pennington Road 626/395-6260 (voice); 626/795-8731 (fux) [email protected] Lawrenceville, NJ 08648-1413

YOUTH AND STUDENT ACTIVITIES Scon- \Y./. Dorsey Department of Music. Mount Union College 800-288-3242 Alliance, Ohio 4460 I 330/823-2181 (voice); 330/823-2144 (fux) Fax: 609-896-3450 • E-mail:[email protected] [email protected]

NOVEMBER 1997 PAGE 5 · .';:'-'" '. ". ,. '. . .Cho;f~I:C:o.nidR'etors Haydn;h~;~$ ... a few choice words • 1& tlY I wouLd a6k you

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Verdi's Opera Choruses: Songs That Rallied a Nation by Lila Rhodes

Historically, Italian city states have rarely been able to band Great the banks ofJordan, together, even against foreign enemies. At various times, por­ and Zion's toppled towers ... tions ofItaly were held by France, Spain, and the Holy Roman Oh my country so lovely and lost! Empire. When Milan first staged a Verdi opera in 1839, Aus­ Oh remembrance so dear and so tria controlled much of northern Italy. Genoa and Turin were fraught with despairl l feuding, as were Sicily and Naples. Milan and Venice each wanted total independence. Italians had to overcome this po­ Verdi abetted the popular appropriation of his chorus by giving litical chaos, inherited from medieval times, to win freedom it a single melody line. Local opera companies, touring compa­ from foreign domination. nies, barrel organs, and the populace carried the Hebrews' chorus, "Va, pensiero," down the peninsula. It nearly achieved Nabucco the status of a national anthem. To Verdi, his countrymen's plight was similar to that of the Verdi's success with Nabucco brought him into contact with Hebrews enslaved by Nebuchadnezzar in Babylon. In 1841 he prominent members of society at Milan's leading salon. There set Temistocle Solera's libretto for Nabucco (a singable nick­ Countess Clarina Maffei entertained not only important writ­ name for Nebuchadnezzar) and armed the slaves with vigorous ers and philosophers but also members of Young Italy. This melodies. The Austrian censors could hardly squelch a Bible secret society ofyouth, recruited by a Genoese named Giuseppe story. They passed the libretto, and the manager of La Scala Mazzini, worked for the unification and liberation ofItaly and squeezed Nabucco into the 1842 season in early March. At the the betterment of the masses. The patriots of Young Italy opera's premiere, the audience showered Verdi with paper and appropriated "Va pensiero" and accepted the composer as one blossoms from the four tiers of balcony and boxes. Nabucco was of their own. The rebels saw the value of Verdi's work and so successful it played to sold-out houses into late fall. urged him to write more operas trumpeting the cause ofItaly. The people of occupied Italy identified with the enslaved Hebrews in Babylon and sang along (Figure 1): I Lombardi Writing patriotic operas put Verdi squarely in opposition to Fly, thoughts, on wings of gold; the Austrian censors. He and librettist Solera sidestepped con­ Go, settle upon the slopes and the hills, frontation with the authorities by setting their next opera Where, soft and mild, the sweet airs during the First Crusade, a European project. I Lombardi alia of our native land smell fragrant! prima crociata follows Lombards to Palestine. So does Giselda, the otherwise respectable daughter of a Milanese noble. Giselda Lila Rhodes is a freelance author living in Lynnwood, is captured by Muslims. She falls in love with her captor's son Washington. and converts him to Christianity. After the crusaders take Antioch, Giselda finds her beloved mortally wounded and

NOVEMBER 1997 PAGE 9 baptizes him. The imperial censors op­ as Saracens. When the chorus answered posed portraying a sacrament on stage. the call to arms, "Si! guerra! guerra!," the Perhaps haggling over the baptism dis­ As Verdi smusic brought tracted their attention from the battle cries audience echoed, "Sil guerra! guerra!" The that follow. police watched helplessly as the perfor­ The audience at the opera's premiere him wealth and fame, he mance erupted into a political rally. (February 11, 1843) recognized on stage the landmarks of Milan they had passed continued to sound the Ernani on their way to the opera house. They identified with their ancestors, the home­ patriotic trumpet. Austria's censors in Venice failed to take sick Lombards in Palestine, singing (Fig­ warning. Earlier they had halted Bellini's ure 2): attempt to compose an opera on Victor Hugo's play Hernani, but they let o fresh breezes blowing o'er the fair Verdi gives these evocative lines a unison Francesco Piave's libretto for Verdi's brooklets of Lombardy's fields! Eternal springs! Crystalline lakes! 0 melody, following it with a trumpet call Emani pass with few changes. This is vineyards shining gilded by the and "The Holy Land today will be ours." 3 By surprising because in the Venice of 1844, sun? extension, his audience cast the Austrians the story sounded like current affairs. Ernani, a political outlaw, lives in the hills I12l CANTABILE of Spain like the guerrillas then living in tllt~; sotto voce :::::=- l Italy's Apennines. Italian rebels from ['~~3l- t )1.)l1J jY ~ F §p. J. jl Naples, Romagna, and Tuscany had fled Va, pen-s~o, sull'a - Ii do - ra te; Va, ti into the Apennines in 1842 after the Aus­ ~ trians discovered their rebellion plot. l~ ~ ~ ===r=- 13""- As the third act opens, Ernani and a ll&~II~1 }Jag~. ill U I Jl. JJI UI. F)1·]1 mr few others meet in the tomb of po - sa sui eli - vi, sui col- Ii, o - ve e - lez - za - no te - pi - de e mol - Ii Charlemagne and conspire to kill King Charles V. They sing the chorus "Si ridesti Figure 1. Nabucco "Va, pensiero" illeon di Castiglia" (Figure 3):

Your Children Will Love This Musical- No Doubt About It! Based on John 20:1-29, No Doubt About It! helps elementary-age children explore the Bible story from the perspectives of Mary Magdalene and Thomas. Along with learning about Jesus' resurrection and his appearances to his disciples, children will learn how they, too, are "witnesses" and can pass the good news on to others. Features fun, easy-to-Iearn music with easy staging and production needs. Written by Wayne 1. Wold with session plans by Debra Tyree.

WAYNE L. WOLD is Director of Music Ministry at Evangelical Lutheran Church of Frederick, Maryland, and is a part-time instructor of music at Hood College. He has written many anthems, hymns, and pieces for handbells and organ.

Leader!Accompanist Edition. Listening Cassette. Contains 10 step-by-step session Music and narration. plans; articles on sets .and CA7-092434. $11.95 costuming, plus other performance helps. Accompaniment Cassette. CA7-09240X. Spiral, $15.95 Side A: instrumental only. Side B: split-track with Singer's Edition. Contains the instrumental and voices. words and melody lines, plus CA7-092442. $32.95 activities for the children. CA7-092418. Paper, $3.25 Value Pak. Contains one each of the Leader/Accompanist Edition, Singer's Edition, and Listening Cassette . CHJ-299-7 . CA7-092426. $21.95

PAGE 10 CHORAL JOURNAL Let the lion of Castile reawaken, Thou hast armed the hatred of the near the head of the Adriatic. He gazes let every mountain, every region of oppressed resolutely at the shanty town and into the Iberia With the oppressor's sword. 6 distant future and sings: form an echo from its terrible roar, as they did one day against the The next scene depicts Foresto and his Dear homeland, at once mother Moor oppressors. band of refugees arriving on the mud flats and queen We are all a single family, we will fight with our arms, our breasts; we will be unavenged slaves and neglected no longer Oh fre - sc'au - re vo - lanti sui va ghi ru scel­ 4 ::::::::=-,-3--, ,3-, while the heart has life. ...--.. ..

Substituting "Italia" for "Castile," Young Italy adopted this chorus as its theme let ti de'-pra - ti 10m - bar - di!_ fon-ti e - ter - ne! __ pu - rissimi satta voce affatto song. rn~~~m~~~~ Attila la ghi! oh vi gne - ti in - do-ra ti dal sol! As Verdi's music brought him wealth and fame, he continued to sound the pa­ Figure 2. I Lombardi alia prima crociata, cora di Crociatie Pellegriai triotic trumpet. For the Venice carnival season of 1846, Verdi and Solera chose Zacharias Werner's drama Atti/a, Konig der Hunnen. Odabella, a warrior maid, de - sti il Leon di ea - sti glia, e d'l - stabs to death the king of the Huns for killing her parents. Solera changed the heroine from Hildegone of Burgundy to Odabella of Aquileia in order to create be - ria 0 - gni mon - te, ogni Ii to e - co for - mi al tremen - do rug- the parts of Foresto and the refugees of r-3 ---, Aquileia who fortified the lagoon near the head of the Adriatic in 452 AD. [fi###ii J. xd J] p' ~ IF ~fFfDiplr Verdi asked Solera to write the kind of gl - to, co me un di con - tro i Mo ri op - pres - sor. rabble-rousing lyrics he had provided for Nabucco. Solera went off to Spain, leav­ Figure 3. Emani, "Si ridesti illeon di Castiglia" ing the libretto for Piave to finish, but he had launched it well. The censors in Venice passed the libretto. In the first scene of the prologue, Attila meets armor-clad Odabella and asks what motivates her to lead other women into battle. She responds: Concert Tours & International Festivals The holy love of country! Call for a quote for your custom concert tour! You will always see us, Us Italian women, any International Children's Chorus Festival Our bosoms girt in steel, Florence, Italy, Jean Ashworth Bartle, Conductor/Clinician Fighting on the reeking field of 1998, June 29 - July 5 bartle. 5 1999, July 5 - 11 Although Attila has just killed Sydney Sings' Children's Chorus 'Festival Odabella's family and burned her town, 1999, July 12 -18, Sydney / New Zealand he is so charmed by her daring that he gives her his sword. She exclaims, aside: Jean Ashworth Bartle, Conductor/Clinician Muska Mundi, Inc. 1 800 947 1991 (Ah, a sword!) 101 First Street, Suite 454 • Los Altos, CA 94022 o sublime, divine, justice, Phone 650 9491991 • Fax 650 9491626 E-mail: mmundi@aoLcom By thee is this now granted me!

NOVEMBER 1997 PAGE 11

REHEARSAL BREAKS Manuscript to Printed Octavo-How the Pros Do It by Steven Powell

ITH THE proliferation of score. Generally, one uses closed score adjustment. Rules for these adjustments music printing software today, only when the music is completely ho­ vary depending on the context. Normally, W the production of profes­ mophonic, though it is possible to ac­ the stem-up note takes the normal posi­ sional-quality notation is accessible to any commodate small amounts of polyphony tion, and the stem-down note is displaced musician with a personal computer. in closed score. When using closed score, to the right. The lower staff in Figure 2 Armed with the knowledge of a few basic be careful to check stem lengths: the tips shows the normal alignment of the notes. printing principles, conductors can gen­ of the stems in divisi passages should mir­ In (a) the second voice on the top staff is erate custom-made materials for their ror the direction of the notes, and some displaced to the right. At (b), however, choirs. Whether creating an original com­ notation programs have quirks that must the top voice is displaced to keep the dot position, an arrangement of a folk song be corrected. A quick glance at the sec­ close to the E. The top voice is also moved or spiritual, or added material for a pub­ ond and third notes in the lower voice of to the right at (c) to allow the accidental lished piece, the conductor who is famil­ Figure 1a will lead the reader to assume to stay as close as possible to the D. (Some iar with the rules of music engraving will that the notes are going down, when they editors might reverse the notes at c.) These produce a clear, readable final printout are really going up. The default output of adjustments should not be made until all and enhance quick learning in the re­ the notation program causes that prob­ notes and text have been entered and pre­ hearsal. The process involves layout deci­ lem, which is corrected in Figure 1b. Note liminary spacing and layout have been sions, note entry, text entry, note and text also that, in divisi, augmentation dots fol­ completed. spacing, as well as entering and spacing low the direction of the stem, with upstem Note that there was no left barline in additional items such as slurs, articula­ dots in their normal position, but Figure 1, a single line of music. A left line tion marks, dynamics, and tempo indica­ downstem dots below the line. is always used, however, with multiple tions. In most notation programs notes staves in a system. Barlines do not extend entered in different layers are indepen­ between staves in choral score, whether Music Layout dent of each other. Because of this, sec­ open or closed, but do extend between Though published choral octavos are onds between the parts require manual the staves of a piano grand staff. typically 7" x 10.25", with a 6" x 9" printed area, there is no reason to adhere to this standard for personal work. Using .75- or I-inch margins on a standard 8.5" x II" page will give good-quality results. Professionally engraved octavos use a "size 4" staff (.25 inch from top line to bottom line), but the conductor may use a slightly larger size with the wider page to ease reading. Staves and systems should be spaced so that the top line of the top staff Figure I. and the bottom line of the bottom staff occur at the same place on each page to allow readers to find their parts quickly. One of the first layout questions com­ posers or arrangers face in every composi­ tion is whether to use open or closed

Steven Powell is Director of Choral Activities at Drexel University, Philadelphia, Pennsylvania, and an engraver for Oxford University Press and other publishers. Figure 2.

NOVEMBER 1997 PAGE 37 Text Layout phenation points of the following words: (the height of the lowercase letters in rela­ While it is permissible to enter the mu-sic, di-vide, e-ven, pow-er, fa-ther. Use tion to capital letters) such as Bookman lyrics only once between the staves when only one hyphen, centered, between syl­ or Lucida Bright. using closed score, it is much easier for lables, unless the syllable spans more than When placing text in a notation pro­ the lower voices to read the words if they one system or is at least two measures gram, make the same changes you would are duplicated below the bottom staff. long. Keep the baseline (the bottom line make when changing a typed manuscript Singers' eyes are accustomed to looking of the type characters) consistent on each to a typeset one. Use curly quotation below the staff to find the text, and the staff. It can vary, however, from system to marks (" ") instead of straight ones (" "). space saved by entering the words just system when many low notes are present Use curly apostrophes (' ') instead of once does not justify the rehearsal time in a part on a given system, in which case straight apostrophes (' '). Use an em­ lost in searching for the text. Most nota­ the baseline for that part's entire system dash (-) instead of two hyphens (--). tion programs can copy all the text at should be lowered (Figure 3a). once from one staff to the next. So the Once the piece has been spaced prop­ Spacing the Music words may be entered once and then cop­ erly, use extenders-horizontal lines along Professional engravers use proportional ied in one final step. the baseline-after final syllables or one­ spacing for notes rather than mathemati­ Text entry presents several important syllable words that span more than one cally perfect spacing. This means that two format issues. Correctly determining hy­ note (Figure 3b). The extender starts eighth notes do not take up exactly the phenation requires use of a dictionary. where the word, syllable, or punctuation same amount of horizontal space as one You may be surprised at the correct hy- ends and goes to the final note of the slur quarter note, even though they have the or tie, not to the rhythmic end of the equivalent duration. Two eighths lined passage. The extender should never be up vertically with a quarter note, how­ CQ~~~' combined willi hyphens; use one or the ever, will necessarily take up the same CONNECTICUT CHORAL ARTISTS Richard Coffey, Artistic Director other. amount of space as the quarter. The first Use a serif font (a serif is a short hori­ measure of Figure 4 uses mathematically "CHRISTMAS WITH CONCORA" Popular and rare Christmas treats recorded in concert, zontalline across the bottom of most let­ perfect spacing-the quarter note takes chosen from five seasons. Poulenc, Kodaly, Howells, Susa, Hallock, Floyd and many others. ters) for text (Figure 3c). Try to stay at exactly twice as much space as each eighth nine-point size, taking any future reduc­ note. The second measure uses propor­ NEW! "CHRISTMAS IN OUR TIME" December, 1997 concert featumg 20th century tion into account. For example, if the text tional spacing-the quarter is longer than composers: Pinkham, Susa, Gardner, Tavener, Walker, Niedmann, Locklair, Orban, and others. is twelve-point Times and the piece will each eighth, but distances are adjusted to be printed at 75 percent size, the final waste less space while keeping propor­ CDs: $15, two for $27. Cas.ettes: $10. $2p/h 1st item; $.50 each additional item. Texts and notes with either. printout will have the text at nine-point tions clear. Engravers use spacing, or al­ CONCORA 90 Main SI. New Britain, CT 06051 FAX:(860)827-8890 Tel.: (860)224-7500 size. If the text has to be at a smaller final lotment tables, with the horizontal span point size, use a font with a large x-height for each unit expressed in spaces. A typi­ cal table expressed in staff spaces might 1 1 / / , 13/ , Ignore punctuation marks when centering syllables. be: j= 5, j= 3 2,)= 3,j)= 2 2 and~= 4 1 1 (b) In Figure 4 note that the tuplet number over an evenly-beamed figure does not use a bracket and is centered above the middle stem of the figure rather than the ~~~~Ja~Ck~S~aY~S~"I~~(bi)~ha~te~m~u~_~s~iC'~"~T~he~n~h~is~m~o~th~_~er~se~nd~s~h~im~of~f~to~~h~is~r~oFom~'~~~i~w~I-.o~ng~l~el~,g~th~ middle notehead of the figure. It is important to begin by spacing the music as if there were no words, and then room. ___ (a) Jack's moth - er_ sends him to his either widen measures or adjust syllables right length (c) as necessary. Many notation programs au­ This line of text is written in a seriffont; the serifs force the eye to move from letter to letter and word to word. This line of text is written in a sans serif font; this type of font can be used at larger sizes for titles or headers. tomatically adjust the spacing of the mu­ sic to avoid collisions between words, but Figure 3. the programs invariably distort the music far too much when this feature is used. The uneven measures of Figure 5a use the 3 automatic spacing in one notation pro­ 3 J 3JJJJ J J gram. This is not specific to this pro­ 1- gram-all notation programs do this poorly. In Figure 5b the notes were spaced -3 accurately and the syllables were then I Ii 13 3 • J J • • 3 J J moved to create an even flow. The word t 1- "screamed," because of its length, ·does Figure 4. not use an extender; the slur makes clear which notes are connected to it.

PAGE 38 CHORAL JOURNAL ------

(a) J I JJ1 ill II Finishing Touches &it n {J ro Jack's moth-er screamed when she satan atack_ .. With notes and text entered and prop­ (b) erly spaced with word extenders, the re­ maining items may be added: ties, slurs, articulations, dynamics, and tempo indi­ cations. If the tied notes have stems going Jack's moth-er screamed when she sat on a tack ... in opposite directions, the tie will always Figure 5. go above the notes. At least one widely used notation program does this poorly, as shown in Figure 6. The tie at a 1 is 2 correct, while the one at a , the default position, is incorrect. Ties going from sys­ (e) Insanely fast (J·=13z) (d) p, espressivo tem to system should stop at the final J) I J barline, and the apex of the tie should fall §UJ. J. I J J) J IJ in the middle of a space for legibility. Row, row, row your boat, gent Iy down the stream. (d) cresco to incoherence Slurs go above the notes involved (Fig­ (c) (b)~ ure 6b), unless all the notes slurred to­ gether have upstems. Slurs should extend D J J J I J I J J J J J)IJ tE1 § r ~ l lJ to ~ -- (al) the final note of multiple tied notes. If your boat_ should spring a leak,_ bet- ter pre-pare to scream._ Ah! __ Place all staccato, tenuto, and accent marks to the opposite side of the stem. Staccato and tenuto marks go either one II or one-and-a-half spaces away from the (al) notehead and are placed between the notehead and the end of a slur. The ac­ Figure 6. cent goes just outside the staff and nor­ mally is placed outside of a slur. All three characters are placed outside of any ties entities on the page (notes, text, articula­ (Figure 6c). tions, ties, or slurs) should never touch Dynamics go above the staff in choral each other. On rare occasions a dynamic music (Figure 6d). Cresco and dim. mark­ marking may have to overlap the staff, PRAISE ings should be in fourteen-point italics, but that is the only exception to this rule. and characters such as f are typically Finally, for a professional look, exam­ twenty-four-point size. Use a dynamic for ine the entire manuscript in the following every staff, with one marking for the key­ areas. Is the color inconsistent? Are there HYMN! board part between its staves. In closed spots where the music is crammed to­ score, dynamics should be marked above gether tightly, while other spots are much and below the staff for each voice part. looser? Do barlines line up from system Thine the Praise Tempo indications, including metro­ to system? This makes it difficult for sing­ nome markings and descriptive words, ers to find their line and should be The Hymntunes and Carols are placed once above the choral parts avoided. Are the words evenly spaced of Carl Schalk and once above the piano part (Figure between staves? If some text is much closer 6e). Use fourteen-point bold in the serif to one staff than the others, it is best to A comprehensive collection, Tbine tbe font employed for other indications. The widen the distance between the staves on Praise contains the 79 hymntunes of left edge of the tempo marking should that individual system. Carl Schall{ written to date, including 16 line up with the left edge of the time Engraving music is as much an art as a composed since 1991 and all the tunes signature. The metronome marking science. There are a lot of rules to remem­ previously published in Tbe Carl Scbalk should be enclosed in parentheses if it is ber, but optimum readability of the final Hymnal)', and Supplement. These stur­ paired with a tempo marking. If the met­ output is the result of careful preparation. dy, well-crafted tunes are paired with the ronome marking is used by itself, it should The reward-smoother rehearsals---,is not be parenthesized. Fermatas should al­ worth the extra work. texts of several writers including Jaroslav ways go above the staff, unless a second Vajda, Herbert Brokering, and others. stem-down voice is present, in which case -C]- a second under-fermata is used as well. G-4554 (Spiral bound) ...... $18.95

Fine Tuning GIA Plllllications.lnc. One universal rule in engraving is that 7404 S. Milson Ave .. Chicilgo. IL 60638 items are never allowed to "crash." Two 1-800-GlA-1358 or [708) 496-3800

NOVEMBER 1997 PAGE 39 CORAL RIDGE PRESBYTERIAN CHURCH FORT LAUDERDALE, FLORIDA TWENTY'"'THIRD ANNUAL CHURCH MUSIC

EXPLOSION Church Music Explosion is a workshop committed to excellence in worship, church JANUARY 6~11, 1998 music education and performance.

FACULTY AND FEATURES • Study and perform "Schubert's Mass in G" and the "Dona Nobis Pacem" of Ralph Vaughan Williams under the baton of the brilliant young conductor, Constantina Tsolainou (Southern Methodist University). Included in this con­ certwill be two concertos for organ and orchestra performed by Colin Howland, Senior Organist of Coral Ridge Church. • Attend masterclasses and workshops with acclaimed virtuoso organist, Todd Wilson. Todd will teach classes on repertoire and service playing, as well as playa concert and accompany the silent film, "Phantom of the Opera." • Helen Kemp will return to CME and teach the classes on children's choirs­ teaching techniques, voice building, repertoire, etc. • All facets of youth choirs will be taught by Granville Oldham (University of Alabama and Tuscaloosa Boys Choir). • The art of handbell ringing will be taught by Robert Ivey. • Carl Stam will prepare and lead the daily chapel services for the CME, as well as teach classes in the philosophy and practice of church music as it relates to contemporary church musicians of all worship traditions. • Guest faculty in adult choirs, as well as "non-music" classes of interest to church musicians (computers, concert series, etc.). • Closing "Festival of Praise", conducted by CRPC's new Director of Music, John L. Wilson, features the combined Chancel Choir and workshop partici­ pants, brass and handbells. • Reading sessions, fellowship, Florida sun, complete bookstore, exhibits, and much more. REPERTOIRE & STANDARDS COMMITTEE REpORTS

Jazz and Show Choirs efforts to make this creative and artistic address the issue of how professionals re­ music a serious part of choral music edu­ main active and continue to develop after OLK WISDOM says "sticks and cation in the future. entering the field. This commentary will stones may break my bones, but briefly discuss several activities commonly Fwords will never hurt me." That Phil Mattson, Past National Chair undertaken by professional choral con­ axiom contains more untruth than truth, Committee on Jazz and Show Choirs ductors. however. Words evoke powerful emotional reactions in us, positive and negative. The Continuing Education word "jazz," for many choral and classical Youth and The need for continuing mental musicians, is an emotionally loaded word, Student Activities growth does not diminish with age, expe­ with negative connotations often outnum­ rience, or a collection of advanced de­ bering the positive. Finishing Touches: grees. Lloyd Pfautsch, Professor Emeritus In recent years jazz has gained the re­ Becoming a Professional at Southern Methodist University, recalls spect of musicians generally. Vocal jazz Choral Conductor a wonderful example of this need for on­ also has gradually gained the respect of going exposure to new ideas: choral musicians since it was introduced HORAL MUSIC methods to the music education curriculum some At an ACDA convention, I was courses spend copious amounts thirty years ago. Increasingly, universities C of time addressing the tasks and asked to do a session on rehearsal and colleges are exposing their vocal stu­ techniques that related to my techniques employed by music educators dents to jazz, forming ensembles, and section in the book Choral in the classroom. Few syllabi, however, bringing professionals to their campuses. This is a most effective means of develop­ ing the interest of prospective choral edu­ cators. It is not possible to predict the part that jazz will play in the future of choral music education. Instrumentally, jazz is expanding geographically, professionally, and in education at a fast pace. Artisti­ cally, much of the action in contemporary music is jazz, jazz-based, or jazz-influ­ enced. The R&S Committee on Jazz & Show Choirs is one of only a few ACDA com­ mittees concerned with two very dif­ feren t genres-vocal jazz and show choir. This difference is significant enough that perhaps it is time to consider separat­ ing them. Since jazz is art/ethnic music, it might more comfortably be put with the Ethnic & Multicultural Perspectives com­ mittee or placed in its own category. Or perhaps the current arrangement works best. Either way, ACDA can playa major role in encouraging the art of vocal jazz among choral educators. The organiza­ tion has helped to nurture the genre in the past, and I hope it will expand its

NOVEMBER 1997 PAGE 41 Conducting: A Symposium. At the Unfortunately, far too many choral Reading. Conductors should take ad­ first session, I was shocked to see musicians prefer to rest on their laurels or vantage of the wide variety of books and Howard Swan sitting in the second point to their degrees as proof of suffi­ periodicals focusing on choral music. row. I asked him later what in the cient education. Conductors who accept Who would feel completely comfortable world he was doing there, and he this position of mental inertia soon stag­ with a physician who did not read the said, "Oh, there is always something nate, their choirs diminish both in size latest health findings in professional medi­ I can learn!" That is the way he has and quality, and eventually their choral cal journals? The same standard should lived and worked as a conductor, and I think everyone in the choral programs wither like unused muscles. apply to the professional choral conduc­ field should follow his example. l Such persons do a grave disservice to the tor. Those who do not read the latest profession and to their students. literature on such crucial issues as vocal Advanced Study. One of the best forms health, performance practice, rehearsal of continuing education is pursuit of an technique, and choral literature are pro­ advanced degree. Most sizable universi­ fessionally out of date. CJHORAI.;fVOCJAil.. VACANCJY ties offer a variety of graduate music de­ Listening. Hearing the musical prod­ FAil..L 1998 gree options, many of which are tailored ucts of colleagues is vital to a conductor's to the specific challenges faced by the Qualifications: Doctorate degree or continued growth. Listening to other en­ equivalent professional experience. practicing music teacher. Often, these pro­ sembles may provide a fresh perspective Demonstrated excellence as a conductor grams offer a broad palette of summer on such elements as performance prac­ and singer required as well as success in and independent-study courses. While tice, vocal tone, staging, and conducting college-level teaching. Duties to include part-time study is usually the rule for those gestures. Concert attendance can also in­ directing the Concert Choir as well as balancing full-time teaching jobs and fam­ troduce the conductor to new literature teaching Studio Voice, Madrigal Singers, ily responsibilities, full-time immersion and programming concepts. The concerts Music Appreciation, and a Conducting in a course of graduate study is the most one chooses to attend, however, need not Course. educationally beneficial approach. Many be limited to choral performances; the public school systems require faculty to conductor should make an effort to hear Rank and Salary: To be determined continue formal education through the performances by symphony orchestras, based upon qualifications and master's level. Some systems offer support chamber ensembles, bands, and recital­ experience. to teachers who are taking graduate classes, ists. In addition to hearing concerts, the Applications should include: 1) resume, including funding (either matching funds conductor should stay abreast of the lat­ 2) three letters of recommendation, 3) or outright grants), sabbatical leaves, or est choral recordings. They are a tremen­ evidence of successful college teaching, reduced teaching loads. The opportuni­ dous tool for examinating choral sound, 4) a cassette or CD of candidates ties for continued education should be a literature, and interpretation. conducting and solo singing. All consideration when a teacher discusses correspondence should be directed to benefits with a potential employer. Professional Activities Dr. Willard Oplinger, Search Workshops and Conventions. Most Choral conductors do not lead an "8 Committee Chairman, Music professional music associations hold peri­ to 5" life. They often have responsibilities Department, College of Charleston, odic gatherings for the enrichment of their beyond their rehearsal rooms. These ex­ Charleston, SC 29424. Complete members. Such activities range from tracurricular activities are usually of a pro­ applications must be postmarked by single-day workshops addressing a spe­ fessional nature and, although they do January 24, 1998. This is the cific topic or area of interest to conven­ not always include financial compensa­ continuation of a search begun last year. tions spanning several days. Such events tion, such activities are vital to the growth The College o/Charleston is located in the offer excellent opportunities for gather­ of the conductor. midst 0/ historic downtown Charleston, ing new information, obtaining new lit­ Articles. Though the cynical old say­ South Carolina. The Department 0/ erature, hearing top-flight concerts, and ing "publish or perish" usually relates most Music, together with the Spoleto Festival sharing concerns and problems with like­ directly to college instructors, public USA, Picolo Spoleto, and the Charleston minded colleagues. In addition, some pro­ school teachers can also benefit by pub­ Symphony Orchestra offers students a truly fessional conventions make graduate lishing. They can submit articles to pro­ cosmopolitan atmosphere usually found credit available for members seeking to fessional publications such as the Choral only in major urban centers. Students may earn continuing education units. To be Journal or the Music Educators Journal or earn a Bachelo;' Arts degree in music 0/ sure, attendance at a professional music to smaller professional newsletters. ACDA specializing in Performance (piano, voice, convention is a tremendously stimulating and MENC regularly publish both state orchestral and early music instruments experience. It should not be viewed, how­ and regional newsletters. These publica­ and guitar), Theory/Composition, or tions welcome article submissions. History/Literature. ever, as a substitute for intensive graduate study.

PAGE 42 CHORAL JOURNAL McGroarty Music Publishing Compositions/Arrangements. Many ORDER TODAY FROM YOUR MUSIC DEALER! choral conductors also are skilled com­ posers or arrangers. Publishing a musical ''Ave Maria," SSAATTBB, Fred Thayer, "Each Child," SSAA, Eleanor Daley work is often a challenge, as many "Here's to Song," SA, SATB, SSAA, by A. MacGillivray, arr. Lydia Adams publishing firms retain a corps of staff "Christmas Prayer," SATB, L. Adams "Mi'kmaq Honour Song," L. Adams composers. Those conductors who do "I am a little church (no great cathedral)," SSAA, manage to have their musical works pub­ Words bye. e. cummings Music by Robert Crowder, Jr. lished, however, often report deep per­ "Christmas Lullaby," SATB, Graeme Wearmouth sonal and professional satisfaction. Performance. Conductors whose pri­ 170 The Donway West #411 • Don Mills, ON Canada M3C 2G3 mary instrument is voice should make 416-446-7440 FAX 416-446-7640 time to sing in a church choir or in a community chorus. If they have solo-qual­ ity voices, they should maintain a solo repertoire appropriate for a variety of oc­ casions, including weddings, funerals, Christmas, Easter, luncheons, and ban­ SMOKY MOUNTAIN quets. Conductors who are instrumental­ ists should participate in a community MUSIC FESTIVAL 1998 ensemble, such as the local symphony or a town band. Those with fine piano skills 3 days - 2 nights in should be willing to accompany singers. GATLINBURG, TENNESSEE Possessing a music degree is not the May 1-2 May 8-9 sole indicator of one's status as a profes­ Competition in: sional. The degree and teaching certifi­ Concert Choir· Men's and Women's Chorus cate are little more than a "license to learn." Madrigal Choir • Jazz Choir • Show Choir Festival Director: Dr. W J Julian NOTES Director of Bands Emeritus: University of Tennessee. Knoxville J Carole Glenn, In Quest ofAnswers, (Chapel 1-800-553-1032 (423) 693-5470 Hill: Hinshaw Music, 1991), 147. Call between the hours of 9:00 a.m. - 5:00 p.m. Eastern Scott W. Dorsey, National Chair In our 16th year. our experienced. permanent staff insures' a Youth & Student Activities Committee smooth-running weekend in the heart of the beautiful Smoky Mountains. The three-day festival includes two nights -CJ- accomodations in aftrst class Gatlinburg motel; acyudication by nationally known judges; trophies to winning groups; and plaques to all paiiidpatinB groups. TOTAL COST: $100 per student (3 days - 2 nights package) $125 per student (4 days - 3 nights package) Adjudicators will be chosen from the following: Dr. Charlene Archibeque. Dr. Anton Armstrong. Dr. Charles Ball. 1999 Simon Carrington. Dr. Eph Ehly. Craig Jessop. Rodney Eichenberger. Weston Noble. John Ribble. Dr. Charles Smith, Dr. ACDA National Convention Robert Stoll, Michael Swartzkopf and Dr. Eric Thorson.

Areas of Interest: ( ) Concert ChOir ) Madrigal Choir ) Men's Chorus ( ) Women's Chorus ) Show Choir ) Jazz ChOir CHICAGO ( ) Elementary School ) Middle School ) Junior High School ( ) Senior High School Weekend Interest: ______February 24-27 Nrune ______School ______Admess ______

Phone______

Mail to Dr. W.J. Julian, 601 Westborogh Rd., Knoxville, TN 37909

NOVEMBER 1997 PAGE 43 Audition Guidelines for ACDA National Convention Performance

HE CRITERION for recommend­ Audition Procedures No person submitting a tape for the forth­ T ing a choir's acceptance to appear at 1. All tapes to be considered for per­ coming convention may serve on the di­ an ACDA national convention will be formance at the national convention vision or national audition committees. the quality of musical performance as should be submitted to the ACDA na­ 5. All tapes auditioned at the division demonstrated on tape. tional office in Lawton, Oklahoma, and level will be rated on a 1-10 scale, with postmarked no later than March 31, ten being the highest rating. It is recom­ Preparation of Tapes 1998. mended that all tapes with an average Only tapes prepared in compliance 2. After all tapes have been received at rating of eight or higher be submitted to with specifications listed on the applica­ the national office, they will be placed in the National Audition Committee. There tion form and accompanied by requested categories corresponding to the areas of is no quota of tapes to be selected: the program information will be considered. the Repertoire and Standards commit­ selections should represent the finest en­ The tape should contain only complete tees. tries in each R&S area. pieces. If a longer work is excerpted, sev­ 3. The National President-Elect will 6. All tape auditions at the division eral minutes should be devoted to it on apportion the tapes to the division audi­ level will be completed by May 15, 1998, the tape. Only one performing group may tion committees on the basis of the num­ and all tapes will be sent immediately by apply per tape. Performing forces pro­ ber of tapes received in each category and the division president to the national of­ posed for the convention program should by the geographical locations of the Na­ fice. be the same as those on the tape, and the 7. All selected tapes will then be audi­ repertoire should be essentially the same tional R&S chairs. tioned by the National Audition Com­ kind as that proposed for the convention 4. After the tapes have been appor­ mittee, a minimum of six persons who performance. tioned, they will be sent to division presi­ dents, who will chair division audition are (or have been) active conductors and committees. The audition committee in who collectively represent at least six dif­ 9lCHl?,,~~,,"~EB each division will comprise a minimum ferent R&S areas. These persons will be of four members, including: selected by the Chair of the Past Presi­ http://www.ChoralWeb.com dents Council in consultation with the (208) 882-6760 a. National chair of the R&S ACDA National President and National Choral Music Through the Internet area being auditioned, President-Elect. The National R&S Chair View, Usten, Purchase and b. Division chair of the R&S and the Convention Program Chair will Download Choral Music over the Internet area being auditioned. be members of the National Audition • Quality Music c. Outstanding choral directors Committee. • Lower Prices in the R&S area being 8. All tapes auditioned at the national • Immediate Computer Delivery auditioned, as necessary. level will be rated on a 1-10 scale, with ten being the highest rating. It is recom­ For Great Performances, mended that all tapes with an average rating of eight or higher be submitted to Prepare withCHORALPREp™ Recordings. the National Convention Chair, with choirs recommended for performance in Specializing in "These tapes have Jzelped liS start at a beautifully produced higJzer mllsicallevel, and progress rank order. The national audition will study tapes of the rapidly. Fewer sectionals are take place by June 7, 1998. needed as singers are able choral m~sterworks. 9. The National Convention Chair and Featuring lovely woodwind to prepare and review on their own ... Clearly the easiest to use Program Chair will make the final deci­ sounds. Offering a separate of the practice tapes I've heard. II highlighted mix for each voice part. sions on performing groups after care­ Dr. David Stevens fully considering the most effective Accurate. Clear. Musical. Music Director, Austin Civic Chorus Please call for a FREE DEMO program that can be created from the and more information. "Couldn't have done it without 'ra." choices presented. 1-800-444-SATB . Anchorage Festival ~horister 10. The National Convention Chair ~ORALPREPTh' Brahms ReqUiem (1992) will notify all choirs of their audition re­ sults no later than June 22, 1998. tw.~ COR DIN G 5 4004 September Song Drive· Manchaca, Texas 78652 • FAX (512) 282-8585 • Austin Phone (512) 282-5599

PAGE 44 CHORAL JOURNAL APPLICATION FOR CHORAL PERFORMANCE ACDA National Convention Chicago, Illinois • February 24-27, 1999 Please type or print legibly I. General Information

Name of ensemble ______Number of singers ___

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

Type and/or level ______(University, community college, high school, junior high/middle school, children, boy, women, men, treble, church, jazz/show, etc.)

Name of institution ______Institution telephone L-) ______

Institution address ______

______State ____ Zip code ______

Nameofilirecror ______

Direcror's home address ______

______State ____ Zip code ______

Director's home telephone L-) ______Summer telephone L-) ______

Member of ACDA? Yes No Expiration date __.' ___'

Eligibility: Conductors must be current members of ACDA and must have been employed in the same position since Fall 1995. No choral ensemble or conductor may appear at successive national conventions. It is understood that ACDA will not assume any financial responsibility for travel, food, and lodging for performance groups. This application implies that the above-mentioned group is prepared to travel and perform at the convention, if accepted.

Signature of direcror ______

Signature of administrator ______------(Principal, department chair, minister, etc.)

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

Tide Composer Performance time (in minutes and seconds)

NOVEMBER. 1997 PAGE 45 III. Audition Tape Specifications A. Each of the three recorded selections for this performance application should be prepared on superior-quality stereo cassette tape. No accompaniment tapes may be used. B. The total length of the audition tape should be 10 to 15 minutes and should include three selections (all by the ensemble listed on this application; one each from 1997-98, 1996-97, and 1995-96. C. Show choir performance applications should include both an audio cassette and a videotape (112" VHS). D. Selections recorded on the audition tape:

Selection #1 (from 1997-98) Ticle ______

Composer------

Selection #2 (from 1996-97) Ticle ______

Composer------

Selection #3 (from 1995-96) Ticle ______

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

!.~~;:,>~.;.;,". ~,' •..... ;".~;,.' ··;Mar~;~I:;l~:h~~:i~i:~::t~eie.~~e.~:;r\:i,; ~ ~~••.•. };;,.'.: :; ~~.~:~.~ "::,: ~. ~'~•• Marcli,3J;iJ:998 Auc!i~~.riitape§,i:ipplicai.iohfbrrris;:;Jj}dpro&'r#s maile4totheAqDAn,~tipn.al ofIic~.... . l~; ;.)i ~.:,April '7;1~~,8'Auditioll. materialsInailed~t6 appropti~te4i\risi9ncoIIiiriitteeibyAC])Anationaloffice;,.'., ~ li';~' :"t, ; ., .. <¥aYJ5(l~9?:Pivi~io?-aJ.~dN°7'" ~.~'9.co9iPl~e~aI1~r~s~~rnaih!4!1Ntf0Il~:Ahditioij: COlnmittee; '. ~, ~~~ .. ' , i":;:':}',',," .. ,' ." .• ~ .. "",..:un~~ ~ .~. at1PJJ. .. ~u,()nscplJ.l;pe.~e.:;".F. /', .;. rX.;','.' ..~, ..• ~ ... ~.;,.,'~ '.". :,.,:,~~.,::,.:," ..., .. :.~ .. ~,., •..••...•.• ~... ,~,., •.•. ' ..·.~; ••~.' .••• ,·~:~·~., •. ·.•. ;.:~:.',i,,~ •.• ·.~.~~.. ~ ~ ':1- ) #~~2~,I~~8fcPp.Ft;~~s~p:*,~4:?r~~~~o.• n,~.'r,e.su.~,~l,t,s., :.:..r.. ," : .•..;,,::',>.' .. :.'. :.'.:.~; .. ' .~. ,",' ~.. '. ; ,•. :-______-- __ .0 ______.:.. ~ ___ :_....:..::._.....:...~.:...... ,_:,:._:.:...,_.:...,.:~ • ..:~;:" ••• ..:.. •• ...:...~.~~ ••• ~ •• _~~'.. • ...:::_:.:_."::..:...:_• ....:.:.,.:;..~-.:_.....:...:..:.~ _ •••• • __.:.c. '._ ~-=- .. .:.... ~ ..... __ . _ ,~~~.~:.~~:~~~:,.:.~.~:_. .!..~' ... ~~~ .. :.-~~~ .. __ .:~~~.:._'] Recommendation by Division Audition Committee The tape accompanying this application has been selected by the Division Audition Committee for consideration for the 1999 ACDA National Convention and is hereby forwarded to the National Audition Committee.

Signed Date __1_- (Signature of Division President)

Final Recommendation by National Audition Committee Invite? Yes ----- No ---- Hold for waiting list

Type of Session

Signed Date __1 __1_- (Signature of National Audition Committee Chair)

PAGE 46 CHORAL JOURNAL ACDA OFFICER CANDIDATES National President-Elect Designate

William F. Mayclin ILLIAM MAYCLIN teaches years. He served as the school district's director at Peace Lutheran Church for choral music at Pendleton music coordinator for nine years and is sixteen years. He is currently director of W High School, Pendleton, Or­ currently the Fine Arts Department the handbell choir at Peace Lutheran egon. He has taught choral music in the Chairman at Pendleton High School. In Church. Pendleton school for t"UT,~ntv_t·,VP 1990 he was selected as the Phi Delta Mayclin has served as treasurer, vice Kappa (Chapter 1122) Outstanding Sec­ president, and president of the Arts Coun­ ondary Teacher. His high school choirs cil of Pendleton. He has been vice chair­ have sung at two Northwest Region man and chairman of the Oregon Music MENC conventions and at one state Education Association's District VI. He was Oregon ACDA president from 1987 convention of the Oregon Music Educa­ to 1989 and ACDA Northwestern Divi­ tors Association. They were also invited sion president from 1992 to 1994. In to sing at Expo '74 in Spokane, Washing­ 1995 he was the site chairman at the ton, and Expo '86 in Vancouver, British Kennedy Center for the ACDA National Columbia. Convention in Washington, D.C. He was Mayclin earned an Associate in Arts the National Chair for the ACDA Advo­ degree in 1969 from Clark College, cacy Steering Committee from 1995 to Vancouver, Washington, and completed 1997. He was the organizing chair of the a B.M.E. at the University of Portland in Oregon All-State Choir in 1982, the AlI­ 1971. He received a Master of Arts de­ Northwest Choir in 1985, and the 1990 gree in vocal performance from Eastern ACDA Northwestern Division High Washington State College, Bellingham, School Men's Honor Choir. Currently he in 1973. is vice president of the ACDA North­ Mayclin has been active as a performer western Division and program chair for with the College-Community Theatre in the 1999 ACDA National Convention in Pendleton for many years and was choir Chicago.

David Stutzenberger AVID STUTZENBERGER is program chair for the National Conven­ and Phi Mu Alpha, and is listed in Out­ Director of Choral Activities at tion in New Orleans, and in 1991 he standing Educators ofAmerica. D the University of Tennessee, served in this same capacity for the Na­ Knoxville. In addition to conducting the tional Convention in Phoenix. He was Chamber Singers, UT Singers, and the Southern Division Chair for the R&S Men's Chorus, he heads the graduate cho­ Committee on Colleges and Universities ral conducting program at the university from 1993 to 1995. Currently, and is Director of Music at First Chris­ Stutzenberger is a member of the ACDA tian Church. Prior to joining the UT fac­ National Advocacy Steering Committee. ulty, he served as Director of Choral Choirs under Stutzenberger's direction Activities at Shenandoah University and have performed at division conventions Conservatory of Music, Winchester, Vir­ of both ACDA and MENC, for national gInIa. radio and television, at the National Gal­ Stutzenberger's involvement in ACDA lery of Art, at the John F. Kennedy Cen­ spans more than thirty years. Under his ter, and on concert tours of Europe. He direction the Shenandoah Consc;rvatory appears frequently as a choral adjudica­ Concert Choir performed at the 1971 tor, clinician, and guest conductor of com­ Vienna Choral Symposium cosponsored munity, honor, and all-state choruses. In by ACDA. He served as Virginia ACDA addition to ACDA, professional affilia­ State President from 1974 to 1976 and as tions include MENC, TMEA, ETVA, and Southern Division President from 1977 the American Choral Foundation. He is to 1979. In 1981 Stutzenberger was also a member of Pi Kappa Lambda

NOVEMBER 1997 PAGE 47 ACDA OFFICER CANDIDATES Eastern Division President-Elect

D. Douglas Miller OUGLAS MILLER is Professor four-voice Concert Choir and the twenty­ and the Pennsylvania Chorale, an interna­ of Music and Director of Cho­ eight-voice Chamber Singers. He heads tional touring ensemble. He is a frequent D ral Studies at Pennsylvania State the graduate program in choral conduct­ adjudicator and clinician. Among his University. In the eleven-ensemble cho­ ing, teaching courses in conducting and publications he co-authored Heinrich ral program, he conducts the select sixty- choral literature. A native ofIowa, Miller Schiltz-A"Bibliography of the Collected received two degrees from Drake Univer­ Works and Performing Editions. The book sity in music education and composi­ won Choice Magazine's award for Out­ tion. He earned his doctoral degree in standing Academic Book of 1986. choral conducting at Indiana University, Miller has served twice as president of where his major professor was Julius Pennsylvania ACDA (1993-95 and Herford. Miller taught in Indiana and 1996-97). His choirs have performed on Maine before coming to Penn State in state and division convention programs 1969, where he served for more than a of MENC and ACDA, throughout the decade as Director of Orchestras. During northeastern U.S. and Canada, and in the past fifteen years, Miller has returned more than a dozen European countries, to his strong interest in the human voice Australia, and New Zealand. His profes­ and the choral repertoire. sional affiliations, in addition to ACDA, Miller has served for twenty-five years include AMS, CMS, IFCM, Conductors as Music Director of the 175-voice State Guild, CHORUS AMERICA, and MENC. College Choral Society. He is also the founder and Music Director of the pro­ fessional Pennsylvania Chamber Chorale

Karen Soderberg AREN SODERBERG is Direc MCEA State Choral Site-Reading and tor of Vocal and Choral Activi Solo and Ensemble Chair. K ties and the Chair of the Depart­ On sabbatical leave during the Fall ment of Music at Frostburg State Univer­ 1997 semester, Soderberg was invited to sity, Frostburg, Maryland. She earned a conduct the Goldsmiths University of Bachelor of Music Education degree from London Chamber Choir. She will also be Pacific University, Forest Grove, Oregon; performing with the Russian Kalina Master of Music Education from" Lewis Choir and working with the Royal Col­ and Clark College, Portland, Oregon; lege of Music. She is active as a guest Master of Music and Doctor of Musical conductor, solo performer and clinician. Arts in Conducting and Vocal Perfor­ mance from the University of Arizona, Tucson, Arizona. She has studied con­ ducting under Brock McEhleran, L. Stanley Glarum, Maurice Skones and Eric Ericson in Stockhom, Sweden. Soderberg served as ACDA Maryland state president (1993-95) and vice-presi­ dent (1995-97). She was the Exhibit Chair for the 1996 ACDA Eastern Divi­ sion Conference in Philadelphia. She is currently the College/University Repre­ sentative for the Maryland Choral Edu­ cators Association and served as the

PAGE 48 CHORAL JOURNAL ACDA OFFICER CANDIDATES North Central Division President-Elect

Gregory R. Carpenter REGORY CARPENTER is among singers in choral rehearsals at the excitement and energy Director of Choral Activities at ACDA state and division conventions and necessary to inspire their singers to Waukesha South High School, at the state MENC convention. think with their hearts as well as G their heads. Waukesha, Wisconsin. He has taught vo­ Carpenter has directed church and cal music in Wisconsin public schools community choirs and served as clinician for twenty-eight years. His choirs have at state and conference music festivals. performed at ACDA state and division He directs the Waulcesha Choral Union, conventions and state MENC conventions. a one-hundred-member community Carpenter served as president of the choir, and serves as the coordinator of the Wisconsin Choral Directors Association Wisconsin State School Music's Honors from 1992 to 1995. Prior to that, he was Vocal Jazz Project. state R&S chair for high school choirs Carpenter offers the following vision and a member of the WCDA Board of statement: Directors. During his three-year term as president, WCDA increased in member­ The future of humankind depends ship, became a non-profit corporation, largely on how well it learns to and a new state-wide honors program, think with its' heart as well as its Singing in Wisconsin, was established. head. Our art, in all its forms, is The state's distinguished service and out­ one of the best vehicles for singers to learn to do that. As the world standing young conductor awards were grows smaller, it becomes created, and a standing committee met increasingly difficult to predict and for the first time to create a five-year plan for the future, but we must set plan for the organization. goals for well into the next century Carpenter holds the M.M. degree and talce steps now to meet them. from the University of Wisconsin-Mil­ The ACDA's North Central waukee. He has presented interest ses­ Division must continue to find sions on stimulating creative thinking ways to help choral directors find

Robert Youngquist OBERT YOUNGQUIST, a na­ he studied piano with Jerome Rose. He manager for the Iowa All-State Music tive of Ohio, received his B.M. earned the M.M. degree in choral litera­ Festival auditions in southeast Iowa. He Rdegree at Bowling Green State ture from the University of Iowa and is is also a contest adjudicator for the Iowa University, Green, Ohio, where now in his twenty-eighth year as director High School Music Association. Active of choral music at Washington Senior as a pianist, Youngquist has served as High School, Washington, Iowa. accompanist for many vocal festivals, A member of ACDA, Youngquist has workshops, and ICDA summer conven­ held several leadership positions in the tions. He writes: Iowa Choral Directors Association. From 1989 to 1991 he served as Southeast Dis­ If elected president of the North trict Chair of ICDA. He co-chaired the Central Division, I would work to association's summer convention and cho­ provide strong leadership and open ral symposium. Youngquist served as lines of communication. I would ICDA president from 1993 to 1995, lead­ encourage the vital spirit of ing the organization through incorpora­ volunteerism, . for it is that which tion procedures that have paved the way has made our organization strong. for its continued growth and financial In addition to my other stability. He currently serves in the newly responsibilities as president, I appointed position of R&S coordinator would also work to create a division for ICDA and North Central Division presence on the Internet in an Chair for the R&S Committee on High effort to facilitate communication School Choirs. with our membership. Since 1983 Youngquist has served as a

NOVEMBER 1997 PAGE 49 ACDA OFFICER CANDIDATES Northwestern Division President-Elect Karen Fulmer AREN FULMER is vocal music teachers or demonstration choirs. instructor at Sumner Junior Fulmer's students take pride in being K High School and K-12 district part of a tradition of excellence and feel music coordinator in Sumner, responsibility as they work with student Washington. In twenty-two years of teachers and practicum students from lo­ experience, she has taught all age levels, cal universities. kindergarten through adult, in a variety Fulmer's leadership roles in ACDA in­ of settings ranging from public school to clude past Washington state president and church to university. Fulmer received treasurer, convention presenter, and mem­ B.A. and M.A. degrees from Pacific ber of the National Advocacy Advisory Lutheran University and has continued Committee. In 1997 she served as group her education through post-graduate manager for the All-Northwest MENC studies. High School Honor Choir. Knowing that For the past ten years she has worked a teacher must model life-long learning, on state committees seeking to define Fulmer performs as a member of the what students should know and be able Tacoma-University ofPuget Sound Civic to do in music as part of a complete Chorus, studies dance, adjudicates, and education. Her work in music curricu­ tackles home remodeling projects. Her lum and assessment has provided oppor­ contributions to education are recognized tunities to present interest sessions at through numerous awards, including the state, division, and national levels of Christa McAuliffe Excellence in Educa­ ACDA and MENC, often including tion Award and the 1997 Washington Sumner Junior High school students as co- State Teacher of the Year award.

Edward Schaefer DWARD SCHAEFER is Schaefer holds B.M., M.M., and Mas­ Director of Choral Activities at ter of Sacred Music degrees from South­ E Gonzaga University, Spokane, ern Methodist University, Dallas, Texas, Washington. Under his direction the and a D.M.A. degree from the Catholic choral program has quadrupled in size University ofAmerica, Washington, D.C. over the past ten years. The Gonzaga Schaefer served Washington ACDA as University Choir, the college's premier Eastern Washington representative ensemble, appeared at Washington Music (1988-91), president-elect (1991-93), Educators conventions in 1990 and 1994, president (1993-95), and vice-president at the ACDA Northwestern Division (1995-97). Convention in 1996, and at the 1996 MENC National Convention in Kansas City. Schaefer has prepared the Spokane Symphony Chorale and the Northwest Bach Festival Chorus for several perfor­ mances. He has a special interest in chant and music of the late Renaissance. His article reassessing Palestrina's contribution to the Catholic Reformation appeared in the August 1994 issue of the Choraljour­ nat. He is currently preparing a transla­ tion of Dom Pierre Combe's Histoire de fa Restauration du Chant Gregorien.

PAGE 50 CHORAL JOURNAL ACDA OFFICER CANDIDATES Southwestern Division President-Elect Bradley Ellingboe RADLEY ELLINGBOE is active As a performer, bass-baritone Ellingboe as a conductor, singer, teacher, has performed in opera, oratorio, and Bcomposer, and scholar. He is recital across the U.S. and in England, Professor of Music at the University of Germany, Austria, Norway, Mexico, Ja­ New Mexico, where he conducts Las pan, and Korea. He has performed as Cantantes (the university women's en­ soloist under such notable conductors as semble) and the two-hundred-voice Uni­ Robert Shaw, Gregg Smith, Eric Ericson, versity Chorus, and serves as coordinator and Sir David Willcocks. of vocal studies. He is also Director of From 1990 to 1993 Ellingboeheld the Music at St. Paul Lutheran Church in Regents' Lectureship at the University of Albuquerque. New Mexico. For his efforts in the area of Ellingboe's choral compositions and furthering knowledge of Norwegian cul­ arrangements are widely sung and are pub­ ture in this country, Ellingboe was granted lished by Augsburg Fortress, Hal Leonard, the Medal of Saint Olav by His Majesty Mark Foster, and others. He was recently King Harald V of Norway. Ellingboe asked to create a choral series geared to­ served as president of the New Mexico ward church choirs for the Neil A. Kjos ACDA from 1992 to 1995. Music Company, and the Music for the Church Year series, under his editorship, was launched in 1996.

Sally Schott ALLY SCHOTT has taught in Pasa­ A native Oklahoman, Schott graduated on informed, productive advocacy. As a .. dena, Texas, a multi-ethnic urban magna cum laude from Oklahoma Col­ spokesperson for the Texas Coalition for Sdistrict, for thirty-three years and lege for Women and received the M.M.E. Music Education, she continues to pro­ has chaired the South Houston High degree from North Texas State Univer­ mote arts education. School Choral Department since 1974. sity. She was recognized by the University The South Houston High School Girls of North Texas School of Music as an Choir performed at the ACDA National Outstanding Music Education Alumnus Convention in 1981. Schott's choirs were in 1987 and was inducted into the Uni­ selected to perform at the 1976, 1984, versity of Science and Arts of Oklahoma and 1994 division conventions, for the Alumni Hall ofFame in 1996. MENC National Convention in Wash­ Currently the division chair for the ington, D.C., in 1990, and for sixTMEA R&S Committee on High School Choirs, state conventions. she co-chairs a national committee pre­ She has contributed to publications paring an annotated list of recommended Sing! and Something to Sing About. An repertoire for developing choirs. A plan­ active clinician who has made more than ning committee member for the South­ one hundred presentations for national west Division Dallas and Corpus Christi and state conventions, universities, and conventions, she has appeared at four na­ school staff development meetings, she is tional conventions as a reading session a vice president of Alliance Music Publi­ conductor and panelist. Schott has served cations. Recognitions include Pasadena TCDA as state officer, convention clini­ Independent School District High School cian, and committee chair. Past president Teacher of the Year, Sigma Alpha Iota and state vocal chairman of the Texas Music Leadership Award, and the Uni­ Music Educators Association, she co­ versity of Texas Excellence Award for chaired "Symposium '85," which focused Outstanding High School Teachers.

NOVEMBER 1997 PAGE Sl NEWSBRIEFS

World Youth Choir

HE WORLD YOUTH Choir is of Nebraska; Marcus Lapratt, Albion Col­ a member of the International Commit­ a unique international choral ex­ lege; Lori Lewis, University of Kansas; tee that meets in Namur, Belgium. Ap­ T perience. Each summer it gives and Bernadette Mauban and James Wilke, plications and taped auditions should ninety singers, aged seventeen to twenty­ Northwestern University. reach him by February 1, 1998. The 1998 six, an opportunity to meet in a host coun­ Each year the World Youth Choir con­ WYC will be hosted by Taiwan, with try and rehearse for two weeks. The venes in a different country: 1989, Swe­ additional concerts in the Philippines and rehearsals are followed by two weeks of den, conducted by Stefan Sk6ld; 1990, Singapore. WYC '99 is projected for concert performances at prestigious ven­ Belgium, conducted by Frieder Bernius, Slovenia and Europe. Singers selected for ues in neighboring countries under the Ward Swingle, and Robert Shaw; 1991, the choir may be invited to return a sec­ direction of world-class conductors. The Hungary, conducted by Frieder Bernius; ond year. choir is co-sponsored by the International 1992, Spain, conducted by Eduardo The international aspect of the choir, the Federation for Choral Music and the Mata; 1993, Norway, conducted by two weeks of intense rehearsals under out­ Federation Internationale des Jeunesses Michael Brewer; 1994, Argentina, con­ standing choral musicians, and the quality Musicales, which pay all land costs oflodg­ ducted by Robert Sund; 1995, Canada, of literature performed make the World ing, food, and travel to concerts for choir conducted by Frieder Bernius and Albert Youth Choir a challenging experience. The members. McNeil; and 1996, Estonia, conducted only cost for choir members is the round­ This past summer thirty-three coun­ by Jonathan Velasco and Eri Klas. Jean­ trip air fare to the host country. Singers are tries were represented in the choir that Claude Willcens of the IFCM office in urged to apply and to prepare an audition performed as part of the fiftieth anniver­ Namur, Belgium, serves as Executive tape. sary of the All Japan Chorus League. M­ Director ofWYC. ter the choral camp in Hamamatsu, Students interested in applying for the concerts were presented in Nagoya, Kyoto, World Youth Choir should contact Guy (Continued .from p. 4) Hiroshima, Iwakuni, Kobe, and Tokyo B. Webb, Department of Music, difficult economic times, imaginative, vi­ under the direction of Robert Sund of Southwest Missouri State University, sionary community leaders must find Sweden and Nobuaki Tanaka of Japan. Springfield, Missouri 65804 (GBW ways to budget for a community's aes­ Six singers from the U.S. participated: [email protected]). Webb represents thetic as well as its physical needs. One Michael Fletcher, Southwest Missouri the World Youth Choir on ACDA's Youth council member argued that his family State University; Jeffrey Keele, University and Student Activities Committee and is budget allowed a trip to the movies some months, and some months they could not afford it. The arts are not entertain­ ment. They are as important to a com­ munity as streets without potholes. They Gifts····forMusicians build the infrastructure of the soul. Com­ munities cannot afford to deprive their Our new catalog is filled with beautiful, functional citizens equal access to this road system. hardwood. furnishings designed to add to the pleasure of Arts advocates have begun to win some music for performer and audience alike. There are elegant battles with school boards over the im­ hardwood music stands that expand to serve a duet, trio or portance of developing creative intelli­ quartet...sheet music cabinets that stack to hold a gence alongside that required for t~e growing collection .. .instrurrient stands, musicians' tables, "basics." We now need to suggest to polI­ comfortable seating, and more. ticians that if they can build sports arenas Call for your FREE catalog today! and give tax abatements for corporate re­ locations, they also can support those arts organizations that both attract businesses and contribute to a city's quality of life. San Antonio theater critic John Igo chided Call Toll Free city council in a letter to the editor: "Au­ thor John Malcom Brinnin observed that 1-800-324-5200 the arts may not save the world, but they make it worth saving." John Silanlien

PAGE 52 CHORAL JOURNAL COMPACT DISC REVIEWS Richard J. Bloesch, editor

Blue Wheat: A Harvest ofAmerican Folk ing a variety of instruments; from arrange­ Songs ments accessible to choirs with modest RECORDING Alf S. Houkom (arr.), Dh, Shenandoah; performing resources to those that de­ COMPANIES THIS ISSUE Gail Kubik (arr.), He's Goin'Away; Edwin mand much of singers and players. The Fissinger (arr.) , Skip to My Lou; Carol recording, however, is unified by the ar­ American Choral Catalog, Ltd. Barnett (arr.) , Steal Away; Gilbert M. rangers' concern for preserving the integ­ P.O. Box 528 Northfield, MN 55057 Martin (arr.), Wilyfarin'Stranger; Robert rity of the original tunes and by the De Cormier (arr.), Soldier, Soldier WOn't performers' sensitivity in portraying both Harmonia Mundi France You Marry Me?; Mark Keller (arr.), Pretty the character of the original melodies and Harmonia Mundi USA, agent Saro; Robert De Cormier (arr.), Johnny tlle visions of the arrangers. 2037 Granville Avenue Has Gone for a Soldiel"; Norman Luboff Just as the selections of tunes cross Los"Angeles, CA 90225 (arr.), Black Is the Color; Carol Barnett many ethnic, geographical, and chrono­ Hyperion Records, Ltd. (arr.) , Red River valley; Roger Wagner logical boundaries, so does the selection Harmonia Mundi USA,agent (arr.), Nelly Bly; Harry T. Burleigh (arr.), of arrangers. These range from Harry T. 2037 Granville Avenue My Lord, What a Momin'!; Gail Kubik Burleigh, one of the earliest arrangers of Los Angeles, CA 90225 (arr.) , Jeanie with the Light B1'Own Hair; Mrican-American spirituals, to Alice Mark Keller, (arr.) , Hard Times, Come Parker, the dean of folk-tune arrangers, to great versatility in this collection. They Again No More; Stephen Paulus (arr.) , Stephen Paulus, who contributes two ex­ exhibit a playful style in Skip to My Lou. Single Gir4' Carol Barnett (arr.) , Deep quisite contemporary settings. Deep River, traditionally arranged and River; Alice Parker (arr.) , Buffalo Gals; The Dale Warland Singers demonstrate sung as profound and contemplative, is Stephen Paulus (arr.), The Wilterls Wide; ,------­ John Rutter (arr.), Black Sheep The Dale Warland Singers; Dale Warland, conductor The perfect solution for a perfect performance! Released 1996 American Choral Catalog, Ltd. ACC 122; SONG-LEARNING TAPES© © 1988 by Hammond Music Service [DDD]; 61:33 Rehearsal tapes help choirs learn music 5 times faster! Perfect for learning oratorios, requiems, and cantatas! HIS RECORDING seems to be Also - rehearsal tapes for All-State, Regional & Honor Choirs! more an intimate live concert Each tape has a grand piano playing its voice part loud in the foreground, T than a studio recording. Imme­ all other parts soft in the background. diacy perhaps best describes the perfor­ Call or write for a FREE catalog, demo packet/tape, and prices: mance of these beloved and well-Imown tunes. The Dale Warland Singers attend HAMMOND MUSIC SERVICE Toll-Free: 1-800-628-0855 P.o. Box 585 Idyllwild, CA 92549 FAX: 909-659-0798 to the finest details of nuance in the vari­ E-mail: [email protected] ety of emotions present in this recording. Visa and MasterCard Accepted Emotional contrast features promi­ nently in many aspects of this recording, from the playfulness of Skip to My Lou to the heartbreak of He's Goin' Away; from the humor of Oh, Soldie?; Soldier WOn't Tour With Your Choir You Marry Me to the pain ofJohnny Has and perform in the Great Cathedrals and Historic Churches. Gone for a Soldie?: The repertoire also • Great Britain • Central lit Eastern Enrope shows much variety, from the Mrican­ • Spain lit Portugal • Australia lit New Zealand American lullaby Black Sheep to the spiri­ We've been coordinating successful concert tours for over tuals Deep River or My Lord, What a 25 years. Travel with the professionals who exceed your expectations for a trouble-free tour. We'll provide you with Momin'l; from Stephen Foster's parlor customized itineraries and very impressive references. song, I Dream of Jeanie with the Light Brown Hair to Nellie Bly, a whimsical (IDJ minstrel song, to the painfully introspec­ AMBASSADOR TRAVEL SERVICE tive Hard Times, Come Again No More; 148 E. Michigan Avenue/ Kalamazoo, MI 49007 TEL: 800-247-7035 FAX: 616/349-7674 from unaccompanied works to those us-

NOVEMBER 1997 PAGE S3 here performed as a joyful march or even particularly good in Oh, Shendandoah, Red On Yoolis Night: Medieval Carols & a dance as the crossing of the Jordan River River Valley, and Single Girl. Harpist Motets draws closer. Blend and intonation are Kathy Kienzle turns in a profoundly mu- Hodie Christus natus est; 0 nobilis sical performance of The ~ter Is Wide. nativitaslO mira deilO decus virgineuml NEW! The notes that accompany the record- Apparuit; Lux de luce; Alleluya: A nywe :u 1997 Holiday ing are most useful, both to the listener werke; Verbum supernum prodiens; Choral Catalog Theodore~ Presser Co., distributor and to the scholar. Included for each song Balaam de quo vaticinansl[Ballam}; Ave Dept. 3CJ· I Presser Place are full text, source or composer, arranger, Maria; Gabriel, fram heven-king; Lullay: Bryn Mawr, PA· 19010-3490 -or- E-mail [email protected] publisher, and a paragraph about the ori- I Saw a Swete Semly Syght; Prolis eterne gins and meaning of the poetry. This re- genitorlPsaliat mater graciel[Pes}; Vox cording, with its thoughtful selection of clara, ecce, intonat; De supernis sedibus; Two original Pop Choral Work scores now tunes and arrangers and its colorful per- Omnes de Saba; Puellare gremiuml available: SATB/piano; & full score, as above + trumpet, saxes, rhythm/parts. Guitar fingerings formances, deserves a prominent place in Purissima materl[Pes}; Lullay, lullay: Als on both. Diversity theme song, perfect for multi- the listening libraries of teachers, conduc- I Lay on Yoolis Night; Tria sunt munera; cultural events. For advanced middle school, tors, homes, and libraries. Orto sole serenelOrigo virilVirga Iessel high school, & junior college. Six notated jazz d solos: 2 vocal, 4 instrumental. In review at a Art Dyck [Tenor}; Peperit virgo; Ecce quo natura; major publisher; has been performed. In Finale; Bethany College A solis ortus cardine; Ther Is No Rose of hard copies only. Photocopying permitted. To Bethany, west Virginia Swych "Vt>rtu; Videntes stellam; Nowel: order, send check or money order, $10 ea.-choral score and/or $25 each-full score/parts, or $1- Owt ofYour Slepe Aryse info package, to: Nina Beck, 13718 Grider Anonymous 4 Avenue, Hawthorne, CA 90205, or call (310) Recorded 1992 ~~6~4~3~-9~1~44~.~M~I~OW~2-~3~w~e~el~~~fu~r:d~el:iv:ety:.~~~ ______--, Harmonia 11undi 907099; 68:03 The Lily and the Lamb: Chant and Po­ lyphony from Medieval England o gloriosa domina; Pe milde lombe isprad o rode; Ave Maria gracia plena; 0 Maria $~ik6 l~p th6 fe,dnd stella maris; Stabat iuxta Christi crucem; Stillat in stellam radium; Salve virgo cd Lincoln C6nt6r! singularis; Stond wel moder, under roode; o Maria virgo pia; In te concipitur; Jesu High Schools, Middle Schools, College Bands, and Choruses Cristes milde moder; "Vt>ni mater gracial are grabbing the spotlight at New York's lincoln Center. Dou way, Robin; 0 mors moterislO vita veralMors; Salve virgo tonantis solium; Bring your band or chorus to Lincoln Center, and give a concert on the Plaza. Miserere miseris; Ave Maria salus hominum; Memor esto tuorum;- Ave To book your free Plaza performance, call David Kincaide regina celorum at Lincoln Center Community Programming (212) 875-5152 Anonymous 4 Recorded 1994 Harmonia 11undi 907125; 66:45

A Star in the East: Mediepal Hungarian t-----FOlK SONGS-----t Christmas Music Ave spes nostra; Mi Atydnk Atya Isten; The Ash Grove, arr. by Bradley Ellingboe "Vt>ni Domine; 0 mundi domina; Fuit SAYB, 2 elar - MF 3050 virgo; Vox clara, ecce, intonant; Omnes unanimiter; Dum medium silentium; Hiney Mah ToJ!, arr. by Iris Levine Primo tempore allevata; Speciosus forma; SAYB, reh kybd - MF 3025 Novum decus oritur; Letentur celi; londonderry Air, arr. by Arthur Frackenpohl Salvator noster; Az idvozitot regenten; SAYB, a cappella - MF 354 Novus annus adiit; Exulta filia Syon; The Water is Wide, arr. by Rene Clausen Liber generationis; Gaude et letare; Exordium quadruplatelNate deil SAYB div, pno, vel, elar, hn - MF 3038 Concrepet infantil "Vt>rbum caro; Isten, reged ,~ .'l1' FREE reference copies available upon request Anonymous 4

v ,_ P.O. Box 4012, Champaign, Il61824-4012 Recorded 1996 e/ ~ musIc COmPRny caJ1800/359-1386 fax 217/398-2791 Harmonia 11undi 907139; 68:20 .. email: [email protected]

PAGE 54 CHORAL JOURNAL HESE THREE extraordinary verses. The "anonymous one" of the four final clausulas is all the more stunning. productions of the New York- whose voice is heard here has defi:ly modu- Some of the intervallic variants are remi­ T based vocal quartet span four lated her voice so as to point up both the niscent of the product of Cistercian chant years of this ensemble's work for Harmo- balladic melancholy, with subtle nasal col- reform; others are quite sui generis. Two nia Mundi. Adjectives such as luminous ors and the most gingerly portamento, other chant items invite comparison, the and angelic come all too trippingly to the while maintaining the mystical other- Advent hymn Vox clara ecce intonat and a tongue in describing the performance style worldliness of the poem. Magyar vernacular version of the Te Deum of the foursome-Ruth Cunningham, Similarly varied in sweep and scope is (lsten, teged disciritnk). Other Magyar­ Marsha Genensky, Susan Hellauer, and the collection of marvels from medieval texted chants are the Ambrosian-like Johanna Rose-which the New Yorker Hungary. Included here are several hymns Mi Atydnk Atya lsten and Az calls "the fab four of medieval music." chants-the Advent communion anti- idvositot rigenten. The ensemble has risen What distinguishes their enlivening of the phon Exulta filia Syon, the offertory of to the daunting phonetic challenges of measured discant beloved of their thir- the midnight Mass of Christmas, Letentur these texts, though to this ear they do not teenth-century eponym is that they em- celi, and two pieces from the Nativity come off as quite authentic performances, body the consummate marriage of cantor season, the sublime introit Dum medium largely because of a rather too smooth and musicus, adorning a deep understand- silentium and the gradual Speciosus forma. delivery that ignores the consonant gemi­ ing of the works (and words) with the The familiarity of these chants in their nation and accent patterns of the language. agile grace of their splendid vocal instru- Western forms provides a ready yardstick Of enormous interest are the several ments. The singing is transparent, with for comparing the stunning freshness of kinds of polyphonic pieces included here, flawless ensemble and a degree of su- the northern Hungarian melodies. It is ranging from the pristine organum of the premely musical fluency and ease that well worth opening one's Graduale to ex- Primo tempore allevata, Salvator noster and belies the manifold technical challenges amine the fine points of their differences: the Sanctus trope Omnes unanimiter, to of many of the items. The group's perfor- e.g., the expansion of intervals at both the motet Exordium quadruplate. The title mance of chant maintains a felicitous ends of the ambitus so as to avoid occa- of this last-named work pays fitting middle ground between the rhythmic ec- sions of ficta, and the suppression of enough homage to its performers. centricities of some contemporary en- midcourse finals in fourth-mode melodies More concentrated in terms of genre­ sembles and the syllabic woodenness of such that their long-delayed appearance in there are no effusively virtuosic items others. Hellauer's lucid notes strike the Ir======::;~:====i~--==-=---=---:--~:------fine balance of a scholar who can write GMadri 0: informatively for a large and general pub- C"T"\ • b II lic without intimidation. -.L.J1I1I1er Although drawn exclusively from En- • feo by Paul Brandvik glish sources, the music of On Yoolis Night Crlp'<9 author of offers a conscientiously varied spectrum The Compleet Madrigal Dinner Booke of genres and styles from the plainchant Scripts include: of the Worcester antiphoner (in its early ALL DIALOGUE: Greetings, Toasts, Festivities, twentieth-century Solesmes edition) to Concert, Farewell both complex scholastic polyphony (from Plus: the Polyphonic Music of the Fourteenth HUMOROUS RENAISSANCE Century series) and popular ballad style. MASQUE Among the first of these is the remarkable flllItIIiJngs ~ Plus: REPERTOIRE SUGGESTIONS eighth-mode Advent hymn, Vox clara ecce The Music Education Resource Ceremonial music and concert intonat, whose incipit differs dramatically Guide That Puts Every from the Roman-rite melody in leaping Choral Service at your finger tips! TWENTY different scripts available, including scripts appropriate for boldly from the final to the nadir of the Request Your FREE COPY Today! churches and younger performers. modal scale. The motets are performed MUSIC WORKSHOPS INTERNATIONAL New this year: with effortless animation, such that a spar­ POBox 3309 Terre Haute IN 47803 HANDEL AND GRETZKE: kling mosaic is formed of their interre­ Office 812-234-2124 • Fax 812-234-1496 TALE OF TWO KIDDIES E-mail: [email protected] lated texts. Similarly lively is the effect of Call or write for your FREE descriptive the rondellus De supernis sedibus, in which r------~------c~9r brochure. Join the thousands who have Q Send me All Things MUSical made these Madrigal Dinner Scripts a the overlay ofwords positively gleams with ($3 enclosed for shipping/handling.) tradition. radiance. Otherwise striking is the singu­ Q Also send a FREE COpy of IN CONCERT lar tone of the title song of the collection, The National Choral Newsletter. knight-shtick Lullay, lullay: Als 1 Lay on Yoolis Night. At Name ______press slightly over eight minutes in duration, it Organization ______Box 814 Dept. A is the longest of the pieces. The carol is Address ______Bemidji, MN 56619-0814 Telephone 218-751-2148 sung with polyphonic refrain and solo L~~~ ______~ [email protected] A Division of EXTREMELY, LTD.

NOVEMBER 1997 PAGE 55 here-the 1994 collection is perhaps the (thirteen out of eighteen items, the re­ The complementary Latin and English most perfectly modulated and sublimely mainder being four Middle English pieces sequences (Stabat iuxta Christi crucem, cumulative in effect. Latin texts predominate and one macaronic motet, Veni mater Ston weI moder under roode) are sung to gracialDou way, Robin), though their virtually the same melody, the Latin source

St. John's United Methodist Church, a number is varied by monodic and poly­ of which is the Irish Dublin Troper (in growing regional church with 1800 phonic settings and by genre (five a performance edition prepared by members and three worship services, seeks conductus, four sequences, two hymns, a Hellauer). This regional variant of the a full-time Director of Music Ministries. Successful candidate will oversee a strong motet, and an antiphon). Many of the Roman version is exquisitely fresh and music program of 17 separate groups, pieces are under three minutes' duration, subtle, and it suits both the Latin poem including choirs for all age levels, small but the three major works (the sequences, and its quaintly plaintive English para­ ensembles, handbells, and orchestra. The Directorwill have ptimary responsibility fOr Stond wei, model; under roode, and Jesu phrase equally well. The latter differs from the youth choir, three adult choirs, the oldest Cristes milde moder and the hymn Pe milde the former fundamentally in its dialogue children's choir, and the adult handbell lomb isprad 0 rode) exceed eight minutes format between the Virgin and her cruci­ choir, while supervising and coordinating the combination ofvolunteer and part-time each, nearly 40 percent of the disc's total fied Son. The other Middle English Pas­ music leadership for the remaining groups. duration. The ordering of the items rep­ sion sequence, Jesu Cristes milde moder, The congregation seeks a creative, energetic, resents a stunningly deft feat of pro­ differs in both its narrative scope and experienced Director with keyboard skills, strong organizational ability; and a team gramming. On first wondrous hearing, at musical expression. It is both an apostro­ concept of ministry. Send resume, salary least, the listener is compelled to taste phe to Mary at the cross and a contem­ requirements, and list of references to: all-the auditory parallel of a gripping plative commentary on her relationship SPRC Search Committee, St. John's UMC, 2626 Arizona NE, Albuquerque, NM "page-turner." And every item rewards re­ to the dying "king oflife." The persona of 87110. Fax (505) 883-1441. peated savoring. the poem makes tender argument that spans both horror and bliss, concluding in a plea to the Quen of evene (heaven's queen) for intercession. This appeal links the poem to the last item in the record­ ing, the antiphon Ave regina celorum, a A Folk Song Sampler. melodic variant of the Roman antiphon from the Common of the Virgin. The RICHARD WIENHORST ..~ FELICIA SANDLER variant is pristine and perfectly shaped by A Stephen Foster Set ~ Three African Folk Songs comparison, and it gingerly evades the 1. Oh, Suzanna 2. Ellen Bayne 3. Ring the Banjo Meda Wawa Me· Sansa Kroma • Nsa Nlo fieta-producing conditions of the familiar GWYNETH WALKER RALPH VAUGAN WILLIAMS chant. American Ballads Five English Folk Songs The technical and expressive mastery 1. Lonesome Traveler 2. Come All Ye Fair 1. The Dark-Eyed Sailor 2. That Spring Time of these musicians is breathtaking. Par­ and Tender Ladles 3. Careless Love of the Year 3. Just as the Tide Was Rowing 4. Clementine 5. Shenandoah 4. The Lover's Ghost 5, Wassail Song ticularly notable are the subtly animated perfection of their phrasing and the ex­ SYDNEY CARTER jor partlrulars, please call David Eberhardt at (800) 777-1919 quisite intonation and harmonic color. In Lord of the Dance the polyphonic pieces of well-spread KATHERINE K. DAVIS ambitus, the resonance of the deepest Early One Morning voices is stunningly delicious. D. Martin Jenni The University o/Iowa Iowa City, Iowa

Louis Vierne: Messe solennelle in C-sharp minor, op. 16, and motets: Tantum ergo and Ave Maria; Marcel Dupre: Q!.tatre motets: 0 salutaris hostias, Tantum ergo, Ave Maria, and Laudate Dominum; Charles-Marie Widor: Messe It deux choeurs et deux orgues, op. 36, and motets: Tu es Petrus, op. 23, no. 2, Tantum ergo, op. 18, no. 1, and Surrexit a mortuis, op. 23, no. 3. The Choir of Westminster Cathedral and the Hyperion Chorus of Baritones; James

PAGE 56 CHORAL JOURNAL O'Donnell, conductor The motets of the three composers are, France in the nineteenth century. This is Recorded in Westminster Cathedral, June by their very scope, more accessible to a must-have recording for anyone even 11-14, 1996 non-cathedral choirs, although Widor remotely interested in French cathedral Hyperion CDA66898; [DDD]; 71:32 does use two organs in two of his motets. mUSIC. Of special interest are the four Dupre Wi:yburn Wasson ONDERFUL, not-well­ motets, the Ave Maria of Vierne and Coe College known literature is recorded Surrexit a mortuis of Widor. Cedar Rapids, Iowa W here in an acoustical ambi­ The performances recorded here are ance that reflects the original intentions of the highest quality. The boys and men of the composers. The grand organ and of the Westminster Cathedral Choir, to­ NOTES choral compositions of Vierne, Widor, gether with their director, have warmly 1 David Gammie, CD notes, pp. 3, 4. and Dupre, written for the church of recreated the luster and specter of these 2 Ibid., p. 5. Saint-Sulpice in Paris, find an almost per- distinctive pieces of the grand age of -CJ- fect incarnation in this performance by ,--______---' ______the Choir of Westminster Cathedral, London, under the direction of James O'Donnell. Widor and Dupre collectively served as organists of Saint-Sulpice for MUSICFEST ORLANDO 101 years, 1869-1971. Vierne served as "Florida's Premier Music Festival" organist of the Cathedral of Notre Dame from 1900 to 1937.1 His works included on this CD, however, were written when he was Widor's deputy at Saint-Sulpice. The masses ofVi erne and Widor form the pillars of this recording and amply illustrate the grand style of French liturgi­ Hosted at the W ALT DISNEY WORLD® Resort cal music at the end of the nineteenth MARCH 6 - JUNE 13, 1998 century. Widor's imposing mass for two A high quality festival for CONCERT CHOIRS, CHAMBER CHOIRS, SHOW AND JAZZ choirs and two organs is a perfect mirror CHOIRS, as well as for MEN'S and WOMEN'S CHORUSES. Divisions include junior/senior of the grandeur of the French Catholic high schools and college. A full range of instrumental adjudication is also available. Church (specifically Saint-Sulpice) before the separation of church and state in the Groups may perform for "Comments Only," for "Ratings," or in "Competition." Each group will receive an on-stage critique/clinic from one member of the adjudication panel. early twentieth century that adversely af­ fected the music of the French church. Using the forces available to him, a grand ALL STAR ADJUDICATION PANEL includes: Gene Brooks, John Haberlen, Jerry Jordan, Michael Jo Scheibe, John Paul Johnson, Russell Robinson, David Brunner, Jeff Reynolds, organ, a chapel organ, a choir of men and Duncan Couch, John Sinclair, John Purifoy, Ken Fulton, Chuck Robinson, Cal and Gail Gage, boys, and a choir of two hundred male Bob Holquist, Angie Batey, and Ray· Chenault. seminarians, Widor crafted a work on a majestic scale, even though its duration is "FESTIV AL ONLY" less than sixteen minutes. Musically it fea­ PACKAGES tures much use of antiphonal technique INDIVIDUALS WILL RECEIVE ... both between choirs and organs and is, as Vierne described the music of Widor, • F~stival Registration for MUSICFEST ORLANDO • 3-Day "Festival Passport" to dle WALT DISNEY WORLD" Resort widl Unlimited Use of dle "2 "very decorative and emotive. The mass Parks and dle Disney Transponation System is an extremely effective and affecting • Awards Presenlation at the WALT DISNEY WORLD Resort piece and leaves an indelible impression • Commemorative Festival Patch or Pin on the listener primarily because of its • Four Day Packag~s also availahle sheer power and majesty. The Vierne mass is a longer work and ALL GROUPS WILL RECEIVE .•. musically stronger. Although it is influ­ • 2 FREE PACKAGES for dir~c[()rs induding MUSICFEST ORLANDO shirt. and enced by the French Catholic tradition a Patch or Pin (hased on a minimum of 30 paid persOll'). Groups with less than 30 will receive I FREE PACKAGE. and frequently indebted to both Widor • Engraved Plaque with Ratings for ~ach perfortnance and Franck for its grandeur and style, the • Adjudication sheets with taped comments Benedictus and Agnus Dei are more for­ • On-stage critique with one memher of the adjudication pand following concen perfllrtnance ward-looking and show kinship with the Call MUSICFEST ORLANDO works of Durufle, Dupre, and Poulenc. Toll-Free 1-800-734-0482

NOVEMBER 1997 PAGE 57 IN MEMORIAM Elaine Brown March 10, 1910 - September 6, 1997

the medium of choral music. Daniel Choral Directors Association honored her Webster, Philadelphia Inquirer music with a Distinguished Service Award. critic, wrote, "In a choir's voice, Elaine Brown served on the panel of advisors to Brown heard sounds of community" (Sep­ the National Endowment for the Arts. In tember 14, 1997). In 1974, for example, 1988 she received the $25,000 Philadel­ she prepared the chorus for the first com­ phia Award presented in that city's Acad­ plete performance of Handel's Messiah in emy of Music. Israel and, on the same trip, conducted During her teaching career, Brown Israeli folk tunes in Jordan. served on the faculties of the Juilliard Brown earned a Bachelor of Music School of Music, Union Theological ,-h....• ,'.- •• ".J Education degree in 1929 at the Bush Seminary, Westminster Choir College, Conservatory, Chicago. In 1934 she re­ and Temple University; where she retired ceived a Bachelor of Music degree from as Professor Emerita in 1980. Her legacy Westminster Choir College, and in 1945 will continue through the work of her she was awarded a Master's degree in edu­ conducting students, many of whom at­ cation from Temple University. During tended annual winter and summer work­ her long career she received honorary doc­ shops. Their training included advanced toral degrees from the Philadelphia Con­ conducting seminars, individual confer­ servatory of Music, Temple University, ences with Brown, and apprentice work Villanova University, Westminster Choir with her choirs. College, and Holy Family College, Phila­ For nearly four decades (1948-87) she delphia. served as Music Director of Singing City, Brown garnered prestigious awards on the world-famous community choir she the state, national, and international lev­ founded to realize her vision of bringing NE OF this country's great cho­ els. The French government presented her together people of diverse cultural, eco­ ral musicians, Elaine Brown, with a Prix d' excellence for conducting in nomic, racial, and religious backgrounds O died at age eighty-seven on Sep­ 1951. In 1953 she was elected a member through the power of choral harmony. tember 6, 1997 after a long period of of the Distinguished Daughters of Penn­ She recalled: illness. She was known internationally for sylvania and received the B'nai B'rith In­ building bridges among peoples through terfaith Award. In 1985 the American The very first choir was . . . an interracial group of people working together. ... Part of our evening was rehearsing, and the other part was going out for coffee afterwards. More than once we were turned out of a restaurant (Choraljournal, TWENTY-TWO SELECTIONS January 1975). FEATURING MUSIC BY: The Singing City Choir brought high­ E M. Cll1'istiallscll quality performances to neighborhoods in Philadelphia that had never heard such Lelalld Sater", choral music-making. The group also per­ l·S.Bael, formed regularly with the Philadelphia Thoillas Tallis Dale Grotell1111is Orchestra; Brown was the first American Othm woman to conduct the orchestra. In rec­ ognizing her intense commitment to com­ munity, diversity, and quality, Jane Skinner (Hardester), an early Singing City TO ORDER Call: associate, wrote, "Here is a democracy that lives and breathes and sings. One is 602-9Sy6370 Call1clbackCD filled with a feeling that this is the way 3900 E. Stallford Dr. the world must be one day" (Choral Jour­ Paradise Volley, AZ nal, November 1961). 85 2 53 -C]- $15.00 INCLUDES SHIPPING

PAGE 58 CHORAL JOURNAL BOOK REVIEWS Stephen Town, editor

John B. Hylton ized instruction that includes meaningful Comprehensive Choral Music Education activities for all students, not just the most BOOK PUBLISHERS Englewood Cliffs, New Jersey: Prentice talented ones. THIS ISSUE

Hall, 1995.325 pp. $74.25. ISBN: 0-13- . . 045287-4 (hardcover) Technical excellence and the highest Neil A. Kjos Music Company musical standards are critically P.O:Box 178270 San Diego, CA92117 . HE BASIC goal of Compre­ important to comprehensive choral hensive Choral Music Education by music education, but the primary Tempo Music Publications T John Hylton is to convince pro­ purpose for music in the schools is 3773 W. 95th St. .' spective choral educators to use a com­ to nurture the student participants. . Leaw?od, KS 66026 prehensive or integrated approach in their This goal must be kept in the Prentic~ Hall rehearsals. He organizes the book into forefront ofyour thinking; otherwise, (Division of Simon & Schuster, Inc;) three sections. The first three chapters it is very easy for misplaced 113Sylvan Avenue, Route 9W deal with the development of performing priorities and educationally .t:nglewopd Cliffs, NJ 07632. ensembles; the next five chapters examine indefensible practices to become the musical preparation of the choral di­ part of the program. These S~t~ Barbara Music Publishing Company 260LomaMedia . rector; and the culminating two chapters undesirable priorities and practices Sant~B~bara,.CA 93103 articulate Hylton's philosophy of com­ can appear to be quite positive prehensive musicianship and a career in unless they are viewed in the context Waveland Press choral education. Each chapter concludes of comprehensive choral music P.O. Box 400 with a suggested reading list and review education, which focuses on the Prospect Heights, II:. 69070 questions. child (p. 266). According to Hylton, the Contempo­ Chapter one presents information on rary Music Project of the early 1970s Through this student-centered approach, developing good choral tone. The section advocated development of the compre­ the choral student works toward self-ac­ on diction uses International Phonetic Al­ hensive musicianship model. He enumer­ tualization, growing musically and phabet (IPA) symbols. Chapter two deals with the rehearsal process, beginning with ates the basic principles of the approach: personally through "increasingly sophis­ rehearsal planning (short-term and over a ticated" musical experiences. Principle 1: Comprehensive choral music education focuses on the student. Principle 2: Comprehensive choral music education involves examples Who puhIisnes tnatpiece ? of the finest in choral literature, Find out with Musicdata '8 new whose salient characteristics are understood by each member of the ensemble, presented at the highest Sacred Choral Sourcebook level of excellence attainable. Principle 3: Comprehensive choral The Sacred Choral Sourcebook lists over 95,000 sacred choral publications available music education is aesthetic. throughout the world_ This information is extracted from Sacred Choral Music In Print. Principle 4: The results of Individual listings contain Composer, Title, and Publisher. The complete, newly comprehensive choral music updated Music-In-Print Series Publisher Directory is included in this affordable education can be evaluated, and paperbound volume. Contact us for more information or a free brochure. such evaluation is an important component of the process (p. 265). Special introductory price $45.00 S & H $5.00 USA Hylton advocates a carefully graduated $12.00 non-USA program of instruction based on these tenets that begins in the elementary class­ MUSICDATA, INC. TEL: (215) 842-0555 room and segues smoothly into junior P.O. Box 48010 Dept. A FAX: (215) 842-0597 email:[email protected] high and high school rehearsal halls. Phila. PA 19144-8010 U.S.A. www.voicenet.com/-musicdat Additionally, Hylton suggests individual-

NOVEMBER 1997 PAGE 59 three- to five-year period) and progressing in "The Choral Conductor's Preparation vincingly the "historical and philosophi­ through evaluation. of the Musical Score," found in Choral cal bases" for comprehensive choral edu­ The chapter on conducting offers in­ Conducting: A Symposium. Chapter six cation in chapter nine. He suggests that formation that can be regarded as basic to ("Style in Choral Music") includes a brief choral education should be process-ori­ the development of effective visual com­ study of music history, significant com­ ented, stressing individual student de­ munication. Unfortunately, "Developing posers and genres, and stylistic consider­ velopment through increasingly complex Conducting Skills" uses confusing illus­ ations for each period. Some of Hylton's musical experiences. He believes that the trations of beat patterns. This section, suggestions about performance practice peak musical experiences sought by cho­ Hylton admits, should not substitute for might meet with resistance. For example: ral conductors come about as a by-prod­ any of the fine conducting texts listed in uct of a student-centered comprehensive his suggested reading list. The piano was developed in the musicianship approach. His final chapter In chapter four ("Performance"), chap­ eighteenth century. Its tone quality offers young teachers advice and encour­ ter seven (''Administration of the Choral is not appropriate for music of the agement as they begin careers in choral Music Education Program"), and chapter Renaissance. Fortunately, the education. eight ("Planning for Special Events and increasing availability of Daniel A. Gordon Specialized Ensembles"), Hylton argues synthesizers and other digital Crane School ofMusic that students will not be exploited when keyboards, as well as harpsichords State University ofNew York, Potsdam the program's driving force is the music of high quality, makes it possible education of each student. He advocates to avoid the use of the piano for a carefully organized choral, program that this repertoire (p. 167). Harold A. Decker and Colleen J. Kirk features a comprehensive curriculum, Choral Conducting: Focus on Communication carefully planned concert experiences, While few would dispute Hylton's con­ Prospect Heights, Illinois: Waveland Press, clinics and festivals, and, in some cases, cern regarding the use of the piano, many 1995.374 pp. $35. ISBN: 0-88l33-876-1 specialized ensembles. would not share his enthusiasm for syn­ Hylton's brief chapter five, tided "The thesized accompaniments. N THE May 1996 issue of the Cho­ Score," contains a score analysis technique The strength of this book is in the ral Journal David J. Greenagel re­ similar to the one used by Julius Herford final two chapters. Hylton articulates con- I viewed and compared seven choral music education texts in widespread use. Perhaps because of its early publication in 1988 (by Prentice-Hall), Choral Conduct­ ing: Focus on Communication was not con­ sidered. The book was reissued, however, in 1995 by Waveland Press. Because of its availability, the stature and reputation of its authors, and its scope, I believe the "Excellence in Performance, Education, and Technology" text deserves comparison with the others. This large spiral-bound book "is de­ signed to provide direction and guidance for college students of choral conduct­ T. s. ing" (p. ix). In addition to the main body THE UNIVERSITY OF TEXAS AT SAN ANTONIO of information (illustrated with black and Divisio~ of Music white pictures), the textbook contains complete musical scores for reference and practice, selected repertoire for various Graduate voicings, diction guides, a bibliography, and conducting projects. Assistantship In his earlier review Greenagel evalu­ Program ated the seven choral education books according to their treatment of six topics as follows. Graduate Stipends up to $6,000 Organization and Management. This is Choral Conducting & Music Education with the only area not covered extensively by Dr. John Silantien, Director of Choral Activities Decker and Kirk. For example, they in­ Dr. Gary Mabry, Associate Professor clude no discussion about purchasing Choral Activities equipment or public relations. They de­

Division of Music vote considerable attention, however, to For more information and The University of Texas at San Antonio 10 apply, conlacl: 6900 N. Loop 1604 W. philosophy, aesthetic considerations, re­ San Antonio, Texas 78249·0645 (210) 4584354 hearsal planning, repertoire selection, and building concert programs.

PAGE 60 CHORAL JOURNAL Vocal Techniques. An entire chapter This is a book about musicianship. In discussions (including the sections on con­ tided "Developing the Choral Instru­ fact, with the exception of the two choral ducting patterns) would be equally ap­ ment" discusses physiology, diction, and works chosen as examples, most of the propriate for instrumental conductors. sensitivity to the text. The chapter con- 1---;::======:;­ cludes with several vocal exercises. Sight-Reading Methods. Again, an en­ The University of Maryland tire chapter is devoted to this topic. Ear­ training and sight-singing are discussed as an aural-visual growth process and ap­ School ofMusic plied to children, adolescent, and adult looking!orw.ttfirt,6;lh"e,?/jJetJing4ifJe new groups. The importance and nature of listening as well as awareness of phrasing Mary~fid:t@iler1?E.'.ktpr/fg.tiizZf!&4rts. J"' ";:"" '\·A'O.,~"·"'" .!.;:~:{ "':;·c"{.i;", also are covered. Conducting and Related Issues. AB one ~~:!~~"";;~'~~~~!J would expect from the tide of the book, this topic receives comprehensive cover­ Under~~~te De~~~>program{ /" ~~'Pr·· i; s age. In addition to discussing baton tech­ B.'ach~(or,pf!ftMlc;:<~ {,., ". 'Y; "( r' niques, the book also covers the role of i the conductor, posture, and facial expres­ Perfolnrince /Cofup6Sitl' . anM:.>t.'.e.•.:.Os>ii'~Ce ..;Afi'~""'·t:OE.~.', •.m.~.tl.·.~.',Su ..P.. 'ca·~stiil.Ji.MMo':· 0n:>n,..,'.·· .. ,~.·.'.in,....:, ...•.: ;~,.... ··."ory, :: ~;'~hJtr ;A~~<'(~~}: ... , . u' .•. SlOn. . .' :, .,::: .. --~; ... ,.. ;.". ~.. ';/,1;'Mw;- - ,<". oIl\USicolbgy Choral Repertoire and Style. Two important chapters give insights for selecting pieces, examining editions, (

·".·.·.',•. >·>· •.·.'.:.J),·.>,(e(JThtoero ...... i,..P... , m thirty-nine page discussion of music his­ ; Auditions:::' , . ~.1' ~;= tory), and analyzing the score. Novemb~r/Y9,,7,hfpIjfNfJ2.8 Mp.~icol(}g}';j. Rehearsal Techniques. Significant atten­ .1:: ::- ,.. _~.;.:-"J; • ~\.:" .:~~"~:.:,,~ tion is given to short and long-range plan­ ning, rehearsal principles, and working ···,,:~~iJff:y~:.J··":;,,< ", with instruments. Specific issues related Schoal of Music Admissions Office to children, adolescent, adult, and church 2105 Tawes Fine Arts Building choirs are treated separately. University of Maryland Choral Conducting: Focus on Commu­ College Park, Maryland 20742 Phone (301) 405-1313 • [email protected] nication contains a wealth of wisdom and ideas based on the successful experiences of two eminent conductors and peda­ gogues. It deserves serious consideration as a college text. Lewis W. Gordon Saint Joseph's University Philadelphia, Pennsylvania

Timothy W. Sharp Precision Conducting: The Seven Disciplines ofthe Masteiful Conductor Leawood, Kansas: Tempo Music Publications, 1996. 131pp. $12.95. ISBN: 1-889411-01-9

HIS COLORFUL little book is organized according to the fol­ T lowing seven disciplines: 1) ana­ lyzing the score, 2) internalizing the score, 3) marking the score, 4) planning the rehearsal, 5) rehearsing the rehearsal, 6) conducting the score, and, 7) researching the score.

NOVEMBER 1997 PAGE 61 This philosophical perspective is estab­ The book contains charts, caricatures, and who already possess an elementary knowl­ lished at the beginning of the book with a bibliography. edge of conducting and wish to upgrade the following quote from Margaret Hillis, Lewis W. Gordon their skills" (p. 6). I think beginners as former Director of the Chicago Sym­ Saint Joseph's University well as experienced practitioners would phony Chorus: "When the music is mas­ Philadelphia, Pennsylvania benefit from the author's insights. My tered, then the rehearsal can be chief objection, however, regards the brev­ considered" (p. 1). ity of the work (fifty-one pages) and the Precision Conducting also is a book of Deral J. Johnson resultant lack of depth. Perhaps future ideas. Many are lifted from the body of .Choral Techniques: Beyond the Basics/ editions of Choral Techniques will be dra­ the text and presented for emphasis in the Practical Suggestions for Choral Conductors matically expanded, as the author has so margins. For example: of School Groups and Community and much to offer. Church Choirs Unfortunately, the book begins inaus­ A score that has been internalized San Diego, CA: Neil A. Kjos, 1997. piciously with platitudes such as "indi­ stays in the aural memory like an 51 pp. $6.95. ISBN: 0-8497-4184-X object that has been seen for the vidual technical improvement in first time (p. 43). performance will only take place when The rehearsal itself needs to be T THE affordable price of $6.95, the work ethic is the accepted norm and rehearsed by the thoroughly this little "compilation of notes, challenges are met with vigor" (p. 8). I prepared conductor (p. 39). A ideas, and wild solutions" (p. 6) is was also disheartened by the lack of refer­ The conductor gestures or "acts" in one of the best bargains in the field. ences to illustrate his remarks about vocal a space that generally uses the body Johnson's credentials are impeccable, and, remedies (p. 8). Merely citing several titles as an acting or conducting although as a reviewer I must take issue at the end of the chapter would have backdrop (p. 43). with several procedural aspects of Choral strengthened the presentation immeasur­ The start for a musical score must Techniques, I endorse the concepts pre­ ably. signal every aspect of the character sented by the author. I began to be intrigued in chapter two, of the music (p. 93). Johnson states in the preface: "This is "The Ears," in which the author discusses not a book for beginners. It is for those the differences between what the conduc­ tor hears and what the singers hear. Johnson suggests exercises a conductor Master's Degrees in Music might employ to improve directional hear­ scholarly ing. This segment of the book, like sev­ with the and eral others, whetted my appetite but did musical resources of not satisfy it. I would like to see this chapter expanded significantly in future Emory University editions of the book. One certainly would not accuse and the city of Johnson of lacking opinions or colorful language to express them. In chapter three, Atlanta "Conducting Techniques," he makes the following observation: ORGAN PERFORMANCE: Timothy Albrecht CHORAL CONDUCTING: Eric Nelson The gestures used when conducting an ensemble will likely be more SACRED MUSIC: Don E. Saliers effective if one concentrates on GENEROUS SCHOLARSHIPS making the patterns simple and PLUS FULL-TUITION REMISSION straightforward. It takes too much time for an ensemble to become For information, contact: accustomed to corkscrew gyrations, Stephen Crist, Director of Graduate Studies flailing and flapping of the hand, Department of Music, Emory University, and guessing where the beat is (p. 12). Atlanta, Georgia 30322 Johnson also provides a useful and well­ Phone: (404) 727-6445 considered checklist for self-evaluation of Web: http://www.emory.edu/MUSIC/ one's conducting skills. I was especially OrnER GRADUATE FACUL1Y: Dwight Andrews, Ben Arnold, glad to see a reference for additional read­ Lynn Wood Bertrand, Barclay Brown, Marian Dolan, ing on the topic of conducting cited at Steven Everett, William Flynn, John Anthony Lennon, Bonnie Pomfret, Charles Schisler the end of this chapter. Similar citation of additional resources for each topic cov-

PAGE 62 CHORAL JOURNAL ered in Choral Techniques would be of The less the mouth moves, the more In summary, I was both enlightened tremendous value to the reader. even the color of the sound and the and confounded by Choral Techniques. I Johnson's chapter four, "Efficient Use more flexible the singer (p. 15). was enlightened by the author's sugges­ of the Voice," was especially interesting, tions for dealing with such elements as and once again, I found myself wishing Additional topics covered in Choral intonation, blend, and diction. I was con­ for expanded coverage of the topic. For Techniques include: voice individualities founded in that I found myself wanting example, the author opens his discussion and sectional personalities of choral en­ more from the author at every turn. Cho­ of vowels with the following statement: sembles (chapter 5), influence of person­ ral conductors sometimes say it is impor­ "Effective vowel placement is the basis for nel placement on choral blend (chapter tant that an audience exit a concert a beautiful tone-carrying quality" (p. 14). 6), choral and instrumental combinations wanting more. If the same can be said of a Another broad statement follows: "Most (chapter 7), breathing from the diaphragm book, this book succeeded admirably and amateur vocalists must experience new (chapter 8), vowel coloring and historical at a very affordable price. sensations relative to the physical place­ implications (chapter 9), rehearsal orga­ "l&nce D. WOlverton ment of the vowel" (p. 14). Both observa­ nization (chapter 10), programming California State University-Fullerton tions deserve at least a full paragraph of (chapter 11), sight-reading (chapter 12), explication. I was gratified when the au­ the church choir-atypical solutions for thor began to offer specific advice such as typical problems (chapter 13), miscellany, Timothy Mount the following: such as tempo and rhythm (chapter 14), Fine Tune Your Conducting Skills and the art of accompanying (chapter 15, Santa Barbara, CA: Santa Barbara Music, Smile, for the "oh" and "ah" vowels guest authored by Marie Johnson). I 1997. 75 min. $39.95 and "pucker" for the "ee" and "ay" found the author's discussion of person­ vowels (with an opened and relaxed nel placement very interesting, although HIS VIDEOTAPE is a superb mouth) is not a bad creed for the I was surprised that no reference was made contribution to the profession singer to live by if used In to the architecture of the music as a factor T and will benefit both aspiring and moderation (pp. 14-15). in determining choral placement. experienced choral conductors. Mount

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NOVEMBER 1997 PAGE 63 .June 28 - .July 4~ 1999 Des Moines, Iowa USA has wisely chosen to focus on only four topics: beat, pattern, preparatory beats, and fermatas. In each of these areas, he • Competition and Festival for treble choirs offers original thinking, which he pre­ of children ages 15 and under. sents articulately and demonstrates el­ egantly. Mount covers each topic logically, efficiently, expertly, and entirely. In each instance he describes the problem, illus­ trates the solution, and demonstrates the technique twice, once without a choir • Formal and informal concert and then with a choir. Musical examples opportunities. appear at the bottom of the screen. Un­ • Renowned international jurors like some videotaped lecture-demonstra­ and choir-in-residence. tions, Fine Tune Your Conducting Skills • 1999 Festival will highlight Nordic devotes sufficient time and repetition to music. each topic for the viewer to assimilate the • All housing, meals and local information and practice the technique. transportation arranged by the My main criticisms of the video have Festival. to do with technical issues. I found the fidelity of the tape inconsistent, some­ times clear and other times muffled. I also found the incessant background hum irritating and distracting. While I appre­ ciated having the musical excerpts pro­ jected at the bottom of the screen, in nearly every case I found them too dark to read without straining. I must also question Mount's choice of musical ex­ amples in at least two cases. Why choose a piece in ~ meter (Mendelssohn's Ruhetal) to illustrate conducting in four, and why he CHORAL JOURNAL: A Software Index is available in formats that can be illustrate fermata technique with an ex­ read by most IBM (MS-DOS and Windows) and Macintosh word processors. Please indicate the program and version you use, and you cerpt in which no fermata is indicated in will be provided with the appropriate conversion. (All conversions are fully the score? I must also object to the use of usable, but some preserve the original formatting better than others; perfect informal grammar such as "I run across conversion cannot be guaranteed.) A hard disk is reqUired for all versions. an exception." These qualitative criticisms, however, The Software Index is updated each summer to include the last completed are very minor in comparison to the high volume year of the Choral Journal (August to May). Orders received after June 15 will be held and filled with the revised index as soon as it is available. praise I have for the excellent content of Fine Tune Your Conducting Skills. Mount

Name _____~ ______has given a tremendous amount of con­

Street Address __~ ______sideration to each of the topics he dis­ City ______State __ Zip Code _____ cusses, and his presentation is a model of masterful pedagogy. If you purchase only Operating System

All versions are $18, including shipping and handling, and are provided on 3.5 u will find something new and enlighten- HD (high-density) floppy disks. Complete this coupon and send check or ing. money order (payable to ACDA) to: 1&nce D. Wolverton, Choral Journal Software Index California State University-Fullerton American Choral Directors Association P.O. Box 6310 Lawton, OK 73506-0310 -C]-

PAGE 64 CHORAL JOURNAL -----.-----~~~-

American Choral Directors Association Monograph No. 8 American Singing Societies and Their Partsongs: Ten Prominent American Composers of the Genre (1860-1940) and the Seminal Singing Societies that Performed the Repertory. ILLusT. 112 PP.

BY WILL I AM 0 S B 0 R NE

erican Singing Societies and Their Partsongs (Monograph No.8) explores A several of the singing societies that figured prominently in the cultural life of late nineteenth- and early TheMendelssohnG/eeClubofNew York,asdepictedby twentieth-century America. A few, like the Mendelssohn Glee carloonistChariesJ.Brush Club of N ew York and the Apollo Chili of Boston, remain active to this day. The societies frequently commissioned celebrated composers of the time to write partsongs for their society performances. American Singing Societies and Their Partsongs considers the relationships that existed between the various composers and societies and concludes with a repertoire list of 380 works from the partsong genre.

Written under the aegis ofthe Institute for Studies in American Music at Brooklyn College,

with assistance from the Denison Program cover; Apollo Club ofBoston, University Research Foundation. May 17, 1886

Eleventhannua/whilebreakfastoftheNewYorkRubensteinClub,May6, 1916

__ Yes. Send me ACDA Monograph No.8, American Singing Societies and Their Partsongs, by William Osborne.

Name:~ ______

Street Address: ~ ______

Ci~: ______State: Zip Code: ______

Quanti~: __ @ $15.00 ea. = $ ______

When ordering, send check or money order (payable to ACDA) to: Monographs American Choral Directors Association P. O. Box 6310 Lawton, OK 73506-0310. Monographs are shipped immediately upon receipt of order. ~Ol!l1a.ogra..ph ~ 0_ J1 Guide for the Beginning Choral Director. (1972) 41pp. by the National R&S Committee on High School Choirs, Gordon H. Lamb, Chair

~ /Ii'i!il ll!..... ~T __ ..l... ~ J1!LoJll:1.iogra..p.L1Ja .L "" 0_ ...:;., An Annotated Inventory of Distinctive Choral Literature for Performance at the High School Level. (1976) 69pp. by Margaret B. Haw/ans

~O:l1fJilogra..ph ~ 0_ :3 The Choral JOlll"llal: An Index to Volumes 1-18. (1978) 170pp. by Gordon Paine .

~OJll:1.iogra..ph ~o_ 4- A Classified, Annotated Bibliography of Articles Related to Choral Music in Five Major Periodicals through 1980. (1982) 233pp. by Lynn Whitten

~O:m:1logra..ph ::N"" 0_ 5 Singing in English: A Manual of English Diction for Singers and Choral Directors. (1988) 109pp. by Richard Cox

~oJllJltogra..ph ::N"" 0_ 6 :A Classified Index of American Doctoral Dissertations and Dissertation Projects on Choral Music Completed or Currently in Progress through 1989. (1990) 177pp. by Michael J. Anderson

·~OEJliLog;ra..ph ~o_ '7 The Choral JOlll"llal: An Index to Volumes 19-32. (1992) 134pp. by Scott W Dorsey ,

~O:m:Jltogra..ph ~o_ 8 American Singing Societies and Their Partsongs: Ten Prominent American Composers of the Genre (1860-1940) and the Seminal Singing Societies that Performed the Repertory. (1994) 112pp. by William Osborne ~oIDiogra..ph ~o_ 9> Twentieth-century Choral Music: An Annotated Bibliography of Music Appropriate for College and University Choirs. (1997) 289pp. by Richard J. Bloesch and Weyburn Wasson

Nrune: ______Adiliess: ______City: ______State: Zip Code: Monograph Quantity Price Subtotal

No.1 @ $5.00 $ --- No.2 @ $5.00 $---- No.3 @ $7.50 $_- NO.4 @ $10.00 $ No.5 @ $10.00 $ --- No.6 @ $10.00 $ --- No.7 @ $15.00 $_- NO.8 @ $15.00 $

NO.9 @ $18.00 $ Total Payment Enclosed: $ --- Send check or money order, payable to ACDA, to: Monographs· ACDA· P. O. Box 6310· Lawton, OK 73506-0310 CHORAL REVIEWS Corydon J. Carlson, editor

Editor's Note: In this issue we review folk-song arrangements in various voicings. PUBLISHERS THIS ISSUE The Ash Grove Earlene Rentz (arr.) Alliance Music Publications Heritage Music Press Pavane Publishing SA, piano P.O. Box 131977 Lorenz Corporation, agent Intrada Music Group, agent Alliance, AMP 0206, $1.20 Houston, TX 77219 501 East Third Street P.O. Box 1240 Dayton, OH 45401 Anderson, IN 46015 Boosey & Hawkes This lovely traditional Welsh melody Tenth Floor Jaymar Music Limited Roberton Publications is arranged with an accompaniment that, 52 Cooper Square Box2191 Theodore Presser Company, agent New York, NY 10003 London, ON N6A 4E3 Presser Place in its simplicity, enhances the beauty of CANADA Bryn Mawr, PA 19010 the folk song. After the first unison verse, BriLee Music Publishing Company the two parts alternate singing melody P.O. Box 8680985 Neil A. Kjos Music Company Santa Barbara Music Publishing Franklin, TN 37068 4380 Jutland Drive P.O. Box 41003 and counter melodies in the remaining San Diego, CA92117 Santa Barbara, CA 93140 three verses. The final verse, presented a Carus-Verlag GmbH half step higher, ends with an optional Mark Foster Music Company, Lawson-Gould Music Publishers, SDG Press agent Inc. 3402 Woolworth Avenue four-part section. Limited ranges and eas­ P.O. Box 4012 Alfred Publishing Company, agent Omaha, NE 68105 ily learned harmony parts make the piece Champaign, IL 61824 P.O. Box 10003 accessible for young voices, although it Van Nuys, CA 91410 Shawnee Press, Inc. . Cyprus Publishing One Waring Drive would appeal to any treble group. Intrada Musk <;roup, agent H:dLeo~PublishiogCorporarion Delaware Gap, PA 18327 Doris Sjolund P.O; Box 1240 • P.O. Box 13189' , Anderson, IN 46015 Milwaukee,WI 53213 Gordon V.·Thompson Music WamerBrothers Music Publications, E: tI~nry David MusiC Publishers Gilpin McPheeters Phblishing agent •Theod<>re Presser Company, agent Intrada'Music Group, agent 15800 NW Forry-eighthAvenue Back to Ethiopia Presser Place. '. P.O. Box 1240 . Miami, FL 3.'?014 Bryn Mawr, PA 19.010 Anderson,IN 46015 Paul Rardin (arr.) Th~rpeMusicPublishiiJgCompany TTBB Mark Foster Music Company' . National Music Publishers , Theodore Presser Company; Santa Barbara, SBMP 155, $1.30 P.O. Box 4012 16605 Townhouse Drive age~t Champaign, lL 618.24 Tustin, CA 92680 Presser Place, . . . Bryn M~wr,PA 1901Q In this sonorous arrangement of a Ja­ O:d"ord UniversityPre~s,Jnc. maican folk song, long-note chordal re­ 198 Madison Avenue ' . New York,NY10016 sponses alternate with rhythmic, declamatory verses. The piece bears a strong relationship to both the Mrican­ American spiritual and to music of the Caribbean, with its calypso-like rhythm in the verses. The piece is marked "sol­ Heritage (Lorenz, agent), 1511257H, partner song. Limited ranges, optional emn and expressive" and builds to a dra­ $1.30 drum, and optional glockenspiel parts matic "warm, full" climax. Beautifully would be easily handled by elementary scored for collegiate male voices with ef­ Two Native American melodies, often students. fective close harmonies, this arrangement appearing in music textbook series, are Doris Sjolund is in the Jerry Blackstone Choral Series. arranged here for beginning choirs. Both Larry D. Cook are in minor keys. Land ofthe Silver Birch is presented first in unison, ending with a short two-part canon. Part of the refrain A Canadian Rhapsody ("Boom-diddy-eye-dy") continues as har­ PeterBjerring (arr.) Blue "Waters of the North (Land of the mony for the Canoe Song, which becomes SATB, SATB soli, piano Silver Birch/Canoe Song) an unaccompanied two-part canon. The Gordon V. Thompson (Warner Bros., Phyllis Aleta Wolfe (arr.) arrangement concludes with a two-part agent), VG-479, $3.95 Two or three equal voices, piano, op­ round on the first melody; an optional tional drum and soprano glockenspiel third part sings the second melody as a

NOVEMBER 1997 PAGE 67 This is a tasteful, short (thirty pages), should definitely add this one to their ment with a medium difficult accompa­ and highly accessible compilation of lists. niment. The text by Albert Lee focuses folksongs for large or small ensemble, the Stephanie A. Henry on a baby Piute Indian strapped to the result of a 1993 commission by the Brock back of his mother riding on the trail. House Music Makers in Vancouver, B.C. The melody, by Cassee Lyman Monson, The texts contain a smattering of French. reflects a "bumpy ride," the "howl" of The medley opens in D major with a Cowboy Songs the baby, and the night sounds of the march, followed by Vive la Canadienne, " Mark Hierholzer (arr.) mountain. The octave range in EJ, offers a heroic setting for men's, then tutti, Unison and two-part, piano, violin (#2) healthy head voice opportunities. All voices. Un Canadien errant features SSA Boosey & Hawkes, published separately: three pieces, separately or as a group, and tenor solo in a touching ballad about 1) GitAlong, Little Dogies, OCTB6754, would be appropriate for a good elemen­ an exiled lad yearning for home. An $1.10 tary or middle school chorus, a boys' abrupt and energetic interlude launches 2) Home on the Range, OCTB6755, group, or an older treble group. When the Ice-Worms Nest Again, a Cana­ $1.50 Doris Sjolund dian version of the ubiquitous marriage 3) Wee Little Piute, OCTB6756, $1.20 song. Unison men sing both A sections (there are two verses), followed by uni­ The first piece in this set is a two-part son chorus. In a very effective combina­ arrangement of a less familiar folk melody. Drunken Sailor tion of two haunting songs, Salish Song of Unison voices present the melody with Anthony Palmer (arr.) Longing (TB) and She's Like the Swallow an interesting piano accompaniment; the TTBB, keyboard (SA), Bjerring alternates then combines second verse adds a few harmony notes. National, NMP226, $1.20 men's and women's voices, introducing a The final refrain is arranged as a round. wordless soprano descant in the SATB The second piece is a two-part ar­ In this lively version of the familiar sea section. The final and longest song, En rangement. The violin part contains the shanty, Anthony Palmer mixes sections roulant ma boule, is a strophic dance in ~ familiar melody interwoven with another of straightforward homophony with pas­ time featuring solos in every voice part, a melody in the choral parts. The final verse sages that feature individual voice parts. whimsical, syncopated accompaniment, is an arrangement of both melodies in The animated and sometimes demand­ and an expanded, eight-voice ending, sure the voice parts accompanied by a new ing accompaniment is most crucial, of­ to bring down the house. Vocal lines are violin part, which contains a few double fering varied settings for each of the three of minimal difficulty, and the piano part stops but is playable by a competent high verses. The lack of vocal difficulties (with is idiomatic and entertaining, withour school student. The piano part is not the exception of a sustained fortissimo taxing the player. Directors looking for easy but adds interest to the arrangement. chord of dl-f I_al) and the work's brevity repertoire with "pan-American" origins The third song is a unison arrange- (approximately 1:30), combined with prefatory information suggesting areas for further historical/musical discussion, in­ dicate that this arrangement is intended Master of Music primarily for young male choirs . .. Performance James Maroney .. Education ph.D. in Fine Arts .. Aunique and T~M~J:~S=H exciting program Five Canadian Folk Songs offering Stephen Chatman (arr.) interdiSciplinary study SATB divisi (baritone solo in #2; two School of Music combining music, theater, visual arts, and sopranos or soprano/alto soli in #3) philosophy Jaymar, published separately: 1) A fa violette, 02,396, $2 .. Significant 2) 0 Prarie Land, 02,397, $1.50 conducting experiences 3) An OldMan He Courted Me, 02,398, with university choral $2 ensembles 4) She's Like the Swallow, 02,399, $1.25 .. Assistantships 5) Lukey's Boat, 02,400, $2 available Stephen Chatman has put together a Contact: Dr. Kenneth Davis, Texas Tech University School of Music, Box 42033, Lubbock, TX 79409 wonderful group of five unaccompanied phone: 806n42-2270 email: [email protected] Canadian folk songs suitable for a skilled high school, college, or adult choir. The

PAGE 68 CHORAL JOURNAL easy-to-use editions feature excellent F tiomnom lese (In the Dark Forest) four-part harmony that occasionally ex­ supplementary information, including Alexander V. Sveshnikov (arr.) pands to SSATTB. Of special interest are duration of the selections and notes about SSATTB two verses that feature sopranos and altos Chatman and the origin of the songs. Musica Russica, FS 007, $2.75 (usually in thirds) accompanied by ten­ A la violette, from Quebec, is the only This song tells of a young Russian ors and basses in an oom-pah pattern song in French. No translation of the peasant who clears some forest land and that may be intended to represent the text is included. Although the song is six plants flax. When the plants grow, a spar­ strumming of balalaikas. Moderate verses long, its fast, light tempo keeps it row eats the flax. The young man warns ranges, rhythmic and textural variety, and moving quicldy; one slow, sad verse pro­ the sparrow to stop, or he will pluck its imaginative harmonies make this an ex­ vides contrast. The sopranos have the feathers so it cannot fly. The text is un­ ceptionally attractive piece. Apart from melody alone in four verses, while the derlaid in Russian and in the excellent the Russian language, this twelve-page, lower voices create an instrumental ac­ Musica Russica transliteration system, but arrangement should pose little difficulty companiment effect as they sing staccato unfortunately no pronunciation key is for a college choir or outstanding high patterns or long drones on neutral syl­ included with the octavo. An English school group. The printing is clear and lables. translation that can be sung is included clean, a rehearsal accompaniment part is o Prarie Land is a traditional but not underlaid. included, and Vadim Prokhorov's intro­ Manitoba folk song that resembles The attractive folk tune, which was ductory notes are helpful and interesting. America, the Beautiful in its mood and originally danced as it was sung, receives Larry D. Cool, tempo, as well as in the almost reveren­ a simple setting of great ingenuity by tial patriotic feeling it creates. A baritone Alexander Sveshnikov (1890-1980). The solo is appropriately designated for the opening and closing sections are set for second verse, which begins "There's many TTB (baritone could easily sing the sec­ I'se the B'y a lonely bachelor here, awaiting and ond tenor part), with one briefbass divisi. John E. Govedas (arr.) watching for his dear." There is no divisi Successive verses feature the ensemble in SA, piano in this arrangement. An Old Man He Courted Me, from r------­ Ontario, is about a young maid who mar­ ries an old man and then runs out on .".ailalleI I from Aaeifie Gllorale! him with a younger fellow while he is Artistic Director John Alexander and the award-winning sleeping. It thus might not be appropri­ 160-voice Pacific Chorale announce their latest release: ate for some high school groups. She's Like the Swallow is sad and beau­ tiful, beginning with the sopranos and MUSICA i A collection of a cappella music by American composers, altos singing verse one alone. The canonic including Rene Clausen, Randall Thompson, third verse emphasizes the final phrase of Morten Lauridsen and Charles Ives, the text, "until this fair maid's heart was and featuring "Musica" by John Alexander and broke." The meter is ~, with extended "Come to Me in the Silence of the Night" by James Hopkins phrases emphasizing the sadness. (both premiered atACDA's National Convention in March, 1997) Lukey's Boat is a light-hearted sea tale from Nova Scotia. The melody begins in Also available - the soprano but is tossed around in turn And- to the other three voices. The ranges are accessible in all five of I N G these settings; the second soprano part sometimes stays rather low in divisi pas­ DEL sages. The highest soprano note is g;. Chatman's writing is fresh in some of its harmonies and appealing in the varying styles and moods of each piece. These songs could each stand alone or be per­ formed as a group. They provide an ex­ Featuring "Songs of Eternity" (presented at ACDA's Western Regional cellent opportunity for a choral ensemble With Brass ensemble and Convention in March, 1996) to explore folk material from different Pacific Chorale Children's Chorus! regions of Canada. $18 El;\CH . Sharon Davis Gratto SHIPPING & HANDLING INCLUDED! Can (714) 662.2345 Today! email: [email protected] web site: www.pacific-chorale.org

NOVEMBER1997 PAGE 69 Gordon V. Thompson (Warner Bros., accompanist is needed to keep the rhyth­ can Revolution" and "Boston Tea Party" agent), VG-267, $1.95 mic energy throughout. Verse one is in appear nowhere in the octavo. This is a unison; verse two is arranged like a part­ significant omission, as is the lack of ex­ Excitement seems to grow through all ner song; verse three adds many planation regarding one or two archaic five verses of this Newfoundland folk song accidentals in a high tessitura to part two; words that appear in the text ("budjet of edited by Jean Ashworth Bartle. A good verse four is smoother with surprising tea"). As a result this otherwise fine ar­ rhythmic changes; verse five presents both rangement of an unfamiliar and histori­ parts in a variation on the melody fol­ cally intriguing song is made less lowed by a brisk coda. The arrangement appealing for many choral directors. contains unique opportunities for learn­ Corydon J Carlson ing and demands good teaching. It would be suitable for an auditioned children's chorus or an advanced middle school cho- rus. I've Got Sixpence Doris Sjolund Michael Levi (arr.) TTBB E. Henry David (Theodore Presser, agent), 392-02523, $1.30 The Island Queen Our library features works such as: Robert DeCormier (arr.) This humorous Australian folk song SATB, female solo, piano receives a buoyant treatment here. Ad­ Requiem by John Rutter Vivaldi's Gloria Lawson-Gould (Alfred, agent), 52856, hering to mostly traditional harmonies, The Mozart Requiem $1.50 arranger Michael Levi allows the simple Handel's Messiah Gloria by John Rutter jollity of the text to prevail. Musical vari­ ... and many more! This four-verse American folk song ety is created as an increasingly animated "The. si11ste.rs 011 Yt0-ur tLtpe.s Ltre. presents the story of the Boston Tea Party counterpoint-usually in the two lower w011de.rt--uI! 'Gre.Ltt ph)lb.Si11(): HLl.vi~5t tke. as a dispute between a wealthy, unrea­ voices-is sung against the main melody. st-Ude.11 l's pre.p,Ltr e. wi 1'1.1. Yt0-ur ftl.pe. s e.11Ltble.d \1I.e. to stLtrt Ltlf Lt \1I.-uc.k sonable mother (the "Island Queen" of The tessitura is not demanding, except ki()ke.r le.ve.l!" the title) and her daughter across the sea. for several very brief b~l and c2 pitches in Dr. Will Kesling When the mother demands that her the first tenor that could easily be re­ World-renowned Choral Conductor Guest Conductor, 1996 Utah All-State Mixed Choir daughter pay a tax of "thuppence a vised. I've Got Sixpence is fun and enter­ pound" on tea, the daughter refuses and taining, making for a light-hearted Call for free demo packet and specials! defiantly pours the tea "in the dark and diversion in any concert. The arrange­ boiling tide." The rollicking ~ tune is not ment contains a clearly edited rehearsal 1-800-.290-SING difficult, and Robert DeCormier main­ keyboard part. tains harmonic interest throughout this James Maroney e-mail: ppr@haloY0'l.oom • fax: (255) 474-5051 5855 50uth A 5treet • Taooma. WA 98408-7816 arrangement by frequently writing chro­ matic lines in the lower voices. The parts are not overly challenging, with reason­ , able ranges and minimal divisi in the The Keel Row soprano and tenor. The melody in the Dave and Jean Perry (arr.) , Moice second verse is given to a soloist, who SATB, piano , . SYRA.CUSE UNIVERSITY should be as much an actress as a singer. Hal Leonard, 08703100, $1.25 at 1 2 Her part (range d _d ) includes spoken DEGREE PROGRAMS Bachelor of Music and sung dialogue for both the main char­ Dave and Jean Perry have arranged • Performance acters in the story. Given the accessibility this sea song from Northumbria in • Music Education of the arrangement and its appeal for Northern England appropriately for a • Composition • A.B. Music high school groups (perhaps as part of an high school choir. The arrangement is • MUsic Industry interdisciplinary study of American his­ not difficult to sing or learn. It contains Master of Music tory), it is regrettable and somewhat be­ lengthy passages for sopranos and altos • Performance • Music Education wildering that the score contains no singing the words of "the lassie" who is information about the song or its history. the subject of the song. There is some DeCormier tells us only that it is an soprano divisi. The men's first entrance American folk song and leaves directors when the song opens is in unison as they to draw their own conclusions and do hear this lassie from Sandgate singing their own research on the historical sig­ about the return of a sailor to dance with nificance of the song. The words ''Ameri- her. The text contains some words in

PAGE 70 CHORAL JOURNAL Northumbrian dialect. While a transla­ The Lonesome Dove Mr. Froggie Went a-Courtin' tion of these words appears in the body Jerry Weseley Harris (arr.) Frank Clark (arr.) of the music, the octavo contains no pro­ SATB, piano SATB, keyboard, optional string bass nunciation guide. The edition could ben­ Northwest, SATB-101, $1.10 Mark Foster, MF 3056, $2.20 efit from additional background and supplementary information to aid in per­ This traditional, plaintive American In this clever blues-style arrangement formance. song receives a simple and beautiful set­ of the old English ballad about Mr. Frog Sharon Davis Gratto ting that begins with tenors and basses in courting Miss Mouse, there is a good, unison. The parts soon diverge and, al­ idiomatic piano part and an optional though there is much singing in thirds, string bass part. A change to boogie­ the texture is often varied by vocal inter- woogie style kicks up the heat as the Little Red Bird play and echo counterpoint. Sopranos ,--______Vijay Singh (arr.) and altos answer with essentially the same Two-part, piano material an octave higher, then the four BriLee, BU27, $1.25 parts come together in a new harmoniza~ tion. The piano enters here (m. 40) for This melancholy ~ lullaby from the the first time, but adds nothing other Our Voices Isle of Man is given a sensitive and ap­ than an intonation check. A jarring as­ pealing setting by Vijay Singh, appropri­ pect of the setting is the abrupt upward areHeard ate for both children's choirs and young modulation of a half step with each new women's ensembles. The melody, which verse. -DEGREES 2 spans d-c , is easily learned, and the natu­ The four pages of music present a de­ B.M., B.A., M.M., and D.M.A. degrees offered in a wide variety of undergraduate and graduate majors ral rise and fall of its lilting phrases will cidedly substandard appearance. This including M.M. & D.M.A. in Choral Conducting help young singers develop a sense of looks like a computer-engraved first draft phrasing. After a unison statement of the with numerous punctuation marks writ­ -ENSEMBLES­ melody, a second verse in two parts, and ten in by hand and some badly aligned Nine nationally recognized choral ensembles a second unison statement, the arrange­ words added in a different typeface. Al­ -VISIBILITY­ ment moves to a bridge on "100" with an though the numerous crescendo-diminu­ ACDA and MENC performances CDs, recorclings and broadcasts optional second soprano part. The first endo markings are frequently obtrusive, Recent peifonnal1ce opportunities with Luciano Pavarotti. sopranos' ascent to f2 in this passage the score is still fairly readable. For $1.10 Jose Can'eras, Michael Tilson Thomas and lnllSical makes the choice of vowel somewhat un­ a copy, however, choirs have a right to organizations throughout the Greater Miami comnumity fortunate, but the writing is nonetheless expect a more carefully produced prod­ -FACULTY­ lovely. A brief piano interlude and an­ uct. Choral Faculty J o-Michael Scheibe; Program Chair, other two-part verse follow. The arrange­ Larry D. Cook Donald Oglesby, Larty Lapin, Lynne Gackle, ment concludes with a unison statement Robert Gower of the melody. Control of soft dynamics Vocal Faculty will be crucial. The accompaniment is David Alt; Program Chair, Lorine Buffington straightforward and could easily be played Lovely Armoy Joseph Evans, Franklin Summers; Opera, Russell Young; Coach, Kimberly DeAcha, by student accompanists. A more experi­ Howard Ferguson (arr.) Nobleza Pilar, Mary Scheibe, Jana Young enced pianist might wish to fill out the SATB Scholm~hips, graduate fellowships, piano part, as its frequent mirroring of Banks (Intrada, agent), ECS 270, $1.80 alld assistmztihips available. the vocal part in sustaining one chord over the second half of each measure can In this superb arrangement of a haunt­ The University ofMiami School ofMIISic has been an hinder the sense of forward movement. ing Irish tune, the harmonies are tradi­ accredited illstitutional member of the National Arrangements of less familiar folk tunes tional but never sound trite, and each Association ofSchools ofMusic since 1939. are always welcome, especially when the voice part is melodic. The texture is never material is as haunting as this tune. Its static as the parts flow easily in and out sheer beauty makes this arrangement a of counterpoint. The triple meter of the definite possibility for women's choirs that melody is varied occasionally by a 4/4 would otherwise find it too simple. As a measure. Any proficient high school, col­ SCHOOL OF MUSIC teaching piece for children's choirs, it lege, or community choir would enjoy would be very valuable. For more il1fomlotion, contact: singing this arrangement. Director of Admission Corydon J Carlson School of Music Larry D. Cook University of Miami P.O. Box 248165, Coral Gables, FL33124 Phone: (305) 284-2245 Visit us on the World Wide Web! http://www.music.miami.edu

NOVEMBER 1997 PAGE 71 wedding plans progress. Then a series of On neidolla punapaula (A Maiden with This is the official edition as performed modulations (F major to F-sharp to G), a Red Ribbon) and recorded by the Revels, arranged by thicker textures (sopranos and altos con­ Heikki Nisonen (arr.) the director of the Revels, George Emlen. stantly divided), and higher ranges con­ SSAA It is a cumulative English folk song (one siderably increase the difficulty of the Alliance, AMP 0130, $1.20 man, two men, etc.) and thus might be piece, making it performable by only a rather monotonous by the time there are fairly seasoned group. This delightfUl nov­ This familiar Finnish melody (usually ten men. Emlen's arrangement, however, elty piece could bring down the house. translated as ''A Maiden in a Ring") is varies the voicing with each verse. The Larry D. Cook now available in an arrangement for four­ simple accompanying instrumental parts part unaccompanied treble voices. An support the lilting character of the open-fifth ostinato is the foundation for melody. The tradition of Revellers pre­ the first appearance of the melody, which senting seasonal celebrations gave the im­ petus for the arrangement of this folk Nepftsk, vejeli (Wind, Do Not Blow) moves between the first sopranos and the song, collected in 1904 by Cecil J. Sharp Zigmas Venckus (arr.) altos. The mood is playful and light­ and first published in Novello's Folk Songs SSAA hearted, and the triple-meter adds to the dancelike character of the opening sec­ for Use in Schools: Set III This arrange­ Santa Barbara, SBMP 145, $1.30 ment is accessible to a good middle school tion. A middle section in the relative mi­ ensemble or any group seeking to recre­ nor (marked largo) furnishes contrast and This Lithuanian folk song is edited by ate a folk celebration, as the Revels do. Vance Wolverton, who has included back­ some unexpected harmonic movement. Elizabeth Sproul ground information on the arranger, a The music of the opening returns, and Lithuanian language pronunciation the setting closes with the melody in the guide, and a literal as well as a singing first soprano line in rhythmic opposition translation of the original text. The pro­ to the accompaning voices underneath. Searchingfor Lambs Evelyn Webb (arr.) nunciation guide is underlaid, to encour­ Soprano ranges are moderate; all altos sing g's, although the second altos have SATB age performance in the original language. Roberton (Theodore Presser, agent), two f's. A phonetic pronunciation and The song is the lament of a child whose 63240, $1.95 father is dying. Only one minure long, literal translation are provided for the the setting in A minor is flowing and Finnish text. Leslie Guelker-Cone This nostalgic arrangement of an En­ harmonically rich. This is a beautiful piece glish folk song about rustic nuptials is set for a children's or women's chorus that to the tune Herefordshire, familiar as the will provide opportunity to work on opening carol in Vaughan Williams's Fan­ phrasing and expression. tasia on Christmas Carols. The arrange­ Elizabeth Sproul One Man Shall Mow My Meadow George Emlen (arr.) ment contains frequent variations in SATB, two soli, treble recorder, cello, meter, dynamics, polyphonic style, and voicings, but the A-minor tonality re­ bass, piano Thorpe (Theodore Presser, agent), 392- mains constant. The melody appears al­ ternately in the soprano and tenor. In 03031, $1.50 one verse the voice of the shepherd is heard in a tenor-dominated texture, while SING and SIGIITSEE 01 EUROPE! in another the women's voices speak for the maid. In the final cadence the minor attlte mode gives way to a Picardy third tonic, INTERNATIONAL MUSIC ACADEMY suggesting, perhaps, an optimistic reso­ lution to the young lovers' dilemma. CIIORAL PROGRAM 1998 There are no voice range difficulties JULY 13-26, 1998 v v IV in Searching for Lambs, bur it will have KROMERIZ, CZECH REPUBLIC (UNESCO World Heritage site) the greatest appeal to those ensembles • Rehearse and tour with choir and professional orchestra accustomed to singing unaccompanied • Three-day guided visits to VIENNA & PRAGUE (superior hotels) music. For choral arranging instructors looking for good teaching models, this • Low fee of $1395 pp includes accommodation/most meals one is a fine example. • Incentive program for choral directors Stephanie A. Henry Information & applications: contact IMA Choral Program 281 Pacific Avenue TORONTO ON CANADA M6P 2P8 Tel: (416) 760-9319 Fax: (416) 762-6258 [email protected] http://www.interlog.com/~symphweb

PAGE 72 CHORAL JOURNAL Shenandoah the use of the original Latvian language Balm in Gilead. Kevin Riehle (arr.) in performance. A singing translation is The English rhyme Sing a Song ofSix SSAA, flute, oboe, piano also provided. An informative note on Pence is the basis for 6Pence, and the Oxford, 95.416, $1 the Indo-European family oflanguages­ flavor of this pseudo-operatic arrange­ to which Latvian belongs-is included. ment is summed up in Berkey's dedica­ Flute and oboe accompaniment adds The edition, from the Vance Wolverton tion: "For my mother, Josephine, in a new and interesting twist to the setting Baltic Series, is excellent. Graubins's ar­ celebration of her ever-present, always ir­ of this familiar American folk song. At rangement of this folk song is best suited reverent sense of humor." We hear the the opening, the recitative character of for high school or college ensembles. It traditional sixpence tune in two parts the winds contrasts with a simple unison avoids extremities of register, and de­ marked "Molto chiassoso" (very boister­ setting of the melody. The piano enters mands voices that are supple and ears ous) and accompanied by a hoedown in the second verse, playing triplet pat­ that are fine-tuned. motif in the piano part. This is followed terns that contrast with the duple rhythm Stephanie A. Henry by a repetitive "money-counting" motif of the wind and voice parts. The choir's superimposed over the tune. A flashy pi­ unison opening is followed by an equal­ ano rendition of Mozart's Le nozze di voice freely canonic second verse. In the Figaro overture signals a mini-scene where third verse the canonic material contin­ 6Pence (from Thoughts and Remem- courtiers commence serving bread and ues in the bottom two voices, with an brances) honey to the women, while tenors and added third part singing a descant. A four-voice chordal coda closes the setring Jackson Berkey basses count the money. When the skit as the flute and oboe recall some of the SATB, piano four hands closes the singers render the nursery rhythmic figurations found at the open­ SOG Press, SOG 96-113, $1.25 rhyme to unison strains of Le nozze di ing. Simple harmonies appropriately Figaro in a kind of small-scale, operatic maintain the setting's folklike character, Thoughts and Remembrances, Jackson segue. Four massive piano chords-"seg­ and individual vocal lines present no dif­ Berkey's 1996 collection of choruses for regated, interlocking forearm clusters"­ ficulty. Vocal ranges are moderate, and mixed voices, was written as a celebra­ mark the freight-train-like coda, while accompaniment parts are of medium dif­ tion of the "universal love and connec­ one of Berkey's irreverent Italian direc­ ficulty. tion between parent and child." The work tives instructs the chorus to sing the Leslie Guelker-Cone was commissioned by the Friends of Soli fortissimo three-octave unisons "al Oeo Gloria Cantorum in memory of massimo della vostra capacita" (translated Berkey's and wife Almeda's departed loosely: 00 the best you can). Laughter mothers. Its four components are pub­ and clapping on stage continue until the Silmala trlcija dancojot lished separately to allow for maximum audience applauds. The vocal parts are Jekabs Graubin (arr.) programming flexibility: Isaiah 44:3, View not demanding, but the Figaro skit must SSAA Me, Lord; A WOrk of Thine; 6Pence; and be rehearsed. Of the two piano parts, the Santa Barbara, SBMP 169, $1.40 According to the fine editorial notes Call for Resnmes provided by editor Vance Wolverton, The Heartland Men's Chorus, nationally recognized for musical excellence composer and ethnomusicologist Jekabs and consisting of more than 80 singing members, is seeking applications for Graubins (1886-1961) was widely rec­ a music/artistic director. The chorus, currently in its twelfth season, rehearses ognized as an expert on Latvian folksongs, on Tuesdays from 7-10 PM from September through June and produces three some 220 of which he arranged for cho­ major concerts at the historic Folly Theater. This year: our budget will exceed rus. Silmala triceja dancojot (The Forest $100,000; we will record our second CD; and we will commission a new work Shook from Dancing) is a short (1 :45) by composer John Kander. Proposed start date is April 1, 1998. Orchestral strophic setting for women's voices, with experience preferred. All interested persons (regardless of age, gender, race, a lilting ~ iambic vocal line, and a charm­ religion, national origin, or sexual orientation) are invited to submit a cover ing onomatopoeic dance refrain in ~­ letter and resume (with references and salary history/reqUirements) by "dzin, dzin, dzin! ram ta, ram, ram ta, ra, November 31,1997 to: ram ta, ra, ra, ra, ra, ra!" Soprano 1 and Search Committee alto 2 exchange parts every other phrase of each verse, while the inner voices sus­ Heartland Men's Chorus tain dronelike thirds. The lively "dzin P.O. Box 32374 dzin" refrain is instrumental in character, Kansas City, MO 64171 with off-beat pulses and rapid sixteenth­ Salary commensurate with experience note "ta ra ra ra ras." A clearly rendered E-mail inquiries to: [email protected] phonetic underlay of the text together Applicants names will be kept confidential upon request with a pronunciation guide encourage

NOVEMBER 1997 PAGE 73 all you need to play i6 an rdl -'3 .y you muM first is the more technically demanding. school and community chorus directors player and often indicates chords rolled 6Pence is a short, enjoyable, fairly easy should consider this piece as well. downward to capture the Spanish char­ selection appropriate for high school age Elizabeth Sproul acter of the song. The edition does not ensembles or older. It is also available for include a singing translation for this eas­ treble or men's voices. ily learned two-part folk song, but does Stephanie A. Henry provide a pronunciation guide. The Sweet Betsy from Pike refrain's "ti-cu-ri-cui" is a lovely lilting Edwin T. Childs (arr.) melody that sounds like a tired litde owl. Two-part, piano Harmony is created by combining two Son de la loma (They Are from the Hill) Shawnee, E-335, $1.10 melodically and rhythmically interesting Jose Castillo (aIr.) This American folk song begins in lines. The optional percussion part can SATBB, optional percussion unison and adds limited harmony in verse be played on sand blocks or performed Alliance, AMP 0150, $1.20 two. The third verse is slower, with a very vocally as "a soft shushing sound by two easy descant in part one. The fourth verse or three choir members." Young women's "Mama, where are the singers from? I is in the same style as the second, adding choruses and children's choruses would want to know them, with their fascinat­ surprising accidentals and augmented delight in this secular lullaby. ing songs that I want to learn." Jose rhythms in the final phrase. The interest­ Doris Sjolund Castillo gives a literal translation, but not ing accompaniment, with its unusual har­ an English singing text for this rhythmic, monies and original melodies, brings life lilting Cuban song. Although listed as to this old favorite. This arrangement SATBB, the alto part also contains brief could be used by middle school and el­ Tell My Ma when I Go Home divisi. As one would expect in Latin ementary choruses. Jon Washburn (arr.) American music, harmonies are mosdy Doris Sjolund SATB, S or A solo in thirds and sixths, and rhythms are syn­ Jaymar, 02,427, $2 copated. The arranger writes a percus­ This is a rhythmically and harmoni­ sion accompaniment for claves, guiro, cally dynamic arrangement of the tradi­ cabaza, and congas or maracas, but en­ Tecolote (Song ofthe Little Owl) Victoria Ebel-Sabo (arr.) tional Irish Children's Street Song, prefaced courages players to improvise alternate by the indication "cheeky." Both altos SA, piano, optional percussion rhythmic accompaniments for all or part and tenors have considerable divisi Mark Foster, YS403, $1.25 of the piece. The tenor part crosses above throughout. Washburn uses the harmonic the alto, and reaches aI, but other parts The arranger heard this Spanish lullaby interval of a second liberally to add a are easily accessible. In a middle school as it was being sung to her younger sib­ contemporary sound to this traditional honors choir, the tenor part could be folk song. The solo enters twice with the lings. The piano part demands a good sung effectively by cambiata voices. High folk melody, while the other voices "thrum" and "dum" underneath. Various combinations ofvoicings emerge, includ­ • f6,666Ltw. f,66D'(... rs",~ ACOA Nor th Cen t ra I 0"IVlslon "" C onven t"Ion ing an intermittent "dm, dm" string-bass­ i:f'W'~ - ':,,:-: ":;f,';:: -, "'" line, within an essentially strophic form. ;;<- .<', ~ March 11-14, 1998 Clapping and stomping enhance the ~ I ~H f Orchestra Hall' Central Luther?n Church rustic quality of the song. One hairpin g' , .... ,.,"' . Hilton Hotel turn involving a key change is sure to ~ '1D,M6 LtA'-' • 1.000 Yws in ~.~~ Minneapolis, Minnesota whiplash the novice singer. A B~ chord Robert Shaw conducting Britten War Requiem (N in F major) jumps in tempo and with the Minnesota Orchestra • Dale Warland Symphonic Chorus • with no modulation to the new tonic of Minnesota Chorale • Metropolitan Boys Choir B. Tell My Ma lasts approximately 2: 15 and will work for either small or large Keynote Performance: Garrison Keillor with Philip Brunelle forces. Plymouth Music Series Ensemble Singers Stephanie A. Henry "A Thousand Ages in Thy Sight"· John Ferguson, artistic director A Millennium of Psalms, Hymns, and Spiritual Songs Special Featured Events: Honors Choir Showcase Conductors: Three Malay Folksongs Weston Noble Golden Anniversary Tribute Concert Rebecca Rottsolk - children Bernard Tan (arr.) National Lutheran Choir, Larry Fleming, conductor John Yarrington -Junior H.S. SATB "A Millennial Feasf'· Paul Brandvik, creator and director Lynne Gackle - H.S. Women Neil A. Kjos, published separately R& SReading Sessions Allen Crowell- H.S. Men 1) Chan Mali Chan, #8782, $1.10 Outstanding Interest Sessions for all teaching levels Anton Armstrong and Paul Torkelson -Collegiate 2) Suriram, #8783, $1.10 For registration information - Call 612-593-5162 3) Lenggang Kangkong, #8784, $1.10

NOVEMBER 1997 PAGE 75 These three Malasian folk songs are Toraji taryung equal-voiced choirs may omit parts ac­ cheerful and charming. The copious notes Kenneth Jennings (arr.) cordingly. attempt to convey much information SATB Stephanie A. Henry about the country, and the singing text is Kjos, ED.8844, $1.10 given only in Malay. Some of the infor­ mation is helpful (especially the pronun­ Toraji taryung (Song of the Bellflower) ciation guide and text explanation); some was one of two well-known Korean folk Tftdalin, Tagadin (Join the Merry Danc- might seem patronizing. The simple ar­ songs that Kenneth Jennings arranged for ers) rangements sound highly influenced by the St. Olaf Choir's 1988 Seoul Olympic Judith Herrington and Sara Glick (arr.) Western harmonic practice and are often Arts Festival performance. A thorough Two-part, piano mildly dissonant. The three pieces to­ IPA rendition of the Korean text is Pavane (Intrada, agent), P1087, $1.50 gether make a set of fast-slow-faster. The printed on the last page, as are the Ko­ second piece is a gentle lullaby that could rean characters. Jennings supplies a sing­ This is a choral arrangement of a well­ feature a solo soprano (rather than the ing translation. For much of the song, known folk dance from Latvia. It main­ section) in a call-and-response pattern. the soprano and tenor sing in octaves as tains the repetitive feel and spirit of a Sounds of "eng," "ang," and "ong" per­ do the alto and bass. There are four bars dance and invites authentic choreogra­ meate the rapid final piece, imitating the in which soprano and tenor divisi occur, phy. The first and last sections can be sound of a gamelan. This piece involves but the only musical challenge to the sung in the English translation or in much repetition and could be a lot of fun singer is in the short, nine-bar canon Latvian, for which a pronunciation guide to sing. The set is correlated with Nancy near the end. Open fourths and fifths is provided. The middle section, sung on Telfer's Successful Sight Singing series. The predominate in parallel motion. The story "100," uses a contrasting slower tempo pieces require four-part mixed voices, but tells of finding and harvesting the rare and more legato style. Rhythmic clap­ the vocal range requirements are quite white toraji. In addition to having great ping by the choir joins the piano in modest. Once they overcome the lan­ value as a concert piece, Toraji taryung is the introduction, interlude, and coda. guage barrier, most high school choirs a wonderful teaching piece for tuning The sparkling dancelike accompaniment should be able to learn these songs easily. and singing independent lines (as in the is of medium difficulty. Here is an op­ The pieces might even be accessible to canonic section). Lasting just 1:20, this portunity for children's and middle school advanced junior high and middle school accessible arrangement is reasonable in choruses to program unusual and charm­ groups. range, easy to learn, and suitable for all ing ethnic music. Larry D. Cook ages. A middle school choir might per­ Doris Sjolund form the piece very effectively by omit­ ting the tenor and bass parts, while

Two west African Folk Songs Derek Bermel (arr.) SATB, optional percussion Santa Barbara, published separately: 1) Pete pete, SBMP 149, $1.40 2) Kpanlongo, SBMP 150, $1.40

Here is a refreshing original approach to the growing corpus of Mrican folk music arranged for choral performance. Kpanlongo (a dance) and Pete pete (Vul­ ture, vulture) preserve most of the West Mrican Phanti language with clear pho­ JON HURTY, CHORAL DIRECTOR netic underlay and helpful vowel pro­ nunciation guides. For Pete pete sopranos JANA HOLZMEIER . SONJA HURTY must have one good bP, altos an [2, and LAURINE LAMB' BRETT NOLKER tenors three also Kpanlongo includes so­ JOHN PFAUTZ . BARBARA SHELLHOUSE prano and bass divisi, with more moderate vocal ranges overall. Bitonality and shift­ EMILY TRUCKENBROD . DANIEL URTON ing chromatics characterize the Pete pete arrangement, creating the effect of sound AUGUSTANA COLLEGE' DEPARTMENT OF MUSIC 639 38TH STREET' ROCK ISLAND. IL 61201-2296 masses ebbing and flowing. Kpanlongo 1-800-798-8100 EXT. 7233 . WWW.AUGUSTANA.EDU features an additive ostinato, a la Will­ iam Dawson's Ezekiel. Beginning with just

PAGE 76 CHORAL JOURNAL The United States Air Force Band Washington, D.C. Announces 1998 Vacancies

The Singing Sergeants CHORAL DIRECTOR - Waldorf College seeks candidates for the posi­ Tenor 1 & Baritone tion of director of the Waldorf Choir, an SO-voice ensemble performing pri­ January 9, 1998 marily the sacred a cappella repertoire. Founded in 1913, the choir under­ ·Annual Salary $26,764-$30,255- takes annual tours in the United States or abroad. A European tour is sched­ • Full Military Benefits· uled for May, 1999. The choir has performed for the ACDA national con­ -30 Days Paid Vacation Yearly· vention within the last decade. The successful candidate will be able to The audition winner must be able to enlist demonstrate outstanding choral directing skills and knowledge of the choral in the United States Air Force for a minimum repertoire. Realizing that great choirs require gifted singers, he/she will be period of four years. A federal securiry clearance for duties in support of the committed to a tireless effort to attract singers to Waldorf College. He/she President of the United States will be will also be a Lutheran, and also able to lead a program which seeks to pro­ required. The maximum age at time of vide an inspiring experience for students. Master's degree minimum; Ph.D. enlistment is 34. All auditions will be held at Bolling Air preferred. The salary will be competitive, and rank is open depending upon Force Base, Washington, D.C. For audition experience. Interested candidates should submit a letter of application consideration and additional information responsive to the criteria, a vita, and three letters of recommendation to contact Auditions/BAD P Choral Search Committee, c/o Dr. John Sorenson, Vice President for The U.S. Air Force Band Academic Affairs, Waldorf College, 106 S. 6th St., Forest City, IA 50436 or 201 McChord Street bye-mail to sorensonj@waldor£edu. Screening of candidates will begin Bolling AFB, DC 20332-0202 202-767-7908 FAX 202-767-0686 immediately with interviews and the announcement of a selection in January, 1995. AAlEEOC employer. Materials must be received at the above ad­ dress no later than 30 days prior to the above audition date. An Equal Opportunity Employer

OF Through the medium of video, ACDA Oil Locatioll brings you the expertise of distinguished choral conductors as they lecture, rehearse, and perform.

~ n a.n lI1rl'l 0 lLQ llTi"ll e Z is an interview with Ci~: ______State: Zip Code: the late Howard Swan, 1987 ACDA National Convention Honoree. Swan reviews the history of American choral music during the first half of the Videotape Quanti~ Price Subtotal twentieth century, discusses the state of choral music in church and school, and gives learned Volume 1 @ $37.50 $_- advice to the young choral conductor. Volume 2 @ $37.50 $_- "'V" II tLll Inlr"ll e .3 features Jester Volume 3 @ $37.50 $_- Hairston, internationally renowned composer, arranger, conductor, and 1989 ACDA National Total Payment Enclosed: Convention Honoree. In this interview, Hairston $_- traces the history of African-American spirituals Send check or money order, payable to ACDA, to: in the United States, gives suggestions for Videotapes • ACDA • P.O. Box 6310 • Lawton, OK 73506-0310 interpretation, and demonstrates the use of rhythm and dialect in this genre. Videotapes are shipped immediately upon receipt oforder.

NOVEMBER 1997 PAGE 77 basses and baritones, the texture gradu­ a cherry tree without branches. The song The top note in the soprano 1 part is G#2, ally expands to six voices, with elements implies that a forest fire has burned the and the lowest alto 2 note is b. The ar­ of melody, harmony, and rhythm super­ tree branches and caused the cuckoo to rangement is mainly in three parts, with imposed upon a combination of African flyaway. A phonetic pronunciation un­ a few measures dividing into four parts. text and nonsense syllables. The conta­ derlay makes the language more acces­ Sharon Davis Gratto gious intensity of the dance increases sible, and there is also a word-for-word steadily until the final burst of vocal en­ translation. The edition by Vance ergy explodes in a frenzied fortissimo. The Wolverton is excellent. It includes voice set is suitable for advanced high school ranges, timing (1 :20), and information The "Water Is Wide choirs through adult community cho­ about the composer, Lithuanian music, Miles Ramsey (arr.) ruses. Each two-minute song includes and the language. This unaccompanied TTBB, piano modest percussion suggestions. arrangement is appropriate for a high Cypress (Intrada, agent), CPI027, $1.40 Stephanie A. Henry school or college women's ensemble and could even be performed by a skilled se­ Miles Ramsey's arrangement of this lect children's choir. well-known folk song contains uncom­ Raciunas, who studied with Nadia plicated and sonorous vocal writing, with UziaZeria (Roars, Sparkles) Boulanger, Charles Koechlin, and Igor sustained, mostly homophonic, legato Antanas Raciunas {arr.} Stravinsky, lived from 1905 to 1984. He lines in a tranquil setting. The gentle, SSAA arranged many Lithuanian folk songs dur­ largely chordal piano accompaniment Santa Barbara, SBMP 144, $1,35 ing his lifetime. This one is in G# minor, provides a colorful harmonic background. with mixed meters oq and ~ and a tempo The pitch ranges are quite accessible, ex­ aitia ieria is a Lithuanian folk song marking of andante. The frequent dy­ cept for several measures where the basses with a metaphorical text given in both namic changes add interest and can be must sustain pitches of EI>. Otherwise, Lithuanian and English. It compares an challenging. The form of the arrange­ this arrangement is easily within the tech­ orphan with no parents, brothers, or sis­ ment is modified ABA, with some imita­ nical command of most male ensembles. ters to a forest without a cuckoo's song or tion of the cuckoo's song in the B section. James Maroney

"' .. ~ .. '" ~ THE AMERICAN The "Water ofTjme Michael Neaum (arr.) BACH SOCIETY SATB, piano Roberton (Theodore Presser, agent), Invites you to become a member 63237, $2.25 Michael Neaum's arrangement of this Membership benefits English folk song can only be described • The American Bach SOCiety Newsletter as exquisitely beautiful. The meter of the • Bach Perspectives (Nebraska Press-a $55 value) piece alternates between gand ~ through­ • Unique membership gifts out the three verses, and the sixteenth­ • Information and discounts on recent Bach books note arpeggios in the piano part • Biennial meetings & special Society events emphasize the flowing water that physi­ • Eligibility for Scheide Prize & ABS Performance Award cally separates the woman who is singing 1997 Membership Gift (special PGM compact disc): from her lover. The sopranos and altos "New" Bach Organ Works: sing verse one in unison. The basses start Variallts, Rarities, and Transcriptions verse two alone and are soon joined by Prelude & Fugue in G Minor, BWV 535a the tenors, while the sopranos and altos Trio Sonata in G Major (after the Two-Flute Sonata), BWV 1027a sing an accompanying part on "ah." The Toccata in D Major, BWV 912 use of modified canonic writing in verse Prelude, Largo, & Fugue in C Major, BWV 545a three offers an effective contrast to verses Fugue in D Major, BWV 532a Concerto in A Minor (after the Four-Harpsichord Concerto), BWV 1065 one and two. This work would be useful Previously unrecorded chorale preludes for developing a group's expressive slow Joan Lippincott and George Ritchie, organists singing and tone quality. The ranges are Fritts-Richards Organ, St. Alphonsus Parish Church, Seattle, Washington not difficult. This would be an appropri­ ate selection for a high school ensemble. For membership information contact: Prof Stephen Crist, It is also available for SSA. American Bach Society, Music Department, Emory University, Atlanta, GA 30322. Ph: 404-727-3785; E-mail: [email protected] Sharon Davis Gratto

PAGE 78 CHORAL JOURNAL Zwo!f deutsche Volkslieder (WoO Reviewed in Brief posthum 35) Editor's Note: The. following folk-song arrangements are also recommended. Johannes Brahms SATB Carus-Verlag (Mark Foster, agent), 40,208/30, $3.25 Dance, Boatmen, Dance I've Been Win·king on the Railroad Michael Scott (arr.) Tom Voorhis and Barbara Klemp (arr.) Two-part, piano Two-part, piano This is a fine set of short unaccompa­ BriLee, BL13S, $1.25 Gilpin McPheeters (Intrada, agent), nied German folk songs (Scheiden, Wach HT 9606, $1.40 auf [two settings], Erlaube mir, Der This straightforward arrangement Fiedler, Da unten im Tale, Des Abends, would be a good choice for children's Easy arrangement with choreogra­ Dort in den Weiden, Altes Volkslied, Der choirs. Includes a good deal of unison phy by Barbara Klemp. Each new sec­ writing and accessible two-part passages. tion is accompanied by a simple descant Ritter un die Feine, Der Zimmergesell and Three verses are set, with a rhythmic or partner song. The two parts alter­ Altdeutsches Kampflied) in a bare-bones clapping interlude before verse three. nate singing melody and harmony. edition that includes no translation of Each verse ends with a one-phrase solo. Moderate ranges; useful for young cho­ the German texts. Some of the melodies Easily learned, students will find it ap­ ruses or for audience participation. and arrangements are exquisitely beauti­ pealing. ful, but all twelve seem too similar in Smieklis man (This Is My Laugh) style, mood, and tempo to be sung on La Doble (Chacerem doble) Aldonis Kalnins (arr.) the same program. It would be preferable Ruben Urbiztondo (arr.) SSAA to select several of them to comprise a SATB Santa Bm-bam, SBMP 165, $1.25 program group. Two of the songs provide Kjos, ED.SS03, $1.40 Lively Latvian folk song, one minute opportunities for soprano solos. Each This energetic and unusual Argentinean in duration. Simple setting of light­ song has from two to four verses. The dance will be a rewarding choice for colle­ hearted text uses primarily triadic har­ dynamic indications are in keeping with giate ensembles or fine high school choirs. monies and a succession of repeated the German Romantic style. These folk The setting is challenging in irs polyrhythmic four-measure phrases. Singers' parts in­ songs could be sung by college or adult combinations of gand ~ and in irs bimodal clude laughter (ha), barking dogs (vau, harmonies. Two verses are set over the 3:30 vau) , and meowing cats (nau, nau). smgers. duration of the arrangement. The melody Both a literal and a singing translation Sharon Davis Gratto moves frequendy between the sopranos and are included, as well as a pronunciation tenors while the other voices accompany on guide for the Latvian text. Moderate vocables. Ranges are reasonable. A Spanish ranges, one a2 for the first sopranos and pronunciation guide and a singing transla­ numerous a's for the second altos. Good -CJ- tion by Nancy Telfer are included. There is concert closer. no literal translation.

Tamntella I Know an Old Lady Who Swallowed a Victor Bobetsky (arr.) Fly Two-part, piano Patricia Senko (arr.) Boosey & Hawkes, OCTB6915, $1.20 TTBB,piano Lawson-Gould (Alfred, agent), 52902, Children's choirs will find this set­ St. John's United Methodist Church, a $1.25 ting irresistible once they have mas­ growing regional church with 1800 tered the challenging diction. A literal members and three worship services, seeks Entertaining arrangement suitable for use translation and an IPA pronunciation a full-time Director of Music Ministries. by high school men's choirs. Senko condenses guide for the Italian text are included. Successful candidate will oversee a strong several of the later verses, so the piece is Performance notes include suggestions music program of 17 separate groups, shorter than might be expected. Singers must for using the piece with women's or including choirs for all age levels, small laugh, slurp, peep, meow, hiss, snort, and baa girls' choirs, as well as groups including ensembles, handbells, and orchestra. The Directorwill have primary responsibility for at various rimes; there is also an aleatory changing or changed boys' voices. The the youth choir, three adult choirs, the oldest mooing passage. After all this commotion, piece's one drawback is its brevity; it children's choir, and the adult handbell the end of the piece is somewhat anticlimac­ takes only one minute to perform as choir, while supervising and coordinating tic. Some counterpoint is rhythmically tricky written. Directors may wish to add the combination ofvolunteer and part-time and will require careful rehearsal. The piano some repeats, perhaps incorporating an music leadership for the remaining groups. part also demands a competent accompa­ accelerando as the end of the piece The congregation seeks a creative, energetic, nist. Ranges are reasonable. Good concert nears. experienced Director with keyboard skills, closer. strong organizational ability; and a team concept of ministry. Send resume, salary requirements, and list of references to: SPRC Search Committee, St. John's UMC, 2626 Arizona NE, Albuquerque, NM Contributors to Reviewed in Brief: Corydon J. Carlson, Leslie Guelker-Cone, 87110. Fax (505) 883-1441. Doris Sjolund

NOVEMBER 1997 PAGE 79 ADVERTISERS REVIEWERS THIS ISSUE INDEX Corydon J. Carlson Leslie Guelker-Cone Doris Sjolund NOVEMBER 1997 p. O. Box 9517 Department of Music 2403 Senate Way ACFEA Tour Consultants ...... 19 Bolton, CT 06043 Western Washington University Medford, OR 97504 Abingdon Press (Cokesbury) ...... 10 Bellingham, WA 98225 AD International, Inc ...... 5 Sharon Davis Grarro Elizabeth Sproul Alden Lee Company ...... •...... 52 Alliance Music Publications ...... 26 Department of Music Stephanie A. Henry 113 West Church Street Ambassador Travel Service •...... 29, 53 Gettysburg College 6430 West 85th Street Seymour, CT 06483 American Bach Society ...... 78 Gettysburg, PA 17325 Adanra Young Singers ....•...... •...•. 36 Los Angeles, CA 90045 Augustana College, Music Depr...... 76 BWE Classics ...... •...... •...... • 63 Larry D. Cook James Maroney Camelback Baptist Church ...... •... 58 C-S Travel Service, Inc ...... •...... 56 3609 Davis St. Western Carolina University ChoralPrep Recordings ...... •...... •...... , ...... 44 Skokie, IL 60076 Cullowhee, NC 28723 ChoralWeb Publishing, Inc ...... •...... 44 Church Music Explosion-CRPC ...... 40 Coda Music Technology ...... 8 Colwell Arts Managemenr ...... ••...... 26 BOOK and MUSIC PUBLISHERS and College of Charleston ...... •...... 42 Concora •...... 38 COMPACT DISC DISTRIBUTORS Des Moines Children's Choruses ...... •...•...... 64 Send books, octavos, and discs for review to: ECS Publishing ...... 56 Edition HAS Music Co...... • 61 Choral Journal Emory University ...... 62 Epiphany Music, Ltd...... •...... •...... 26 P. O. Box 6310 European Incoming Services ...... 12 Lawton, Oklahoma 73506 Field Srudies Inrernational ...... 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Although the length of articles varies considerably, submissions generally T urde Creek Chorale ...... 28 consist of ten to twenty typed, double-spaced pages. Referenced material should be U.S. Ait Force Band .•...... •...... 77 indicated by superscript and end notes. All submissions must include six copies, accompa­ U.S. Army Field Band ...... •...... •... 33 University of Maryland ...•...... 61 nying artwork if available, and a one- to two-sentence professional identification of the Universiry of Memphis ...... ••..•...... •....•.. 34 author. For complete writer's guidelines or to submit articles, write to: Managing Editor, ~~~~:~~~~ ~~~~::~i~~i·::::::::::::::::::::::::::::::::::::::::::::::::'6~ CboralJournal, P.O. Box 6310, Lawton, Oldahoma 73506-0310. 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PAGE 80 CHORAL JOURNAL "Your Partner in Music Education"

The professional staff at Heritage Festivals is dedicated to providing your choir with an educational, cultural and social experience your students will remember for years to come.

Heritage Music Festivals provide each high Let 1998 be your year to enjoy the school and junior high school choral director with comprehensive services available from Heritage the opportunity to enjoy a great educational music Festivals, "Your Partner in Music Education. " festival in an exciting host city with:

.... outstanding adjudication For detailed information about the .... excellent accommodations 1998 Heritage Music Festivals, .... fun social activities .... well organized and operated festivals call 1.800.223.4367

Heritage Festivals - 291 West 5400 South • Suite 100· P.O. Box 571187· Salt Lake City, Utah 84157-1187 American Choral Directors Association P.O. Box 6310 Lawton, Oklahoma 73506-0310

:.]

CARNEGIE HALL 1998 CONCERT SERIES SUNDAY OHiO/PENNSYLVANIA/MICHIGAN YOUTH FRIDAY NATIONAL INVITATIONAL MARCH 1 CHORALE APRIL 10 BAND FESTIVAL 8:00 PM Eph Ehly-Conductor 8:00 PM MISSISSIPPI/ ALABAMA YOUTH CHORALE ($440.00) Rodney Eichenberger-Conductor

SUNDAY OHIO BAND FESTIVAL SATURDAY SOUTHERN BAND FESTIVAL MARCH 8 APRIL 11 8:00 PM 8:00 PM ($540.00) ($540.00)

SUNDAY NATIONAIi CHILDREN'S CHOIR SUNDAY ARKANSAS YOUTH CHORALE MARCH 15 Henry Leek-Conductor APRIl. 12 Jing Ling Tam-Condii'ttor 8:00 PM NATIONAL' YOUTH CHOIR 8:00 PM Andr~ Thomas-Conductor t

SUNDAY NATIONAL CHILDREN'S CHOIR SUNDAY ACSI YOUTH CHORALE-NORTHEAST MARCH 22 Henry Leck:"Conductor APRIL 19 David Giardianiere-Conductor 8:00 PM NATIONAL YOUTH CHOIR 8:00 PM ACSI YOUTH CHORALE-SOUTHEAST Eph EhlY-Conductor Tom Couucil-Conductor

SUNDAY TENNESSEE YOUTH CHORALE .MONDAY NATIONAL Boy CHOIR MARCH 29. Eph Ehly-Conductor APRIL 20 James Litton-Conductor 8:00PM FLORIDA; YOUTH CHORALE 8:00 PM NATIONAL WOMEN'S CHOIR Lynn dackle-Conductor Lynne Ga'ckle-Conductor'

SUNDAY GEORGIA YOUTH CHORALE FRIDAY NATIONAL GOSPEL CHOIRS APRIL 5 Rodney Eicheuberger-Conductor MAY 22 Michael Pyles-Conductor 8:00 PM 8:00 PM MallY oth~r dates are dESo ·available. Your choir may joill YO~I~ OWII or allother state for performallces. Please call.for / more illformatioll allltiidditiolzal dates. .

*Prices'ror,some programs may differ due to program conteut. YOUTH CHORALE1T CARNEGIE HALL $550 per person, except where otherwise noted Commemorative Plaque for your School ". Orientation Session upon arrival. Certificate of Achievement for each student Three nights hotel accommodations in quad rooms Guest Conductor for your perfoffI.1ance' . All hotel taxes, both city and state Rehearsal Hall expenses and rental' ...... Hotel'jJaggage handling upon arrival and departure (1 bag per Carnegie Hall rental and promotional fees person) . Accompanist fee Attend a Broadway Show Bus transportation to rehearsal and performance on Admission to the Observation Deck of the Empire State p~rforniance day, where necess~ry Building . Field Studies Escort to accompany group on sightseeing Admission to the Statue of Liberty/Ellis Island National activities Parks Audio Cassette of your performance (one tape per school) ··Shopping and sightseeing along Fifth Avenue and South Macy's,gift card and variolls restaurant discounts Street Seaport On~ chaperone free for each 20 paying., Commemorative T-shirt We will happily help you with meals, transportation and other exciting New York activities, . to make yourplanning very silliple. .