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APRIL 1999 CHOAAL]O Wesley Coffman Ann Easterling EDITOR MANAGING EDITOR
COLUMNS ARTICLES
From the Executive Director ...... 2 From the President ...... 3 The Choral Graduals of From the Editor ...... 4 Johann Michael Haydn: Elegant Additions to the Hallelujah! ...... 43 Performance Repertoire ...... 9 Timothy W. Sharp, editor by Dale Miller Research Report ...... 45 Lawrence Schenbeck, editor
Compact Disc Reviews ...... 49 Richard]. Bloesch, editor
Book Reviews ...... 55 Francis Poulenc's Stephen Town, editor "Grand Choral Symphony" . 21 Choral Reviews ...... 59 by Lee G. Barrow Richard Nance, editor
Repertoire and Standards Committee Reports ...... 37 Newsbriefs ...... 40 REHEARSAL BREAKS ACDA Planned Giving ...... 42
Advertisers Index ...... 72 Passion and the Conductor ...... 31 by Terry W. York
Cover, designed by Susan Gower, depicts tbe Salzburg Cathedral.
APRIL 1999 PAGE 1 THE AFFILIATED FROM ORGANIZATIONS
EXECUTIVE DIRECTOR INDIANA CHORAL DIRECTORS ASSOCIATION President - Daniel H. Graves National Convention a Great Success 209 South Sixteenth Street REMENDOUS! RECORD-BREAKING! The list of superlatives describ Richmond, Indiana 37374 ing the ACDA National Convention in Chicago goes on and on. Never in Treasurer - Paula J. Alles T the history of ACDA national conventions have so many people attended. 1471 Altmeyer Road There were 5,730 ACDA members registered for the 1999 National Convention. Jasper, Indiana 47546 From the opening concert at 2:00 P.M. on Wednesday to the convention-dosing IOWA CHORAL DIRECTORS ASSOCIATION honor choir concert on Saturday evening, attendees were treated to a diverse array of President - Bruce Chamberlain interest sessions, reading sessions, exhibits, and great music from many eras and 1211 Oak Park Boulevard genres, performed by superb choirs. Everyone who came to Chicago left educated, Cedar Falls, Iowa 50613 entertained, and enthusiastic about the future of choral music. Secretary/Treasurer - Bruce A. Norris 404 Maple Street An undertaking as huge as an ACDA national convention does not just happen. It Mondamin, Iowa 51557 takes more than two years of careful planning and nurturing by the national AMERICAN CHORAL DIRECTORS convention committee. This year's committee outdid itself Congratulations to each ASSOCIATION OF MINNESOTA person who served on the 1999 ACDA National Convention Committee: Milburn President - David Dickau 104 Manchester Court Price, Convention Chair; James Hudson, Assistant Convention Chair; William Mankato, Minnesota 56001 Maydin, Program Chair; the ACDA national office staff, Registration; Dale Cole, Treasurer - Susan Zemlin Program Advertising and Exhibit Chair; Robert Snyder, Local Arrangements Chair; 1029 Paul Parkway, NE, #304 Bill Cormack, On-Site Exhibits Chair; Jeffrey Poland, Coordinator, International Blaine, Minnesota 55434 Choirs; Beth Brown Shugart, Hospitality Chair; James A. Bohart, Reading Sessions MONTANA CHORAL DIRECTORS ASSOCIATION Chair; Perry White, Publicity Chair; John Haberlen, Final Auditions Chair; Scott President - Marco Ferro Anderson, Honor Choirs Coordinator; Tom Smith, Orchestra Hall Site Chair; Box 454 Randi Von Ellefson, Medina Temple Site Chair; Mitzi Groom, Hyatt Regency Site Malta, Monrana 59538 Chair; Tom Jones, Honor Boychoir Chair; Monica Hubbard, Women's Honor Choir Treasurer - Larry Swingen 216 Eighth Avenue SW Chair; and Janice Bradshaw, High School Honor Choir Chair. Of course, each of Sidney, Monrana 59270 these devoted men and women had others working with them, all performing their NEBRASKA responsibilities in a highly professional way. The next time you have opportunity to CHORAL DIRECTORS ASSOCIATION talk to or write to any of these committee members, let them know what a great job President - James F. Hejduk Westbrook Music Building they did. University of Nebraska Chicago is history-now it's on to San Antonio in 200 1. Lincoln, Nebraska 68588 Treasurer - Mark Butler 1014 Arthur Street Gene Brooks Holdrege, Nebraska 68949 OHIO CHORAL DIRECTORS ASSOCIATION President - Craig Johnson Music Departmenr, Otterbein College Westerville, Ohio 43081 Treasurer - Bob Hartigan 8770 Landen Drive Maineville, Ohio 45039 STATEMENT OF MEMBERSHIP The American Choral Directors Association is a nonprofit professional organization of choral directors TEXAS from schools, colleges, and universities; community, church, and professional choral ensembles; and CHORAL DIRECTORS ASSOCIATION industry and institutional organizations. Choral Journal circulation: 20,000. Annual dues (includes President - Marsha Carlisle subscription to the Choral Journal): Active $55, Industry $100. Institutional $75, Retired $25, and 10318 Royal Coach Student $20. One-year membership begins on date of dues acceptance. Ubrary annual subscription San Antonio, Texas 78239 rates: U.S. $25; Canada $35; Foreign Surface $38; Foreign Air $75. Single Copy $3; Back Issues $4. ACDA is a founding member of the International Federation for Choral Music. Treasurer - Kelly Moore ACDA supports and endorses the goals and purposes of CHORUS AMERICA 4021 Timberidge Drive in promoting the excellence of choral music throughout the world. Irving, Texas 75038 ACDA reserves the right to approve any applications for appearance and to edit all materials proposed for distribution. WISCONSIN Permission is granted to all ACDA members to reproduce articles from the Choral Journal for noncommercial, educational CHORAL DIRECTORS ASSOCIATION purposes only. Nonmembers wishing to reproduce articles may request permission by writing to ACDA. President - Richard L. Bjella The Choral Journal is supported in part by a grant from the National Endowment for the Arts, a federal agency. 3011 West Heritage Avenue Recognizing its position of leadership, ACDA complies with the copyright laws of the United States. Compliance with Appleton, Wisconsin 54914 these laws is a condition of participation by clinicians and performing groups at ACDA meetings and conventions. Secretary/Treasurer - Ronald C. Buddes © 1998 by the American Choral Directors Association, 502 SW Thirty-eighth Street, Lawton, Oklahoma 73505. Telephone: 1872367thAvenue 580/355-8161. All rights reserved. The Choral Journal (US ISSN 0009-5028) is issued monthly except June and July. Chippewa Falls, Wisconsin Printed in the United States of America. ~ Periodicals postage paid at Lawton, Oklahoma, and additional mailing office. POSTMASTER: Send address EdPress changes to Choral Journal, P.O. Box 6310, Lawton, Oklahoma 73506-0310.
Volume Thirty-nine Number Nine
PAGE 2 CHORAL JOURNAL NAT IONAL FROM OFFICERS THE PRESIDENT PRESIDENT James A. Moore School of Mu'sic, East Texas Baptist University Marshall. Texas 75670 That Toddlin' Town 903/935-7963 (voice); 903/938-0390 (fux) [email protected] HICAGO, CHICAGO, that toddling town . .. bet your bottom dollar you "lost" VICE-PRESIDENT your blues in Chicago_ 1 The words of this song rang true as the sights and Lynn 'Whitten College of Music. Universiry of Colorado sounds of ACDXs 1999 National Convention swept through downtown Boulder. Colorado 80309 C 303/494-6648 (voice); 303/492-5619 (fux) Chicago. What an experience! The Brahms Requiem, presented by one of the world's whi[[email protected] great orchestras and choruses, outstanding choir performances, enticing interest ses PRESIDENT-ELECT Milburn Price sions, new music reading sessions, an inspiring School of Music. Samford University Birmingham. Alabama 35229 music and worship experience, a wonderful clos 205/870-2778 (voice); 205/870-2165 (fax) [email protected] ing session with the three honor choirs, and a TREASURER scintillating international choir presentation that Maxine Asselin Music Department. Bridgewater Scare College touched the hearts and souls of those who were Bridgewater, Massachusetts 02325 508/697-1377 (voice); 508/697-1729 (fux) [email protected] present-combined to provide a convention ex
EXECUTIVE DIRECTOR perience that will be remembered for years to Gene Brooks P.O. Box 6310. Lawton. Oklahoma 73506 come. We left with impressions of a great city, 580/355-8161 (voice); 580/248-1465 (fux) [email protected] wonderful restaurants, and cordial, hospitable
CENTRAL DIVISION PRESIDENT people. Thank you, Chicago! Thomas J. Stauch Harper College Obviously, none of this would have been POS 1200 West Al~onquin Road Palatine, IlImois 60067 sible without the untiring effort of Milburn Price, 847/925-6566 (voice); 847/925-6039 (fux) [email protected] Convention Chair, his convention committee,
EASTERN DIVISION PRESIDENT Gene Brooks, ACDA Executive Director, and Frederic Ford Bridgewater-Raritan High School the outstanding support of the ACDA National P.O. Box 6569 Bridgewater, New Jersey OB807 Office staff. Following are the committees with 9081231-8660 (voice); 908/231-0467 (fax) [email protected] chairpersons and coordinators:
NORTH CENTRAL DIVISION PRESIDENT Steve Boehlke Rosemount High School Assistant Convention Chair James Hudson Honor Boychoir Tom Jones 3155 144th Street. W. Rosemount, Minnesota 55068 Program Chair William Maydin H.S_ Honor Choir Janice Bradshaw 612/423-7542 (voice); 612/423-7511 (fux) [email protected] Local Arrangements Robert Snyder Women's Honor Choir Monica Hubbard NORTHWESTERN DIVISION PRESIDENT On-Site Exhibits Bill Cormack Orchestra Hall Site Tom Smith Constance Branton South Junior High School International Performing Medinah Temple Site Randi Vos Ellefson 805 Shoshone Street Boise. Idaho 83705 Choirs Jeffrey Poland Bill McMillan 208/338-5377 (voice) sjhmt;[email protected] Hyatt Regency Site Mitzi Groom Hospitality Beth Brown Shugart SOUTHERN DIVISION PRESIDENT Shuttle Bus Don Trott Reading Sessions Jim Bohart Donald Trott Music Department. Longwood College Exhibits!Advertising Dale Cole Publicity Perry White FarmvllJe. Virginia 23909 804/395-2500 (voice); 804/395-2149 (fux) Student Conducting Final Auditions John Haberlen [email protected] Competition Scott Dorsey Honor Choirs Scott Anderson SOUTHWESTERN DNISION PRESIDENT R. Paul Drummond H5. Honor Choir Site Keith Dixon Women's Honor Choir Site Beth Holmes Swinney Conservatory of Music Central Methodist College Program Assistant Brandon Carnes Fayette. Missouri 65248 6601248-6323 (voice) National Office Staff: John Askew, Marion Donaldson, Ann Easterling, Frank Fulmer, Melissa [email protected] Gasser, Ilse Jefferson, and OI{Sana Matthey WESTERN DIVISION PRESIDENT Thomas Davies Student Assistants: DePaul University, Wheaton College, and the University oflllinois-Chicago Music Department California Polytechnic Scate University San Luis Obispo. California 93407 8051756-1548 (voice); 805/756-7464 (fux) [email protected] We come to the end of this century having experienced a record attendance at a
INDUSTRY ASSOCIATE REPRESENTATIVE national convention and a record membership in our association of over 20,000 Kent Smith Heritage Festivals members_ We are grateful for our history and the legacy that is ours. We relish the P. O. Box 571187 Salt Lake City. Utah 84157 present and hope we are ready to identifY and accept the challenges the future brings. 801/263-3445 (voice); 801/265-2314 (fux) [email protected] We must place ourselves on the cutting edge of to day's technology and tomorrow's
PAST PRESIDENTS COUNCIL technological development. We must continue our commitment to establish and John Haberlen School of Ivlusic. Georgia State University expand the bridge between different countries and cultures to bring the best in choral University Plaza Adanta. Georgia 30303 music to all people of the world. We must assure that our voice will be heard in every 404/651-3676 (voice); 404/651-1542 (fax) [email protected] state and national legislature, every town hall, and every school's governing body, Maurice Casey Colleen]. Kirk insisting that the choral arts be given a rightful place as fundamental to the wellbeing Harold A. Decke Theron Kirk William B. Hatcherr Diana]. Leland of any society. We must continue to demand and expect from our own membership Morris D. Hayes Russell Mathis Charles C. Hirt H. Royce Saltzman the very best in choral literature and choral performance standards. After all, this is Warner"Imig Hugh Sanders Elwood]. Keister David Thorsen what brought us to where we are today.2 (Continued on p. 71.)
APRIL 1999 PAGE 3 FROM EDITORIAL THE EDITOR BOARD EDITOR Wesley Coffman 4023 WembleyTerrace Convention Session Dallas, Texas 75220 HE RESPONSE TO the session, "Performing on Paper ... Writing for the 214/353-8020 (voice/fax) Choral Journal" was beyond expectations. Attendance exceeded 150 mem [email protected] ASSOCIATE EDITOR T bers, all who (of course) promised to write an article. We express our thanks Nina Gilbert University of California-Irvine for the fine presentations by panelists, Richard Bloesch, Nina Gilbert, Lawrence Music 292, Building 714 Schenbeck, John Silantien, and Stephen Town. They gave us much helpful informa Irvine, California 92697 949/824-3854 (voice); 949/824-4914 (fax) tion in a short period of time and in an interesting manner. If you were present and [email protected] did not receive a handout but would like one, please contact me by email or phone, MANAGING EDITOR Ann Easterling and I will gladly send you a copy. P.O. Box 6310 Lawton, Oklahoma 73506 580/355-8161 (voice); 580/248-1465 (fax) This Month [email protected] Johann Michael Haydn served as organist in the Salzburg Cathedral and St. Peter's EDITORIAL ASSISTANT Susan Gower Abbey for over forty years. This tenure is unusual by any standards. During that time, 316 Mustang Circle San Antonio, Texas 78232 he composed numerous sacred works, many of which are not known today. Haydn 210/495-0833 (voice); 210/495-0838 (fax) did not allow them to be published during his lifetime. Dale Miller gives us some [email protected] current information about these works and their availability in "The Choral Graduals EDITORIAL BOARD MEMBERS Richard J. B10esch of Johann Michael Haydn." School of Music, University of Iowa Iowa City, Iowa 52242 1999 is the hundredth anniversary of Francis Poulenc's birth. It is also the fortieth [email protected] anniversary of the completion of the Gloria. Lee Barrow in his article, "Francis David L. Brunner Poulenc's 'Grand Choral Symphony,''' writes about the circumstances surrounding the . Department of Music University of Central Florida composition of Gloria and about discrepancies among all the original scores. If you are P.O. Box 161354 Orlando, Florida 32816 planning a performance of this work, you will find this helpful. [email protected] The "Hallelujah" column is unusual this month. It is an extensive bibliography of Richard Nance Department of Music materials on staff relationships. Timothy Sharp and Mark Acker provide us with a Pacific Lutheran University compendium of vital resources. Tacoma, Washington 98447 This month marks the debut of our new Choral Reviews Editor, Richard Nance. Christine D. de Catanzaro School of Music, Georgia State University You will find some excellent reviews of works by composers from the Northwest. Our 331 Glendale Avenue Decatur, Georgia 30030 congratulations to Richard for an interesting, well-prepared first column. [email protected] Sharon A. Hansen Department of Music, School of Fine Arts Wesley Coffman University ofWisconsin-Milwaulcee P.O. Box 413 Milwaukee, Wisconsin 53201 [email protected] Victoria Meredith Faculty of Music, Talbot College University of Western Ontario London, Ontario N6A 3K7, Canada [email protected] Robert Provencio California State University-Bakersfield I"he I"empowatch 9001 Stockdale Highway Bakersfield, California 93311 [email protected] Lawrence Schenbeck Department of Music, Box 316 Spelman College you are 350 Spelman Lane SW Atlanta, Georgia 30314 conducting, [email protected] teaching, Timothy W. Sharp listening or School of Music, Belmont University Nashville, Tennessee 37212 composing. [email protected] Stephen Town Toll Free 1-888-803-6287 Department of Music Northwest Missouri State University [email protected] Maryville, Missouri 64468 [email protected] [email protected] ~ind ~t ~ast! with www.allthingsmusical.com COORDINATOR OF STATE NEWSLETTERS The Complete Music Perry White Education Resource Web Site 2726 S. Pickard Ave. All Music Products, Services, Events, Norman, Oklahoma 73072 Classifieds - on Searchable Databases! [email protected] Toll Free 1-888-803-6287
PAGE 4 CHORAL JOURNAL NAT IONAL June 20-26, 2000 R&S CHAIRS Prague NATIONAL CHAIR . Barbara Tagg Czech Republic 215 Crouse College/Syracuse University Syracuse, New York 13244 315/443-5750 (voice): 315/488-1155 (fux) [email protected] BOYCHOIR Randall Wolfe Cincinnati Boychoir 4740 Samuel Court Mason, Ohio 45040 513/396-7664 (voice) [email protected] CHILDREN'S CHOIRS Rebecca Rottsolk Northwest Girlchoir 728 Twenty~firs[ Avenue Soatcle, Washington 98112 206/329-6225 (voice): 206/329-9925 (fux) [email protected] COLLEGE AND UNIVERSITY CHOIRS William McMillan Department ofMusidUniversity of Texas at EI Paso EI Paso, Texas 79968 915/747-6630 (voice) [email protected] COMMUNITY CHOIRS Charles Facer Greenwood Laboraroty School Southwest Missouri State University 901 South National Springfield, Missouri 65804 417/836-6356 (voice) [email protected] ETHNIC AND MULTICULTURAL @JiU crghvdta 0lXade @J. c:§?:ickson PERSPECTIVES Anthony T. Leach CZech Philharmonic World Voices Pennsylvania Stare University University Park, Pennsylvania 16802 Children's Choir of Minnesota 814/865-6521 (voice); 814/865-7140 (fux) [email protected] JAZZ AND SHOW CHOIRS Diana R. Spradling Western Michigan University/School of Music Kalamazoo, Michigan 49008 616/387-4751 (voice) [email protected] JUNIOR HIGH/ MIDDLE SCHOOL CHOIRS Kathleen Anderson @James ~itton 1551 Parkview Avenue San Jose, California 95130 American Boychoir 650/526-3570 x447 (voice); 650/965-9278 (fux) [email protected] MALE CHOIRS Clayton Parr Vandercook College of Music 3140 S. Federal Sr. Chicago, minois 60616 312/225-6288 (voice); 3121225-5211 (fux) MUSIC AND WORSHIP Carl L Starn Chapel Hill Bible Church 1200 Mason Farm Road Chapel Hill, North Carolina 27514 919/968-4754 (voice); 919/918-4059 (fux) carlsram@aoLcom Cash prizes for competition winners plus trophies/ SENIOR HIGH SCHOOL CHOIRS Janice R. Bradshaw awards in each of 4 categories: 9 Morningside Drive Boonville, Missouri 65233 st 816/882-7558 (voice); 816/882-3368 (fux) 1 Prize in each category - 25,000 Czech Koruns [email protected] 2nd Prize in each category - 12,500'Czech Koruns TWO-YEAR COLLEGE CHOIRS D. Brent Ballweg Collin County Community College 2800 East Spring Creek Parkway Plano, Texas 75074 972/881-5653 (voice); 972/881-5103 (fux) [email protected] International, Inc. WOMEN'S CHOIRS Monica Hubbard California Institute of Technology USA EUROPE Mail Code 2-58 136 Lawrenceville-Pennington Road Budecska 27 Pasadena, California 91125 626/395-6260 (voice): 626/795-8731 (fux) Lawrenceville, NJ 08648-1413 12000 Prague 2, Czech Republic [email protected] 800-288-3242 (420) (2) 225-14483 YOUTHANDSTUDENTACTDnTlliS 609-896-9330 (in NJ) Fax: (420) (2) 225-12449 Scott W. Dorsey Fax: 609-896-3450 E-mail: [email protected] Department ofMusidMount Union College Alliance, Ohio 44601 E-mail: [email protected] Web: hUp://www.adinternational.cz 330/823-2181 (voice): 330/823-2144 (fux) Web: hUp:/twww.aditours.com [email protected]
APRIL 1999 PAGE 5
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by Dale Miller
Johann Michael Haydn (1737-1806), younger brother of published analyses, or recordings of this extensive body of Franz Joseph Haydn and contemporary of both Leopold and sacred choral literature. Yet there is evidence that these two- to Wolfgang Mozart, was court composer, concertmaster, and four-minute pieces, accompanied by strings, organ, and vari later cathedral organist in the Salzburg court for more than ous other combinations of instruments (horns, trumpets, oboes, forty years. From his employment by the Prince-Archbishop bassoons, trombones, timpani), were highly esteemed by Sigismund, Count Schrattenbach, in 1763 to his death in Michael Haydn's contemporaries and might prove worthy ad 1806, Michael Haydn composed secular works for use in the ditions to the contemporary choral repertoire.2 archiepiscopal court, sacred motets and Masses for worship services in the Salzburg Cathedral and St. Peter's Abbey. Al Works Commissioned though the exact number remains disputed by Michael Haydn Much has been written regarding the reforms of Austria's scholars Anton Maria Klafsky, Hans Jancik, Reinhard Pauly, Emperor Joseph II and the effect they had on the church music and Charles Sherman, it is well documented that more than of the period. Because Reinhard Pauly's 1956 study of Michael one hundred of these sacred pieces were four-voice, instrumen Haydn's works dealt in great detail with the effect of the tally accompanied Graduals. Set to texts for the Proper of the emperor's reforms on the ecclesiastical state in general and day (largely from the book of Psalms), these works were com church music in particular, this article will address only those missioned by Salzburg's Prince-Archbishop Hieronymus, Count that dealt most directly with the creation of the instrumentally von Colloredo-Waldsee, in response to the reforms decreed by accompanied choral Graduals. Pauly reported that Joseph's Emperor Joseph II in 1782. laws and decrees were "aimed at diminishing the power of the Although Michael Haydn did not allow any of the choral Catholic Church within his empire,"3 but quoted Kurthen's Graduals to be published in his lifetime, several were printed in assessment of A. L. Mayer's opinion that there were three the nineteenth century by Haydn's student, Anton Diabelli, in principal reasons for the Emperor's reforms of worship and its the series Ecclesiasticon (1829 and 1835). A few have been effect on the liturgy: published in modern performing editions, but at the time Charles Sherman and T. Donley Thomas completed Haydn's its simplification, communal worship, and better thematic catalogue in 1993, they found that fifty-four of the understanding of the service to result in greater edification. Graduals, almost half of these works, remained unpublished in To achieve the second and third intentions the vernacular any form. I Recent publications have reduced that number (see was introduced into the liturgy.... The main tenor of the table), but there are comparatively few critical editions, reform measures is stated repeatedly; all religious services should have for their main purpose the "bettering of Dale Miller is Director of Choral Activities and Chair of the humanity."4 Department of Music at Arkansas State University, Jonesboro.
APRIL 1999 PAGE 9 Joseph II's reforms, designed to en Joseph reforms, have come to Salzburg's composers at or courage more congregational participa: II's near the same time as the Hirtenbrief, tion by simplifYing the worship service, written in 1782 for the twelve-hundredth resulted in the suppression of purely designed to encourage anniversary of the archiepiscopate of instrumental music within the service Salzburg. and the elevation of music in the ver more congregational The use of the so-called "epistle so nacular. In Salzburg, Prince-Archbishop nata" in the worship service to replace the Hieronymus, Count von Colloredo participation by chanting of scripture with a purely in Waldsee, employer of the Mozarts and strumental piece was not a Classical Pe Michael Haydn, responded with a pasto simplifYing the worship riod innovation. However, the difference ralletter, the Ill-page Hirtenbrief, which, between Baroque-era church sonatas and among other things, called for singing service, resulted in the the instrumental music employed in the hymns in the vernacular and resulted in later period is described by Karl Rosenthal the replacement of the "epistle sonata" for suppression ofpurely in a 1932 article on church music m organ and orchestra with the Offertory Salzburg in the eighteenth century: and Gradual for choir, organ, and small instrumental music. instrumental ensemble.5 Catholic music The practice of inserting a purely historians and Classical Period scholars and the elevation of instrumental composition into the have not yet discovered the specific Mass, usually between Epistle and document that commissioned the cho music in the vernacular. Gospel, became widespread. While ral setting of texts of the Gradual and in the early 18th century these Offertories. Several different dates for the "Epistle Sonatas" were normally directive are discussed and rejected by accompanied choral Graduals and Offer written for this purpose (as, for Pauly. 6 His conclusion, based on the tories (the earliest autographs are of De instance, Fux's sonate a tre), during timing of the beginning of Michael cember 1783), is that orders for Joseph's time any available Haydn's prolific output of instrumentally replacement of the "epistle sonata" must instrumental piece may have been inserted, movements of concertos being quite popular.... Leopold Mozart describes Wolfgang's performance of a violin concerto during Mass in a letter from Vienna dated August 12, 1773.7
The incorporation of secular works, such as the Mozart violin concerto, into the celebration of the Mass, often caused a lengthening of the worship services, something that Colloredo did not toler ate. In addition to banning purely instru mental music in the Mass, Colloredo wanted to eliminate the "miserable" in strumental and "horrible" vocal music that was often heard in the parish churches and replace it with hymns in the vernacu lar and singing ofchant. In the Hirtenbrief Performances Every Day the Archbishop supported his own objec Thanksgiving to New Year's tions to the "worldly; frivolous nature of instrumental music" and its use in the church service with quotations from church philosophers Chrysostomos and Jerome. Colloredo reflected:
BOLl OURS If church music that is proper, well appointed, and performed 1",800.. 327·2116 according to all artistic requirements www.superholiday.com merits such censure from those enlightened advocates of edifYing
PAGE 10 CHORAL JOURNAL public worship-what would they singing congregation. Michael low character and quality of the music say then about the music in our Haydn's Graduals turned out to be being written for use in the church ser common city and country churches? extremely popular during this vice following Joseph II's reduction of There every good thought is chased period, and this is only natural since musical establishments. Pauly cites out of the heart of the common they employ a small apparatus and Fellerer's opinion, stated in Geschichte der people by the miserable fiddling, in general are "singable," with katholischen Kirchenmusik, that "during and horrible howling only invites melodic appeal, without virtuosity the first half of the nineteenth-century stupidity and inattention.s or learnedness. . . . Particularly church music in Austria and southern during the first half of the 19th Germany is characterized by shallowness The Hirtenbriefhad a different effect century, this music was constantly and sentimentality."11 An anonymous re in two of the churches of Salzburg where in the repertory.lO viewer in an 1821 edition of Allgemeine Michael Haydn was in service. Since the musikalische Zeitung (AmZ) stated his view: quality of musical performance in the Salzburg Cathedral and the monastery of Fall from Favor Church music must be written in St. Peter remained high due to the greater Despite their late eighteenth- and early an extremely popular style. One skill of the court and monastery musi nineteenth-century popularity, 'the high fugue only was tolerated, as a bow cians over those of the "common city and degree of respect that the Graduals en to tradition, so to speak. W orles country churches," there was never a com joyed failed to result in the widespread must be as brief as is possible with plete ban on instrumental music in these continuation of their performance in the proper use of the entire liturgical larger churches. Rather than eliminating worship services of the second half of the text and enough time for the action instrumental music altogether, in the now nineteenth century or into the twentieth at the altar. . . . Fast movements lost communication with his court com century. The modern indifference to these should display all the happiness and posers, Prince-Archbishop Colloredo works prompts the question, "What gaiety the church and the text directed the words of the Offertory and caused these Graduals to fall from favor would possibly admit.12 Gradual to be set to choral music to sup by the middle of the nineteenth century?" plant the "epistle sonata" that was in gen The answer may lie in the reaction of This general dissatisfaction with eral use. This resulted in the creation of a musicians to the general nature of church the nature of instrumentally accom body ofinstrumentally accompanied four music of the early nineteenth century. panied sacred music resulted in the part mixed chorus works from the pen of Many musicians were dismayed by the increase of interest in "Palestrina Michael Haydn that became so popular with the clergy throughout the area they remained in the church repertory well into the nineteenth century in Austria and southern Germany. This is evidenced by the number of performance sets that were discovered in churches and monas teries throughout the area by Pauly, Sherman, and Thomas. Haydn's Graduals, highly respected in their own time and Custom Concert Tours beyond, "display a vocal style that was Experience in over 40 countries on 5 continents! considered appropriate for Catholic church music by the early nineteenth You prepare the MUSIC - century reformers."9 Pauly further ex plains: We'll prepare the WORLD! Tuscany International Children's Chorus Festival simplicity of music for the service became an increasingly important DoreenRao 1999 July 5 - 11 requirement. Many sociological Henry Leck 2000 July 3 - 9 factors might help to explain this: Jean Ashworth Bartle 2001 July 2 - 8 the secularization of many monasteries, the decrease of musical Musica Mundi, Inc. 101 First Street, Suite 454 • Los Altos, CA 94022 establishments maintained by Phone 650 949 1991 • Fax 650 949 1626 1-800-947-1991 nobility, the general rise of the E-mail: [email protected] http://www.musicamundi.com amateur in musical importance, as well as the intentional breaking down of the division into professional church musicians and
APRIL 1999 PAGE 11 style" unaccompanied music for the true devotional function. "[Sacred music] new editions of Michael Haydn's Graduals church, as evidenced in the writings of must show calm solemnity of motion, into the concert or liturgical repertory. In many musicians and clergymen of the dignity, and purity of harmonies, avoid the decade following his study of these late eighteenth and early nineteenth cen ance of extraordinary, individualistic, ex works, Reinhard Pauly edited ten of the turies, and culminated in the founding of pressive details; it must abide by Graduals for SATB choir with a keyboard the Allgemeiner Deutscher Cacilienverein impersonallaws."13 reduction of the instrumental parts, but (Society of St. Cecelia) by Franz Xavier Because of this growing interest in and provided· only the English translation of Witt in 1869. The tum toward unaccom movement toward a return to the use of the Latin texts. These were published by panied music also meant that even the unaccompanied music in the service, or G. Schirmer, Inc., and further informa well-written instrumentally accompanied chestrally accompanied works, such as tion about them may be found in the pieces, such as Haydn's Graduals, were Michael Haydn's Graduals, fell into dis Michael Haydn thematic catalogue.14 A eliminated from the liturgical service in use in all but the monastery churches by few more Graduals were published in Eu favor of works in the older style. In the the last half of the nineteenth century. rope in the 1970s. There were few other eighteenth and nineteenth centuries Abbe Since many of the monasteries had been publications of this genre until after the Vogler, Herder, and Karl Proske wrote secularized during the unsettled political 1993 release of Sherman and Thomas's advocating a return to the renaissance po times near the end of the eighteenth and listing, which has seemed to raise aware lyphony of Palestrina. In the 1780s and beginning of the nineteenth centuries, the ness of these and other works by M. 1790s, Herder expressed in a series of performance of church music in the Clas Haydn. The table lists all the Graduals essays his opinion that church music sical style was further diminished. It is included in the thematic catalogue, with should not become like opera. The oper not until the middle of the twentieth cen publication history for each. atic displays of virtuoso vocal technique tury that the works of Michael Haydn Two websites yield information abour necessary for the soloists in a work such begin to resurface. recent Gradual editions not recorded in as Wolfgang Mozart's Great Mass in C the thematic catalogue. A visit to minor, K. 427, bring Herder and others New Publications
PAGE 12 CHORAL JOURNAL available from NMP for all three syncopation in the violins and horns (Fig m. 55, followed by a half-cadence on A Graduals. ure 4). The melodic shape of the parallel (Figure 4). The musical and complete tex thirds of the soprano and alto parts, which tual recapitulation begins in m. 58 with a Classical Structure first descend in stepwise motion in m. 40 repeat of the first eleven measures of the The charm of these works lies in their and return by leap to repeat the descent composition in all details. "singability" and their ability to remind to the tonic and mediant of A, recalls the Even though Beatzts and Alleluja! do the listener of the structures and senti principal theme of the exposition (Figure not present all three sonata form elements ments in music of the Classical period, 1). Another typical feature of the devel in the Classical proportions, that alone is both choral and instrumental. In the only opment section is a period of harmonic not sufficient to disqualifY them as "so twentieth-century biography of the unrest before return to tonic for recapitu nata" forms. Charles Rosen's statement Salzburg composer, Hans Jancik referred lation. This unrest may be observed in that "The definitions [of sonata form] gen to Michael Haydn as a composer who sequential movement through D major erally given are far too limited even for the was not an innovator but rather a con to G major and e minor in mm. 43-50 latter part of the 18th century,"16 refutes tributor to the culmination of a style. I5 It (Figure 4). Prolongation of dominant in Pauly's contention that these Graduals must should come as no surprise that the new mm. 51-4 sets up a deceptive cadence in be described as "quasi-sonata," not genre Haydn was commissioned to create should be constructed according to the [I] PlifJ P2 most popular form of the period. Beatus vir qui timet Dominum, Alleluja! S. [f ~~~ i j J~ 4s:::±2J m I JJ [j I 4{Z]> I J j P I Confitemini Domino, and Paratum cor Pa - ra - tum cor me - urn _ De us, pa- meum, were found to contain elements of the sonata principle, although only [~#~~ r a I r a I rJ- n In j J) I U IJ Paratum presents all the aspects of sonata ra - tum cor me - urn, pa - ra - tum, pa - ra - tum cor me urn: form-exposition (without repetition), development, and recapitulation-in the Figure 1. Paratum cor meum, Exposition: Principal Theme. Used with permission. © National customary and expected sequence and Music Publishers. proportions. The exposition of Paratum follows a lliJ SI harmonic scheme often found in the so s. ~#I # j t nata form. The principal thematic mate If If IF IF F IF r Ir rial is presented in the tonic D major in Can - ta bo, et psal lam ti bi, its first eleven measures, cadencing on the Figure 2. Paratum, mm. 12-19. Exposition: Secondary Theme. dominant A major (Figure 1). The prin [ill cipal theme (marked PI) begins with a -'AJJ. diatonic melody found in the soprano S. voice on the dominant, aI, and descends ~ I AI - Ie In ja, AI- - Ie- In ja, i stepwise to the tonic, d . The leap of an A" ~ ~ octave to the upper tonic allows a flowing A. eJ descent, which is followed by a more lively, Al - Ie - In - ja, AI Ie - disjunct continuation of the melody (P2). ,. " T. ---- As is common in motet style, a single line ~ AI Ie - lu - ja, AI Ie - of text is used for each theme group and ". ---- .".. is repeated in fragmentation. Beginning B. -- in m. 12, the secondary thematic mate " AI Ie --In -.Ja, Al Ie - rial, marked 51, is presented in the domi ";AJJ. =--- nant A major (Figure 2), utilizing the - - next line of the scripture, Cantabo et 4U ..- AI - Ie - In - ja, __- AI Ie - In ja,_ AI - Ie - psallam tibi (I will sing and give you AJJ...... , -.. praise), as text, and the exposition con - 4U '--" tinues to its close in A with an even live In - ja, AI Ie - lu ja,- _ AI - Ie - In- ja,_- lier setting of alleluja (Figure 3). AJJ. " - In the development section ofParatum ~ ...... I Michael Haydn uses text and melodic -In - ja, AI Ie - In -ia,_ AI-Ie...... , - lu ja, material from the principal theme group. - Variations on the musical characteristics I r I - of the exposition are accompanied "" f-l.n - Ja, AI Ie - In ia,_ AI-Ie - In ia, throughout the development section by Figure 3. Paratum, mm. 25-33. Exposition: Closing.
APRIL 1999 PAGE 13 "sonata" forms. I? Rosen continued his vir qui timet Dominum are similar to is as follows: description of sonata form by qualifYing Paratum in some respects, but relate more its definition. "In any case, the 'sonata' is to each other in structure. All three motets Paratum-39: 18: 39 (31) not a definite form like a minuet, a da expose primary and secondary theme Alleluja!-20 : 4 : 36 (8) capo aria, or a French overture: it is, like groups which are delineated by textual Beatus-35 : 7 : 64 (15) the fugue, a way of writing, a feeling for phrases. The development sections of each proportion, direction, and texture rather are quite brief in relation to their exposi However, as is seen above, although the than a pattern."IB tions and recapitulations. The ratio of return ofthe expository material in Paratum Differing somewhat in "proportion," the number of measures allotted to expo is a tonic key "mirror image" of its exposi Alleluja! Confitemini Domino and Beatus . sition/development! recapitulation (coda) tion, the recapitulations of both Alleluja!
@ill unis Hns " eJ(p.) ...... 1IIlis. . .;.. It. .~ ....., .;.. ,.. ~ ~ F=I=I=I ;, it- Vln.1 v"" Vln.2 '-001 L,...J i'eJ (p) ..... I.-J ---- -:;J. ... v" " (p.) ...... s. ------eJ ~ Pa-ra- - t:Cor me - urn, De - us, pa - ra - tum- cor me - urn, De - - \:';,'"pa -ra - "" (p.) r--. A - - -- eJ '-" '-' '" Pa-ra - tum cor ::;- - urn, De - us, pa -ra - tum cor me - urn, De - - us, pa -ra-- - (p.) ....., T. "" - - - - ~ V Pa-ra -- tum cor me - um, De - us, pa- ra - tum cor me - - - urn, (P) ~ ~ ...... - ...----- B. : ---- I ..... " Pa-ra - tum cor me- - urn, De - us, pa- ra - tum cor me - - urn, ....., - r-::I. r'"1 - - ~ - Org '-001 '-001 ..... '-001 L,...J "-I F~- I.....J - m-I r r r r ...... DMajor GMajor " div'l ~ I ~ r--I "- r--I I eJ I V I V 1-..1 I ~ Li r div.!""1 fL .;-;. .;-;. .)1. "" " ..--... - l'eJ - .. - ===== - W tIU "" " r--. ;--... ;--... eJ .. tum cor me - urn, pa- ra - tum cor me - urn, De - us, De - - us, " - eJ '--' ~ "!:.,./ ~ tum cor me - urn, pa- ra - tum cor me - urn, De - us, De - - us, " .. ;--... ;--...
V cor me - urn, De - us, De - - us, be - - --us, pa-~ - tum - : : i' I I -- us, pa- ra - tum COr ~ - urn, De - - us, De - - us, .. ~e - .. I " - - - j-. ,,- I if' .~ -- "-I .. ~ L,...J --.J ... - - - - ... .. ,.. e ml1wr... Dominant p r%ll g arion Decep live Germall6th I,....J Dominant
Figure 4. Paratum, mm. 40-57. Development Section.
PAGE 14 CHORAL JOURNAL and Beatus are significantly longer than their expositions. Each has recapitulations that wander from their tonic keys in de velopmental fashion (Beatus even reca pitulates the developmental material), while Paratum saves further harmonic and melodic exploration for the coda. 2000 Performance Forces These SATB motets are elegant ex amples of the accompanied sacred music It's a special year of the Classical Period, and while choirs may perform them with the editor's key board reductions, the parts for the scored Make it a special trip accompanimental groups are not difficult. Paratum and Alleluja!, planned for use in a typical Sunday mass, are scored for strings and two horns. Beatus, written for a festival honoring Archbishop Colloredo in February 178519, adds pairs of oboes, trumpets (clarini), and timpani to that instrumentation. The horn and trumpet parts were included for harmonic sup port. The string parts (two violins, no violas, and continuo in the Salzburg tra dition) present a bit more of a challenge to the player, with sixteenth-note figura tions, bur still are quite playable. They, too, often follow the vocal parts with figu ration added on rests or long notes in the Nb~A~ voices. When oboes are present, as in Beatus, they usually double the soprano MUSIC FESTIVALS and alto parts, freeing the strings for ob AND CUSTOM TOURS bligato playing. Depending upon the size of the performing group, bassoon may be added to the continuo, and as in the Clas Mark the Millenium with participation in a first-class sical tradition, trombones may be used to adjudicated festival, double the alto, tenor, and bass parts. or with a superior customized tour
Texts Festivals: Toronto, Virginia Beach, Although originally conceived for in New York City. Myrtle Beach clusion in the Mass celebration, the psalm texts of the three Graduals discussed in Custom tours: Florida, Europe, Canada, Calif., etc. this article make them equally appropri ate as anthems for protestant worship ser Contact us for more information vices, or as concert selections performed Voice: 1-800-533-6263 either singly or as a group. The text of website: www.greatfestivals.com Alleluja! Confitemini Domino is taken from email: [email protected] two different psalms. The first verse of mail: 50 Brookwood Avenue, Psalm 118 precedes verses one and two of Carlisle, PA, 17013 Psalm 117 and is appropriate for the Vigil of Pentecost. Paratum cor meum is a set ting of the initial verse of Psalm 108 and was used on the twentieth Sunday follow ing Pentecost. Beatus vir qui timet Dominum was to be sung in the week following the third Sunday before Lent,
APRIL 1999 PAGE 15 and its text is the first three verses of music in the liturgical service throughour the letters between Michael and Joseph Psalm 112. the nineteenth and twentieth centuries Haydn. Landon's book, Essays on the Michael Haydn's settings of these and caused orchestrally accompanied Mass set Viennese Classical Style: Gluck, Haydn, other texts were praised by his contempo tings to be dropped from the liturgical Mozart, Beethoven (1970), supplies an raries for their "singability." His early bi repertory in favor of unaccompanied or "introduction" to Michael Haydn and his ographers, Shinn and Otter, claim that more simply accompanied music. Second, works. In addition to the works list found the care Michael took in properly setting the brevity, relative simplicity, and litur in Pauly's article in the New Grove the Latin words of the Mass Proper and gical functionality of these works by Dictionary of Music and Musiciam, the other Latin texts was due to his consulta Michael Haydn did little to entice musi resource proven invaluable in the location tion with his friends at St. Peter's Abbey cians to include them in the more dra of manuscripts examined in this article is in Salzburg regarding the meaning of in matic concert repertory of the late the 1993 publication, Johann Michael dividual words and phrases.2o For what nineteenth century. Perhaps the recent Haydn (1737-1806): A Chronological ever reason, this author found the word publication of more Graduals by the Thematic Catalogue of His Works by stresses within these motets to be appro Salzburg Haydn will increase interest in Charles H. Sherman and T. Donley priately placed, enhancing the accom performance of these charming works and Thomas. plishment of artistic phrasing in rehearsal stimulate more new editions. 3 W. Kurthen, "Srudien zu W. A. Mozarts and performance. kirchenmusikalischen J ugendwerken" NOTES Zeitschrift for Musikwissenshaft 3 (1920- Summary 1 Charles H. Sherman and T. Donley Thomas, 21), cited in Reinhard Pauly, "Michael Although many of the liturgical cho Johann Michael Haydn (1737-1806): A Haydn's Latin Proprium Missae ral/orchestral works of the Classical Pe Chronologjcal Thematic Catalogue ofHis Work. Compositions" (Ph.D. dissertation, Yale riod have survived in the modern concert Thematic Catalogues No. 17. (Sruyvesant, University, 1956),372. repertory, there are perhaps two major NY: Pendragon Press, 1993), 122fE 4 Pauly (1956),374. reasons that the instrumentally accompa 2 The Graduals and Offertories that Michael 5 Pauly, Music in the Classical Period nied choral Graduals of Michael Haydn Haydn composed were discussed by (Englewood Cliffs, NJ: Prentice-Hall, did not retain their popularity into the Reinhard Pauly in his 1956 dissertation Inc., 1973), 184. twentieth century. First, the continued "Michael Haydn's Latin Proprium Missae 6 Pauly (1956), 12l. de-emphasis of orchestrally accompanied Compositions." My study of these 7 Rosenthal, Karl A. "The Salzburg Church Graduals drew heavily upon Pauly's work Music of Mozart and His Predecessors," for general descriptions of the music, trans. by Theodore Baker in Musical background information regarding the Quarterly XVIIII4 (October 1932): 577. life and music of Michael Haydn, and 8 Pauly (1956), 12l. the social, religious, and political climate 9 Reinhard Pauly, s.v. "Haydn, Johann in which he worked. Another work of Michael," The New Grove Dictionary of great benefit concerning the life and Music and Musiciam, Stanley Sadie, ed. church compositions of the Salzburg (1980),409. Haydn, is the biographical pamphlet 10 Pauly (1956), 256-257. published by his friends Shinn and Otter 11 Ibid. 255. in Salzburg just two years after his death 12 [Anon.], Allgemeine Musicalische Zeitung in 1808: Biographische Skizze von Michael (1821), 684ff, cited in Pauly (1956), 255. Haydn. Von des verkliirten Tonkiinstlers 13 L. Schrade, "Herder's Conception of Freunden entwoifen, und zum Besten seiner Church Music" The Musical Heritage of Wittwe herausgegeben. The only full the Church III86 [1946], cited in Pauly length biography of Johann Michael (1956), 265. Haydn written in this century is Hans 14 Sherman and Thomas, 122f£ Jancik's 1952 work: Michael Haydn: ein 15 Hans Jancik, Michael Haydn: Ein vergessener vergessener Meister. Quite helpful Meister. (Zurich, 1952),306. regarding biographical details and the 16 Charles Rosen, The Classical Style: Haydn, relationship between Michael Haydn and Mozart, and Beethoven (New York: The his more famous brother are the Viking Press, 1971),30. biographies of Joseph Haydn by 17 Pauly (1956), 169. Geiringer and H. C. Robbins Landon. 18 Rosen, 30. Landon's works, Haydn: Chronicle and 19 Sherman and Thomas, 138. Works, vols. IV and V (1977), and 20 F. J. Shinn and G. Otter, Biographische Skizze Haydn: His Life and Music (with David von] M Haydn (Salzburg, 1906),47. Wyn Jones, 1988), have been valuable in providing English language accounts of -C]-
PAGE 16 CHORAL JOURNAL Table Michael Haydn's Graduals (MH Numbers represent listing number in Sherman and Thomas's thematic catalog) (graduals in parentheses are unpublished) (Composed in Salzburg unless otherwise noted)
MH38, Christus factus est. Wien: Diabelli [1835]. (MH386, Dilecrus meus. Nov 1784) (Grosswardein, March 1761) C. H. Sherman. Stuttgart: Carus-Verlag, 1987. MH361, Victimae Paschali laudes. (April MH387, Tollite portas. (Nov 1784) [PI. 1784) Biba. Hilversum: Harmoni nr. 3053] Wien: Diabelli [1829]. (MHI90, Egregie Doctor Paule Uitgave, 1970: [PL. Nr. 5514] Wien: [Salz?, 1774]). Diabelli [1835]. MH388, Ave Mm·ia. (Nov 1784) Raccolta di musica sacra. 2. Firenze: MH341, Viderunt omnes. (Dec 1783) MH362, Alleluia. In die resU1"tectionis. Lorenzi end]; [PI. Nr. 3054] Wien: Biba. Hilversum:Harmonia, Uitgave, (April 1784) [PI. Nr. 5515] Wien: Diabelli [1829]. 1971; [PI. Nr. 3093]. Wien: Diabelli Diabelli [1835]. [1829]. (MH389, Justus ut palma. Nov 1784) (MH363, Alleluia. Confitebuntur caeli. MH342, Alleluia, faudate puerL (Dec. April 1784) MH390, Tecum principium. (Dec 1784) 1783) Suyok, Imre. Budapest: Editio (MH364, Dicite in gentibus. Ap 1784) Harry Graf. Zurich: Hug, 1965; [PI, Nr. Musica I Kassel: Barenreiter. 1978; (MH365, Alleluia. Ascendit Deus. May 3091] Wien: Diabelli [1829]; Butz. Ger Reinhard Pauly. [kybd/vc score]. NY: 1784) many: Musileverlag, end]. + Schirmer [nd]; Karl Kremer. Augsburg: (MH369, Benedictus es Domine, June Bohm, 1959; [PI. nr. 3097]. Wien: 1784) MH391, Benedictus qui venit. (Dec Diabelli [1829]. 1784) Harry Graf. Zurich: Hug, 1964; MH370, Exsultabunt Sancti. Gune 1784) [PI.Nr. 3092] Wien: Diabelli [1829]. MH343, Sedmmtprincipes. (Dec. 1783) Reinhard Pauly. [kybd/vcl] NY: Schirmer [PI. Nr. 3049]. Wien: Diabelli [1829]. nd. MH392, Effudmmt sanguinem. (Dec 1784) Reinhard Pauly. [kybd/vcl]. NY: MH344, Hic est discipulus. (Dec. 1783) (MH372, Priusquam te formarem., June Schirmer end]; [PI. Nr. 3096] Wien: [PI. Nr. 3095]. [1829]. 1784) Diabelli [1829].
MH345, Ecce sacerdos. (Dec 1783) MH373, Comtitues eos principes. Gune MH397, Tu es Petrus. (Feb 1785) Reinhard Pauly [kbd/vcl sc]. NY: 1784) Raccolra di musica sacra. 2. Raccolra di musca sacra. 2. Firenze: Schirmer, 1958. Firenze: Lorenzi end]. Lorenzi end].
(MH348, Benedictus es Domine. c.1780- MH374, Benedicta etvenerabilis es. (June MH398, Beatus vii: (Feb 1785) Dale 82) 1784) Sir John Goss. [The Organist's Voelker. MorningStar, 1995; Dale Miller. Companion. A Collection ofVolontaires CA: National Music Publishers, 1999. # MH350, Omnes de Saba. Gan 1784). ... in 24 numbers.] London: Novello [PI. Nr. 3098]. [1829]. end]; [PI. Nr. 3089] Wien: Diabelli (MH401, Oculi omnium. Ap 1785). [1829]. MH351, Salvos fac nos. Gan 1784) MH402, Alleluia. Confitemini Domino. Friedrich Rochlitz. Paris: Schott, 1840. (MH375, Adjuvabit earn Deus, July (May 1785) Switzerland: Editions Musi [PI. Nr. 3100] Wien: Diabelli [1829]. 1784) cales end] +; Dale Miller. CA: National (MH376, Dilexisti justitiam, July 1784) Music Publishers, 1999. # MH352, Gloriosus Deus. Gan 1784) Mar (MH377, Speciosus forma, July 1784) tin Banner. Hinshaw, 1997.*+ (MH378, Probasti Domine, July 1784) (MH403, Domine, quis habitabit. May (MH379, Felix ex sacra, Aug 1784) 1785) (MH353, Tu es vas electionis. Jan 1784) (MH380, Nimis honorati sunt. Aug 1784) MH408, Ecce ViI;g-o concipiet. (Nov 1785) MH355, Nunc dimittis, Gan 1784) Maria [PI. Nr. 3056] Wien: Diabelli [1829]. P. Eckhardt. Budapest: Editio Musical MH381, Benedicite Dominum. (Aug Kassel: Barenreiter, 1976; Raccolta di 1784) Ludwig Kummerlein, Heidelberg: MH409, Ne timeas Maria. (Nov 1785) musica sacra. 2. Firenze: Lorenzi end]; Mu, 1977; Barenreiter [nd].* Liege: Muraille end]; [PI. Nr. 3055] [PI. nr. 3049] Wien: Diabelli [1829]. Wien: Diabelli [1829]. (MH382, Juravit Dominus. Sep 1784) MH356, Ab ortu solis. (Feb 1784) MH410, Beatus vir, qui suffel·t. (Dec Raccolta di musica sacra. 2. Firenze: MH383, Locus iste. (Sep 1784) 1785) [PI. Nr. 2241] Wien: Diabelli Lorenzi end]. Monachii: Sidler, Lentner end]; Lawson [1816/1827]. Gould, 1997.+ (MH357 Audi Filia. Feb 1784) MH442, Universi, qui te exspectant. (Aug (MH359, Domine praevenisti. March MH385, Timete Dominum. (Oct 1784) 1787) Harry Graf. Zurich: Hug, 1968; 1784) Reinhard Pauly. [Keybob/vcl]. NY: Anton Maria Klafsky. [Denkmaler der Schirmer, 1964. Tonkunst in Osterreich. XXXII/l]. MH360, Dolorosa et lacrymabilis es. NOTE: this work shares the Alleluia with Wien: Universal Edition, 1925; Otto (March 1784) Raccolta di musica sacra. earlier offeratorium setting (cf. MH256). Schmid. Langensalza: Beyer [1908]; [PI. Firenze: Lorenzi end]; [PI. Nr. 5512] Nr. 3049] Wien: Diabelli [1829]. Stein.
APRIL 1999 PAGE 17 MH~~l, Eripe me. (March 1788) Klafsky Ap 1789). [DTO]; [PI. Nr. 5510] Wien: Diabelli (MH506, Respice Domine. May 1789). [1835]. (MH509, Bonum est confidere. Aug 1789). MH482, Alleluia. Cognovel'Unt discipuli. (MH510, Bonum est confiteri domino. [PI. Nr. 5516] Wien: Diabelli [1835]. Aug 1789). (MH511, Beata gens. Sep 1789). MH483, Alleluia. Redemptionem misit. (MH513, Caro mea vere. Salz? c.1790). BeautifUl....powetful ...• eclectic .... (March 1788) [PI. Nr. 5517] Wien: (MH519, Laetatus sum. Sep 1790). See and Hear the music online! Diabelli [1835]. (MH520, Dirigatur oratio mea. Sep Website: 1790). Email: MH484, Alleluia. Dextera Domini. (MH521, Domine refugium. Oct 1790). (March 1788) [PI. Nr. 5518] Wien: (MH522, Ecce quam bonum. Oct Diabelli [1835]. 1790). Theodore Presser, Inc. [nd]. * (MH523, Liberasti nos. Oct 1790). MH485, Alleluia. Surrexit Christus. (Ap MH524, Paratum cor meum. (Nov 1790) MH443, Ex Sion species. (Aug 1787) 1788) [PI. Nr. 5519] Wien: Diabelli Anton Maria Klafsky. [DTO, XXXIl/1]. [1835]. Miller. CA: National Music Publishers, Wien: Universal Edition, 1925; Otto MH486,Alleluia. RegnavitDominus. [PI. 1999.# Schmid. Langensalza: Beyer [1908]; [PI. Nr. 5520] Wien: Diabelli [1835]. Nr. 3050]. Diabelli [1829].Zurich: Hug (MH525, In omnem terram. Dec 1790). MH487, Ad Dominum, dum tribularer, [nd]. + clamavi. (Ap 1788) Reinhard Pauly. MH526, Gloria et honol'l!. (Dec 1790.) MH444, Qui sedes, Domine. (Sep 1787) [kbd/vcl] NY: Schirmer, 1958. Hinshaw, 1997. * Harrr Graf. Zurich: Hug, 1966; Klafsky. [DTO, XXXIII1]. Wien: Universal Edi (MH488, Jacta cogitatum tuum. May (MH528, Post partum Virgo. Jan 1791). tion, 1925; [PI. Nr. 3051] Wien: Diabelli 1788). (MH554, Vos estis. May 1794). [1829]; Stein. Theodore Presser, Inc. [nd]. (MH556, Laudibus mons. Aug 1794). * MH489, Propitius esto Domine. (May 1788) Reinhard Pauly [kbd/vcl]. NY: MH635, Vil;gO prudentissima. (Aug MH445, Prope est Dominus, (Sep 1787) Schirmer, 1958. 1796) Raccolta di musica sacra. 2. Firenze: Lorenzi, [nd]. Harrr GraE Zurich: Hug, 1969; Klafsky. [DTO]; Otto Schmid. Langensalza: (MH490, Convertere Domine. May Beyer [1908]; Ausgewahlte Gesange. 1788). (MH651, Germinavit radix Jesse. Jan Leipzig: Breitkopf & Hartel [1896]; [PI. (MH491, Domine! Dominu noster. June 1797). Nr. 3052] Wien: Diabelli [1829]; P. M. 1788). Young. Broude Bros. [nd]. * (MH492, Benedicam Dominum. June MH653, Ecce ancilla Domini. (Feb 1797) 1788). [PI. Nr. 5511] Wien: Diabelli [1835]. MH446, AdjutOi' in opportunitatibus. (Sep 1787) [PI. Nr. 5503] Wien: Diabelli MH494, De profundis. (Nov 1788) MH656, Hodie scietis. (May 1797) [PI. [1835]. Lawson-Gould, 1990. + Nr. 3090] Wien: Diabelli [1829].
MH447, Sciant gentes. (Sep 1878) [PI. MH495, Benedictus Dominus Deus Is MH670, Ipsa Vi/;go vi/;ginum. (Salz.? c.1795-98) [PI. Nr. 2240] Wien: Diabelli Nr. 5504] Wien: Diabelli [1835]. rael. (Nov 1788) [PI. Nr. 3099] Wien: Diabelli [1829]. [1826]. MH448, I'll es Deus. (Sep 1787) [PI. Nr. MH695, Tenuisti manum. (Ap 1798) 5505] Wien: Diabelli [1835]. MH496, Misit Dominus verbum suum. (Dec 1788) [PI. Nr. 5499] Wien: Diabelli Klafsky [DTO. XXIl/1]. Wien: Artaria, [1835]. 1915; [PI. Nr. 5513] Wien: Diabelli MH~? 1, Angelis suis. (Oct 1787) Klafsky. [1835]. [DTO]; [PI. Nr. 5506] Wien: Diabelli [1835]. MH497, Timebunt gentes. (Dec 1788) [PI. Nr. 5500] Wien: Diabelli [1835]. MH696, Alleluia, C017fitemini quoniam. Ap (1798) HarryGraE ZUrich: Hug [nd]; MH453, Ti-ibulationes cordis mei. (Nov 1787) Klafsky. [DTO]; Ausgewahlte MH498, Dominus regnavit. (Dec 1788) Pauly. [kbd/vcl]. NY: Schirmer, 1958. [PI. Nr. 5501] Wien: Diabelli [1835]. geisdiche Gesange. Leipzig: Breitkipf & (MH798, Petite etaccipietis. Aug 1801). Hartel [1896]; [PI. Nr. 5507] Wien: (MH810, Alleluia. Confitebumur. Ap Diabelli [1835]. (MH50 1, Protector noster. Feb 1789). (MH502, Venite filii. March 1789). 1802). (MH456, De funesta necis domo. Salz? MH828, Cantate Domino. (Aug 1803) c.1786-88). MH503, Esto mihi in Deum. (March 1789) Pauly. [kbd/vcl] NY: Schirmer, Lawson-Gould, 1987. + 1958; Otto Schmid. [Sammlung MH479, Exsurge Domine. (Feb 1788) auserlesener Werke fur das pianoforte]. *New edition found on
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Francis Poulenc's "Grand Choral Symphony"
by Lee G. Barrow
Editor's Note: 1999 marks anniversaries for the composer and As early as 1957 the Serge Koussevitsky Music Foundation his Gloria. in the Library of Congress contacted Poulenc seeking to com I received from heaven the gift of knowing how to write mission an orchestral work to be written in memory of former for chorus. 1 Boston Symphony conductor Serge Koussevitsky and his wife Natalia. The composer declined: "I am extremely touched by Soon after its premiere, Francis Poulenc's Gloria became a the commission from the Koussevitsky Foundation; unfortu part of the standard choral repertoire. Nearly four decades after nately, for the moment a symphonic work is not within my the composer's death, it remains one of this century's most intentions. "4 often performed large-scale choral works. This accessible mas In the spring of 1959, Poulenc was struggling with what to terpiece will receive multiple performances in 1999, the one compose next. Inspired by the recent successes of his Dialogues hundredth anniversary of the composer's birth (January 7, des Carrm!lites and La VOix humaine, he sought a libretto for a 1899) and the fortieth anniversary of the creation of the work new opera but was unable to find one to his liking. His close (May-December 1959). In anticipation of these important friend and collaborator, Pierre Bernac, suggested he write a anniversaries, Editions Salabert recently released a new print setting of the Gloria, sending him a copy of the text in April. ing of the work.2 Poulenc quickly took to the idea and began to sketch out the In addition to providing details of the events surrounding work. the creation of the Gloria, this article explores stylistic and Remembering the Koussevitsky commission, the composer compositional elements of the work and discusses various per sought to match their request to his plans, seeking the inter formance considerations, including the difficulties posed by vention of Boston Symphony conductor Charles MUnch in a the large number of errors in the performance materials. letter dated May 23, 1959: Historical Background I have suggested writing a Gloria for mixed choir, soprano In hoping that a text fell to me out of heaven, I reconsidered solo, and orchestra, 20 to 25 minutes in duration. You may perhaps be able to sway the balance in my favour if all of a sudden a commission from Boston ....3 there is any hesitation. You know that the pure symphonic form is not my forte, whereas with the human voice ... I Lee G. Barrow is Head of Visual and Performing Arts at am usually successful,5 Broward Community College and teaches conducting, form and analysis, and orchestration for Florida Atlantic University, In July the Foundation repeated their request, this time asking Ft. Lauderdale. He has conducted college, church, and for an "orchestral composition of major proportions" from community choirs for more than twenty-five years. Poulenc. After further negotiations, the Foundation finally agreed to leave th~ terms of the commission open, and in a
APRl L 1999 PAGE 21 letter dated August 5, 1959, Poulenc con traditional styles and tonality, the work In the Gloria, this juxtaposition is most firmed his acceptance of the commission, sounds contemporary. Echoes of apparent in the second movement, when stating his intention to write the Gloria. 6 plainchant abide comfortably immedi the reverent, chantlike "gratias agimus During the summer of 1959, Poulenc ately adjacent to harsh contemporary dis tibi" suddenly interrupts the jazzy developed a detailed plan for the work, sonances. "Laudamus te" (Figure 1). and by December he had completed the Much has been written about the mix "I have no system of composition (sys piano/vocal version. He recopied the score of sacred and secular styles in the Gloria. tems are the equivalent of'tricks'),"lO the in early 1960 and soon began the orches A melange of his pious, rural father and composer asserted. "I have no precon tration, a process he completed in May. his worldly, Parisian mother, Poulenc saw ceived idea. I compose as seems best to On Saturday, January 21, 1961 (delayed no incongruities here, as revealed in this me when the wish takes me."ll Indeed, one day by a snowstorm), the Boston frequently quoted quip: except for some basic ternary structures Symphony Orchestra, soprano Adele and brief quotes of the opening motive in Addison, and the Chorus Pro Musica, The second movement caused a the final movement, formal design and prepared by Alfred Nash Patterson, pre scandal; I ask why? I was merely thematic development are not a significant miered the work under the direction of thinking, in my writing, of those part of the Gloria. Instead, the composer conductor, Charles Munch. Gozzoli frescoes in which the angels provides a sense of direction and cohesive stick out their tongues; and also of ness primarily through the use of two de Style some serious Benedictine monks vices: a Baroque-like approach to contrasts Music is a mystery, not to be taken whom I· saw one day playing and short, repetitive phrasing (Figure 2). apart ... analyzing absolutely soccer.B In imitation of Baroque practice, sty negates the music.? listic contrasts come largely between Perhaps critic Noel Goodwin best de movements or major sections. Frequent The Gloria is eclectic, with a mix of scribed this contradictory aspect of the choral shifts from moitii (half) to tous influences, styles, and quite a few composer: (all) echo the Baroque concertati concept .paradoxical contrasts. It is a major work of tutti-soli. The performers often bounce by Poulenc standards, yet it is less than a vein of religious faith and a thematic ideas back and forth in typical thirty minutes in length. It is at the same fondness for secular enjoyment antiphonal answer-response. Dynamic in time both sacred and secular. One jostled, not for supremacy, but for dications emulate the terraced dynamics can find influences from Vivaldi and a state of harmonious coexistence, of the Baroque: changes almost always Stravinsky. The work could be considered allowing for the effect of one on the occur at the beginning of phrases, while neoclassical and at the same time neo other.9 crescendo and decrescendo markings are romantic. Though firmly rooted In almost nonexistent.
(Tres vite et joyeux) Tres lent et librement Trescalme t:\P Altos Strings
--./ Gra ti - as a - gi - mus p.p Sal/rd.
Note: 414 is correct here Figure 1. A study in contrasts: sacred and secular, echoes of chant and harsh dissonances.
"'/11 f mf
eI v- be-ne-di - ci-mus te a - do - ra - mus f II f l
be-ne-di-ci-mus ~e a - do - ra - mus f
~ v- • be-ne-di - ci-mus te a - do - ra - mus f ~ h.. .,. ~ f ..
be-ne-di-ci-mus te a - do - ra - mus Figure 2. Short, repetitive phrasing with a Baroque approach to contrasts.
PAGE 22 CHORAL JOURNAL Throughout the work, Poulenc makes Contrast is achieved by (Figure 4). Meter changes occur frequently, extensive use of cellular construction, es sometimes every measure. The rhythm is pecially in the vocal parts. Excepting in surprisingly simple and straightforward, es strumental introductions and interludes, eliminating or adding pecially in the voices; rhythmic problems most movements consist of a handful of repetitions, by shifting to are more likely to arise from changing short, thematic ideas, each associated with meters or conflicting musical and textual a particular text fragment, repeated fre different tonal centers, accents than from the rhythm itself quently in a familiar pattern. A short The writing is largely homophonic, phrase of one or two measures is pre with the sections of the chorus and the sented and immediately restated, with few and by varying the instruments frequently moving with the if any changes. A second short phrase is juxtaposition ofthematic same or closely related rhythms. Rarely stated and repeated, then the entire pro do independent melodic lines occur at cess starts over with different or varied ideas. the same time. With a few exceptions thematic material. Contrast is achieved (particularly in the solo), the melodic by eliminating or adding repetitions, by writing is largely diatonic and surpris shifting to different tonal centers, and by ingly conjunct. What might seem to be varying the juxtaposition of thematic ideas. Poulenc never strayed far from the con chromaticism more likely occurs through Throughout, vocal lines last no more ventions of traditional harmony. Like embellishment of chords or melodic lines, than three measures, while orchestral other twentieth-century composers whose or through frequent, often abrupt shifts melodies tend to stretch out longer. Here music is rooted in tonality, Poulenc em of tonal center. is one of France's most prominent con ploys dissonances primarily for coloristic temporary art song composers, yet what effect. Most of his harmonic construction Performing Forces few melodies of any length he writes, he consists of traditional tertian chords, of places almost exclusively in the instru ten with added notes for color. He makes I had delayed the premiere for more mental introductions and interludes. A frequent use of seventh and ninth chords than a year because I could not find composer who so often expressed his love of all types, with the major seventh chord the right singer. 13 for the human voice and his apprehen built on the tonic playing a significant sion of writing for instruments gave his role in the piece (Figure 3). Although speaking of Les Momeles de substantial melodic lines to the orchestra. Rhythm and meter are governed largely Tiresian, Poulenc had specific, strong ideas "I think there's room for new music by the text, although there are important about what type of singers were appropri that doesn't mind using other people's instances where strong musical accents go ate for any of his compositions. As soon chords,"12 the composer once declared. against the natural flow of the Latin as he decided to write the Gloria, Poulenc
bo nae vo - lun - ta tis, ,..I"Jlo J. 1\ 1\ L.h 10. -III-
eJ I I, I r Do mi - ne Qui des vo --- lun - ta - - ~s, - De - us se - f2- b~ L..e- : I' I " J. 1\ I7J I 10. 1 "I. j) JloJ. eJ r I v :; ===== " ~ eJ I1*" .,. "-It -- ~~* ~~ Lb..z. I L I 'I 'I 1\ 1.11 11 11 : I I Bb7min9 Eb7min9 Ab7min9 i maj7 Imaj7
Figure 3. Seventh and ninth chords of all types abound.
)) I J J n p 't, II J. ~p E1t W't Glo - ri-a in ex-eel-SiS De-O Do - mi-ne De-us
Figure 4. Musical accents often go against the natural flow of the Latin.
APRIL 1999 PAGE 23 knew what forces he wanted-a soprano written," 14 he told an interviewer in 1960. is rather conservative. The orchestra plays soloist, four-part mixed chorus, and or In numerous writings he gives specific in all but a few measures of the work, but chestra~but the element he seemed to guidelines for the selection of soloists to most often the instruments are relegated give the most attention was the solo. Voice sing his works. to doubling the voices, outlining the un type was extremely important to Poulenc. From the beginning, he had a spe derlying harmony, or supporting the vo "If Denise Duval had not entered my life, cific sound in mind for the Gloria solo cal lines with a recurring background La Ulix Humaine would have never been ist. "I think of [Italian soprano accompaniment, such as repetitive run Rosanna] Carteri," he told Pierre Bernac ning sixteenth notes. The mostsignifi in August 1959 in a letter describing his cant instrumental material appears when We ore a Vienna-based group tour organi 15 zation specializing in customized concert preliminary outline of the work "I have the voices are silent, during introductions tours for Americon choirs and choral groups already decided that the soprano solo part and interludes. in Great Britain and Central and Eastern will be sung by your wonderful young There is nothing unusual in the way Europe. MUSIC AROUND THE GLOBE combines American soprano, Leontyne Price, whose he scored the winds. The string writing mission with the enjoyment of cultural and musical highlights. voice I absolutely adore."16 When told frequently calls for tremolo, de la pointe, that Price was not available, he wrote to and sur la touche. Poulenc makes exten For more information, please contact our Boston, instructing, "The soloist must sive use of divisi in the strings, at one MAG European office in Vienna, Austria: have the exact voice of Desdemone,· that point dividing the five string sections into Fax 011-43-2243-37731 is to say an intense warmth but pianis fourteen parts along with fourteen soli. or our U.S. representatives at: simo. "17 So Adele Addison was chosen. Divisi passages for the chorus are infre 3 Sweet William Retreat The instrumentation, basically strings, quent, except for the common division of Savannah, GA 31411 triple winds, and harp, is unremarkable. the sections into moitit! and tous. Telephone 912/598-0285 Unlike many large choral works of Fax 91 2/598-3746 the century, the Gloria includes only Performance Considerations standard orchestral instruments and lacks any percussion other than timpani. While . . . no other work has posed so important and often colorful, the scoring
PAGE 24 CHORAL JOURNAL many problems for me. 18 some changes would not find their way Poulenc might have wanted changes in into the published performance materi places where they are not marked. It would seem the recent publication als. An analysis of the sources and the of a work during the lifetime of the com published materials confirms that indeed The Editions poser would be accurate, yet such is not hundreds of changes have been made, The first edition of the Gloria included the case. Several factors contributed to some revisions, some corrections. Some three engraved scores: a full score, a vocal this problem, most notably the composer's of these appear in the original manuscript score with piano reduction (taken from method of working coupled with the ex but not in Salabert's copy, others appear Poulenc's piano/vocal score, which pre istence of multiple, conflicting sources. in the copy but not the original, and still dates the orchestration), and a choral "I don't work easily," Poulenc readily others are found only in other sources. score. The orchestral parts, available on admitted. "My first drafts, written in a Because of the frequent repetitions in the rental only, appear td be photocopied sort of strange musical shorthand, are full work, some corrections even suggest that from the original manuscript parts. of crossings out."19 Several sources docu ment the composer's penchant for con stant revision and reworking:
Much of his work would indicate Millennium 2000 an abundant and easy flow of inspiration, though in fact some of Celebration of Bach his most natural music has been painfully hammered out, set aside, and revised. 20
When he completes a work, he puts it aside for two months and then The Great Rivers and Lakes picks it up again .... He then polishes and finishes, but even after The Rhine, The Elbe, The Danube it is printed, he is likely to make Lake Maggiore, lake Como changes. 21
The composer's correspondence reveals evidence of revisions to the Gloria, and differences between the manuscripts and the February 1961 recording prove that some important alterations were made more than eight months after the work's stated completion date, June 1960. The process of discerning Poulenc's in tent and thereby developing accurate per formance materials, is hampered by the existence of multiple sources that fre quently disagree. The two manuscripts a piano/vocal score and a full score-do not always correspond. Salabert has as its source a photocopy of the full score (the original is housed in the Library of Con gress) that was copied before Poulenc had finished making changes. The original in Phone for complete brochure with prices strumental parts and the performance heard in the composer-supervised record Matterhorn Travel ing differ often from what is found in the 2450 Riva Road scores. Annapolis, MD 21401 With so many sources, it is inevitable 1(800)638-9150 or (410)224-2230 that some changes would appear in one Fax (410)266-3868 source but not in others. It is also inevi www.matterhorntravel.com table that, since the original manuscript E-mail: [email protected] is not readily available to the publisher,
APRIL 1999 PAGE 25 AI; outlined in earlier publications, this Hickman and Jeffry Moyer identified Choral Bulletin. 24 first printing contains several hundred er many conflicts and errors found in the AI; anyone who has performed the rors, from missing markings to incorrect first edition.22 Additional corrections work can attest, these errors greatly im notes and rhythms. In addition, the three and clarifications appeared in Research pede the process of preparing the work scores and the parts conflict in hundreds Memorandum #146,23 and several prob for performance. Presenting an accurate of places. In the American Choral Foun lem areas were discussed in more detail in performance from these materials means dation Research Memorandum #143, Joe the April 1988 issue of the International obtaining and studying the above publi cations, comparing them with the scores, and preparing lists of corrections for the ANOTHER WINNER FROM performers. In 1996 Salabert issued a new printing JACKSON BERKEY of the three scores (but not the orchestral parts). The full score is newly engraved, AND SDG PRESS! and many errors have been corrected. The new piano/vocal and choral scores are not corrected, however-they are simply re KANSAS (lTV JONIS prints of the earlier scores with new cov ers. ALL VOICINGS AVAILABLE The new full score is a welcome im PIANO 4-HANDS AND provement, with many enhancements. MALLET INSTRUMENTS Measure numbers have been added. The engraving is clean and modern. Nota tional changes bring the engraving into 170 N.E. 33RD STREET FT. LAUDERDALE, FL 33334 modern practice in matters such as key Telephone (954) 563-1844 Fax (954) 563-9006 See our complete catalog an-line at www.berkey.com changes, stem direction, and placement of accidentals. The new score still con tains over a hundred errors and conflicts. Since the other performance materials re tain their errors, the task of identifying and correcting the mistakes is monumen tal. Salabert currently has no plans to address this problem. A list of corrections is available from the author. Interpretation
I hate rubato.25
Poulenc had great concern for tempo and pacing. "Once a tempo has been adopted, it must not be altered at any price until I so indicate," he directed. "Never prolong or shorten a beat-that drives me crazy. I would prefer all the wrong notes in the world."26 Such con cerns are evident in the Gloria, with its carefully considered metronome mark ings, frequent instructions, such as sans trainer (without dragging) and sans ra/entir (without slowing down), and indications for different lengths of pauses-or in one instance, no pause-between movements and major sections. The composer's ideas about tempos in the Gloria were often in conflict with those taken by early conductors. In the
PAGE 26 CHORAL JOURNAL copy of the manuscript used by Georges found concernmg his ideas about the Musical Style (Ann Arbor, Michigan: Pretre,27 the conductor for the European sound of the chorus: UMI Press, 1982),216. premiere and for the first recording, some 2 Full score, piano/vocal score, and choral of the tempo indications have been Arriving late for the first rehearsal score, 1996. Available from G. Schirmer changed to a faster tempo, notably re of the choir, I heard something so in the U.S. hearsal 3 (changed from 72 to 82) and unlike me that my legs almost failed 3 Poulenc quoted in Renaud Machart, Poulenc the second movement (changed from 124 me ... then I explained everything. (Editions du Seuil, 1995),218. to 138-146, but later crossed out). In Mr. Patterson [Chorus Pro Musica 4 Letter from Margaret Grant to Francis fact Poulenc often disagreed with the pace director]' hearing me demonstrate, Poulenc, dated July 22, 1957, and chosen by Gloria conductors: "All said: "Oh! So they have to sing like undated letter from Poulenc to the Munch's tempi were wrong-all too fast, Maurice Chevalier." "Exactly!" Foundation, "Old Correspondence," naturally," he wrote after a rehearsal in When we starred again ... the thing Music Division of the Library of Boston.28 "Too fast, it's too fast," he was perfect.32 Congress. shouted at Pretre during an early Euro pean rehearsal.29 Despite these criticisms, Conclusion Poulenc eventually had strong accolades ~ j j 1 for the interpretations of both Munch May [my Gloria, Stabat and Les MINIS7-EERr ®F MlliSI@ : Webster Hills Methodist Churdi and Pretre; in the latter case (preserved in Tenebres} spare me a few days of Pni~~d St.'Louis, Missouri ' EMI recording CDC 7-47723-2) the purgatory, if I do narrowly avoid c' , 1 composer commented, "Pretre has re going to help3 EBSTER HILLS UNITED corded the Gloria ... with the hand of a W METHODIST CHURCH, a master."30 Some final contrasts highlight the at thousand-member congregation in suburban St. Louis, Missouri, is seeking a full-time The following comments from Pierre traction and charm of this work full of Minister of Music to direct a program of Bernac, while referring to the interpreta contrasts: it is challenging yet accessible, adult, youth, children, and handbell choirs. tion of Poulenc's songs, could be applied contemporary yet singable, introspective Bachelor of Music or equivalent required to his choral music as well: yet joyous. Despite the current difficulty (Master's level preferred), and experience in with the performance materials, the en both traditional and contemporary modes of worship. Direct resumes to: The melodies of Poulenc never gaging and rewarding Gloria is well within Search Committee contain rhyrhmic difficulties, but the reach of many choirs and well worth Webster Hills United Methodist Church, the rhythms, in their simplicity, the effort. 698 West Lockwood must not be subjected to any St. Louis, Missouri 63119 distottion. For instance, consecutive NOTES Direct inquiries to (314) 961-3164. APPLICATION DEADLINE: APRIL 30, 1999 quavers must be perfectly equal 1 Poulenc quoted in Keith W. Daniel, Francis despite weak or strong syllables. It Poulenc: His Artistic Development and is also vety important to maintain the value of rests precisely as they are written, something to which June 21....June 25, 1999 Poulenc attached great importance. For example, the exact value of the Des Moines, Iowa USA final note of a musical phrase must always be strictly observed. . . . Singers will find in his songs an • Explore conducting, opportunity-all too rarely offered rehearsal, and vocal in contemporary music-of production techniques. surrendering to true lyricism; they • Discover the relaxed, must not allow this chance to elude natural delivery of them. . . . He marks the phrasing Tapiola's sound. fully and with the greatest care. It can be noticed that the level of • Earn college credit while dynamics often changes in attending the workshops. successive and contrasting planes, For oddilionol infonnolion ond covering the whole of the phrase, Workshop regislrotion malenals conlact rather than a crescendo and diminuendo within a phrase.31 Des Moines Children's Choruses 525 East Ninth, Suite B Despite numerous comments from the Des Moines, Iowa 50309 composer concerning the soloist in the Phone: (515)262-8312 Fax: (515)262-8359 Gloria, only one curious remark can be
APRl L 1999 PAGE 27 5 Francis Poulenc, trans. and ed. by Sidney 8 Machart, op. cit., p. 220; Jean Roy, Francis 21 Eric Salzman, "The Many Paradoxes of Buckland, Echo and SOU1'ce: Selected Poulenc (Editions Seghers, 1964), 144; Monsieur Poulenc," New York Times C01"Tespondence, 1915-63 (London: V. et al. (February 28, 1960), Sec. II, 9. Gollancz, 1991),260. 9 Noel Goodwin, "Poulenc: the Ballet and 22 Joe Hickman andJefIiy Moyer, "Errata in the 6 Letter from Margaret Grant to Francis the Church," About the House (Spring Score and Parts of the Poulenc Gloria," Poulenc, dated July 7, 1959, and response 1980),46. American Choral Foundation Research dated August 5, 1959, "Old 10 Contrepoints, no. 1 Oanuary 1946), 49. Memo1'tlndum#143 (November 1986). Correspondence," Music Division of the Translated in George R. Keck, F1'tIncis 23 Lee G. Barrow, "Errata in the Scores and Library of Congress. Poulenc: A Bio-Bibliography (New York: Parts of Francis Poulenc's GI01'ia: A 7 Reported Poulenc quote, Daniel, 328. Greenwood Press, 1990),229. Second Look," American Choral II Stephanie Audel, trans. James Harding, My Foundation Research Memorandum #146 Friends and Myself Conversatiom with (November 1987). Francis Poulenc (London: Dobson, 1978), 24 Lee G. Barrow, "Francis Poulenc's Gloria: "Professionally tailored gowns of lasting beauty." 59. Clearing Up Discrepancies Among the 12 Roger Nichols, "Francis Poulenc." The New Published Scores," International Cho1'al FREE Grove Twentieth CenttllY French Masters Bullett'n (April 1988). catalog and (New York: W. W. Norton, 1986),212. 25 Poulenc quoted in Pierre Bernac, F1'tIncis fabric samples. 13 Poulenc (speaking ofLes Mamelles de Tire.sias) Poulenc: the Man and his Songs (New Since 1955 ... quoted in John Gruen, "Poulenc," Musical York: W. W. Norton, 1977),44. America (April 1960), 7 26 Ibid. LYRIC 14 Ibid. CHOIR GOWN co. 27 Salabert's copy of the manuscript is marked 15 Carl B. Schmidt, The Music ofF1'tIncis Poulenc: "Partition des Georges Pretre." P.O. Box 16954-AZ A Catalog (New York: Oxford University 28 Buckland, Echo and Source, 278. Jacksonville, FL 32245 Press, 1995), 491. Carteri is the soloist in 29 Georges Pretre, "Recherche du Francis Poulenc," CALL TOLL FREE 1-800-847-7977 the first recording of the work. Music Joumal (January 1965), 72. 16 Gruen, 26 30 Buckland, Echo and Source, 284. 17 Schmidt, 493. 31 Bernac, 45-6. 18 Bucldand, Echo and Source, 270. 32 Echo and Source, 278-9. 19 Poulenc quoted in Audel, 60 33 Ibid., 288. 20 Henri Hell, trans. Edward Lockspeiser, Francis Poulenc (London: John Calder, -C]- 1959),90.
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~01I1l ~ Name: Address: 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 @ $20.00 $ --- Total Payment Enclosed: $ --- Send check or money order, payable to ACDA, to: Monographs· ACDA' P. O. Box 6310' Lawton, OK 73506-0310 REHEARSAL BREAKS Passion and the Conductor by Terry W York Editor's Note: This Rehearsal Breaks rurns to music yearning for tears, having best, seldom rise above the level of the article approaches the conductor's role had enough of sweat. mundane. They often require intellect and from an inspirational standpoint. Its What makes a performance great? Is it commirment, but seldom engage the soul. intentions are thoughtful, rather than perfection? No. As much as conductor Sing the national anthem at the begin practical. and choir strive for perfection, there is ning of a baseball game. Sing it at the THOUT IT, the baton may the understanding that it will never be dedication of a memorial to men and properly be referred to as a achieved. Critics need not remind us that women killed in battle. There is a differ W stick. With it, the baton is the we have fallen short, for even the most ence because it is events of the soul that closest thing we have to a "magic wand." memorable performances serve most no stir passion. We are often surprised by the Without it, the conductor's hands are bly to give us a glimpse of what still could appearance of passion. Sometimes we are pleading for help. With it, the conductor's have been. Robert Shaw wrote an insight embarrassed by it. But passion stirred hands are instruments of healing. "It" is ful comment on a particular instance of changes us. Awakened, recognized, hon passion and "it" must permeate the Toscanini conducting Beethoven's Ninth ored passion transforms an activity into conductor's soul. Passion links the soul of Symphony: "Toscanini's Beethoven was an event; it changes an hour into a mo the listener to the soul of the composer. great not primarily because he could get ment. The conductor seeks to be the trans The singers see it in the conductor and more (from his performers) but because former. receive it as deep respect for them and for he could hear more (in the music) .... the music. The audience expects it. It is There was over all his passion a mantle of We believe in love-which by not something they hope to see in the sadness and defeat, as though (I think) he musical means combines beauty and conductor or choir, it is something they heard sounds and relations and forms in art, form and sound, the personal hope to feel ... detectable with the eyes his own study that he could never acru and the objective, release and closed. In the absence of passion, the ally achieve in performance."! fulfillment, appreciation and conductor's face is nothing more than a New vision is the reward. What makes understanding love, working part of the choir's public relations and a performance great is passion. The con through the power of music to promotion strategy. With it, the ductor first has passion stirred in score transform lives for an hour or a year conductor's face reflects that of the com study and remembered past performances or a lifetime. 2 poser. The choir, the audience, and the of depth. The singers bring their capacity music deserve it. for passion to the rehearsal. It is fully One can be a conductor if all one Too often, lust is substiruted for pas exercised in rehearsal and is expected to knows is the beat pattern. To be a trans sion. Where is passion that honors and peak at performance. The audience comes in former, one must know "the story." The encourages humanity? Where is one to search of the stirring of their passion. This is story is that of stirrers of passion and find passion that stems from the beauty the setting, the environment, for a great per~ seekers of passion finding their way to the of the human soul, rather than its greed? formance. The conductor molds it all. score. The story is that of the potential of Where is one to find passion that en What or who is honored in the con transcendence rising from the conductor's riches and enhances being, rather than cert? There are several candidates: the score and filling the room like a shim enslaving it? One turns to music-music composer, the author of the text, the sing mering cloud. The story is that of holy, that lifts the numbed speaking apparatus ers, the accompanists/instrumentalists, the silent pauses of awe after the final cut-off; to refreshing, extended expressions. The conductor, and the audience. If one looks the silence broken only when it is no release is full of passion. The conductor a bit deeper, one may find that all these longer humanly possible to contain the must be aware of this calling forth and people are, in fact, honoring something glory of it all. Here the transformer has must meet it with equal passion. One else. The skills, appreciation, even the connected all aspects of the passion that hunger for beauty of all these people may fills the hall with all souls present and Terry W. York, DMA, is Associate well be honoring not a person, but a represented. At such times, words, music, Professor of Christian Ministry at shared passion, passion at its most noble and passion combine in a flood of liber Baylor University's Truett Seminary, and ennobling. ated, transformed humanity and profound Waco, Texas. Events of the soul are passionate events. creativity. Routine activities and encounters, at their Passion recognizes and honors the soul, APRIL 1999 PAGE 31 but it also honors the arts oflanguage and reality and evokes new possibility in music. Language has been taken from our The poet points to the the listening assembly.3 mouths and placed on a screen. We have a cyber-Ianguage that has evolved or been truth before it is In the context of the choral event, dare devised to function on the screen. we suggest that "conductor" is a word Conductor, help us taste language again. encountered face-to-face, and role that is interchangeable with the Language that is incessantly ravaged to other two as well? twist truth, obscure agendas, control, ma giving us time to prepare To be fair we must acknowledge the nipulate, and marginalize, is liberated and intensity of a choral work based on a led by the passionate conductor to savor for its impact. single word. "Alleluia" jumps to mind im its brighter words and most noble combi mediately. Yet strong, "stand alone" po nations. Enriching passion finds a home etry is one of the two supporting pillars in these words. One pauses here, forced Here the poet helps us. The poet points of excellent choral music (the other being to consider how language functions in to the truth before it is encountered face the musical setting). This fact will often the great but perhaps less comfortable to-face, giving us time to prepare for its tilt the balance when one is tempted to choral works such as Oedipus Rex and impact. The conductor is out in front select a piece of music that sounds great, Carmina Burana. We pause here, but are here. The conductor has explored the but has nothing to say. People and ideas not stopped, for if we are to explore the truth of the text and evaluated the poet's that sound great or look great but have subject of passion, one must brave its skill as a guide. It is interesting to note nothing to say, numb us. The bombard risky terrain. It is, after all, the human that "poet" and "prophet" are interchange ment is seemingly unending. Conductor, soul that contains the passion. It is also able words. choir, poet, come to our rescue! true that a full and honest exploration of Poets work in the echo of notes, and . the word "passion" will have us recount Those whom the ancient Israelites choral composers work in the echo of . ing the last week in the life of Jesus as called prophets, the equally ancient words. The conductor passionately looks well. That is risky terrain for some, but Greeks called poets. The poet/ for compositions in which the words speak chorally it too must be explored. prophet is a voice that shatters settled truth and sit comfottably on the shoulders custom P~rrorma.nc~ Tours Gateway specializes in European Acapulco, Mexico Innsbruck, Austria Toronto, Ontario and domestic performance tours. Atlanta, GA Leicester, England Vienna, Austria We will arrange the ideal combi Boston,MA Minneapolis, MN Washington, D.C. nation of destinations, perform Chicago, IL Montreal, Quebec Williamsburg, VA Colorado Springs, CO Myrtle Beach, SC Special Events: ance sites, educational activities, Dallas, TX New York City, NY attractions, transportation and Dublin, Ireland New Orleans, LA • Orlando All Star Music Festival lodging to meet the special needs Edinburgh, Scotland Paris, France that your group may have. Florence, Italy Philadelphia, PA • Disney Magic Music Days Honolulu, Hawaii St. Louis, MO Anaheim, Orlando Salzburg, Austria & Paris (800) 331-8579 San Diego, CA San Francisco, CA Festival Dept. Fax: (612) 295-6029 Tour Dept. Fax: (612) 271-2585 Email: [email protected] Web: http://musiC£estivals.com P.O. Box 1165 • Monticello, MN 55362 PAGE 32 CHORAL JOURNAL of the notes. When the echoes coincide, a the process of passion. Everyone basks in meaningful performance can happen. The Passion is life that springs the refreshment and encouragement that presence of passion modulates the perfor come from experiencing, ennobling, and mance to something greater than the sum forth on its own from uplifting passion. For a moment and by a of its parts. Perhaps this is the place, how moment, passion has been redeemed. ever, to acknowledge a word of caution that what otherwise would Passion is a spiritual matter. It moves is a point well-taken. Fuchs reminds us, us to emotional, even physical response. have been a dead but But in and of itself, it is spiritual. This is When the conductor feels, for to say that passion in a choral perfor reasons of his own, that nothing acceptable, ink on paper, mance is not something that can be manu must interfere with his unbridled factured by talent or determination. It is, passion, then the standards of clarity exercise ofskills and in fact, something that is allowed. It is set in his renditions may not be the a visitation that is honored and nur very highest!4 subtle disappointment. tured when detected. Passion keeps the conductor humble. It is life that springs We agree. But the passion we speak of is forth on its own from what otherwise not selfish. It is the synergistic result of that truth unlocks passion. The conduc would have been a dead but acceptable, many people's talent and shared passion. tor mentors the passion and the process. ink on paper, exercise of skills and subtle Music, like language, is often taken However, the conductor cannot ensure disappointment. prisoner and forced to function in ways that the process of passion will, in fact, Why is it that we flock to choral clin that exploit its power and mar its beauty connect with the souls of the audience. ics where one of our conductor heroes is and purity. The passionate conductor can Upon entering the stage, the conductor to preside? Is it for a new warm-up exer rescue and restore music's dignity. To do bows to the audience's search for proper cise? It is in hopes of learning a new so, the conductor must require of the passion. The conductor bows at the concept of vowel migration? No. While music that it hum the truth. The soul end of the performance to honor the those possibilities may pan out, we make knows when the music is truthful, and audience's important role in completing the trip in search of a renewal of our AUGUST 2 - Elementary Chorals & Musicals • AUGUST 3 -Jr.!Sr. High through Adult • AUGUST 4 - Church Day 1 • AUGUST 5 - Church Day 2 AUGUST 6 - Church Day 1 (repeat of Aug. 4) • AUGUST 7 - Church Day 2 (repeat of Aug. 5) A Shawnee Press School and Church Choral Workshop and Showcase in East Stroudsburg, PA • At East Stroudsburg University • East Stroudsburg, PA " i, ,: ," ~ ',' ~ , CLINICIANS', I " , I" , ~ , SCHOOl!.: Ratti Drennan • Michael &Jill Gi,lIlina • Greg 'Gilpin • Dave &dean Perry 1 _ 1 'I ~ i _ I • : ' CHURCH: David Al)german • Cindy.~er~y • Don Besig & Na~cy Price • Pepper Choplin • Craig Curry. PattLDrennan • , ' r . . : " I , ','" 'David ~anti'III.' Joseph & R.a'mela M;lr~in i U. Raul Williams ',. . , • READING SESSIONS of the latest choral music from Shawnee Press, Wide World Music, GlorySound, Harold Flammer Music, Novello, Gilpin Music &SandSoundS • CHOREOGRAPHY SESSIONS for elementarx and junior/senior age levels on August 2 & 3 • STUDENT DEMONSTRATION PERFORMANCES of new school musicals • SCHOOL SPECIAL·INTEREST SESSIONS: Keeping (and attracting) Boys in the Choir' Rehearsal & Conducting Techniques' Handbells in School Settings & more • CHURCH MUSIC FESTIVAL featuring chorals with brass and percussion accompaniment • SACRED SPECIAL·INTEREST SESSIONS: Making Music Sign • Adult Choir Ministry • Whafs New for Handbells • Children'S Chorals • Rehearsal & Conducting Techniques • Programming and Music Selection • Children's Musicals • What's New for Keyboards • MUSIC IN THE MOUNTAINS COMES ALIVE! David Angerman, Cindy Berry, Pepper Choplin, Patti Drennan, Craig Curry, Greg Gilpin, Joseph Martin, performing keyboard and vocal selections in an intimate concert setting. Plus participation by all 1999 church clinicians and the Shawnee Press staff!· Tuesday evening, August 3 and Thursday evening, August 5 $60 per person per day, advance registration and payment required • Discounts available prior to May 1, 1999 Teachers, attend BOTH SCHOOL DAYS for university credit. Call for details! Call 1-800-962-8584, Ext. 249 or e-mail [email protected] to request registration forms APRIL 1999 PAGE 33 passion. We want to get back in touch starting point must occasionally be re its display of passion toward the dance with "ah-ha" that first ignited our imagi visited, and your passion must be nur partner. For the conductor, the music is nations. We want to feel again the fresh tured. Aaron Copland said that for him the parmer. The conductor dances in re breeze of choral music's limitless possi for many years, "Conducting was a sup sponse to the passion and on behalf of the bilities. We want once again to hear right pressed passion."5 Our own report might singers, the instrumentalists, and the au notes the first time and to be led from be one of battered passion. dience. that launching pad to awe-inspiring ex There is light. In our rare and wonder Here passion surfaces and opens itself plorations of interpretation . . . and the ful quiet moments, we realize that we do up for critique. It is the sacrificial gift of luxury of nuance. We want to get back in not return to the conductor's stand sim the conductor to all those present. The touch with our (dare I use the word?) call. ply to make a living. We remember we musicians and the audience can ask, "Did We will not debate here the question, are motivated by more than routine. It is the passion, thus embodied, look like what "From whence the call?" But can we agree more than the need to be in charge. we expected? Did the conductor's deport that way back there somewhere, way back Passion remembered returns to the ment and movements match our passion?" beyond our current "choir," way back be conductor's stand time after time in hope This is not so much a critique of the yond current restrictions of time and bud of passion rediscovered. Now and then, conductor as it is a result of individuals get, back there somewhere, there was a just in time and just often enough, the coming more closely in contact with their life-changing moment? I think we can. search is rewarded and the passion is re own passlOn. We marched forward from that moment discovered. We return to the spot where Of course, interpretation is the first armed only with a baton and new-found we last experienced passion, and with facet of one's conducting to be scruti passion. It may well be that we attend sufficient frequency it meets us there. nized. The subsequent discussions cen these conferences because all we have left Greater motivation still, is to be found in tered on choral technique are, in this is the baton. We want a renewed vision of those moments when the choir, or even a writer's opinion, precursors to the deeper what has grown dim. few of its members "get it"; those mo critique, "Did the conductor's dance of Envision your choir and your audi ments when we see our passion reflected passion resemble my passion?" Because ence (or congregation) on a similar quest. in their eyes and hear it in their voices. this question and concept are so deeply They come to you. For that reason your And then there is the dance, yes, the personal, the critiques can be harsh, and dance. No matter how subtle and con the dance can be overdone to the point of fined the conductor's style, the conductor distraction. When performed properly, the is the representative dancer. Dance is full dance honors the passion of the music of passion and expressions of passion. It is and the moment. It neither suppresses Beaulifoi .... powerfol.. .. ec/ectlc .... the physical manifestation of passion for passion nor mocks it. To be a conductor See and Hear the music online! Website: the music. This is evidenced, in part, by is to expose one's soul, opening it up to Email: the fact that some conservative Christians accusations of being misguided, inflated, base their argument against dancing on or puny. It is risky business to step out onto a dance floor. But when the YDENSTRlCKER UMC, Springfield, VA, is searching for an energetic conductor's soul, in its dance, testifies to SMusic Director for a diverse, growing music program in our 1,000 member the power and essence of the passion, church. Our full-time Music Director is responsible for providing music at all there is transformation and music has ful worship services utilizing the adult choir, graded children's/youth choirs, string filled its mission. and wind ensembles, and other musical groups. A successful candidate will be The passion of which we speak is, for self-directed and must demonstrate: the conductor, a matter of the "third ear."6 The physical ears monitor blend, balance, • a caring, Christian disposition pitch, and precision. But the third ear, • a high degree of musicianship with emphasis on choral performance the ear of the soul, monitors the • a desire to direct! manage members of various ages in a variety of performance's move toward passion. How ensembles does the conductor hone the third ear? • an ability to motivate participation in our growing, vital music ministry The conductor listens. In solitude, with • excellent organizationall management skills the score, the conductor listens internally. We seek a creative, experienced director with a four-year college degree There is no audience, no singers, no pi ano, just the conductor, passion, and the Mas~ers preferred. Willingness to work as a team member with a supportive staff\md congregation is essential. Position starting date will be on or about score. Here the goal is set-the goal that June 1, 1999, with a salary commensurate with experience and qualifications. will give direction to the rehearsal. Sur Resumes will be accepted until April 30, 1999. Please send to Music Search rounded by singers and instruments and Committee, Sydenstricker United Methodist Church, 8508 Hooes Rd., schedules, the conductor will return to Springfield, VA22153-1703; FAX: 703/569-5231; E-mail: [email protected]. this time of solitude to be re-energized Phone 703/451-8223 for full job description. and refocused. PAGE 34 CHORAL JOURNAL Further, the conductor's third ear is honed by engaging the imagination and its ability to envision. Passion informs and encourages the imagination. The con ductor, convinced of the importance of the message imbedded in the poetry or story of the work, imagines how the message is to be unwrapped and commu nicated. Conductors imagine the trans 2000 ference of what is in their hearts to the hearts of the singers and the audience. Passion for the art, the message, and the It's a special year people drives the imagination, focuses the eye of the soul, and sharpens the "third Make it a special trip ear. " Finally, the conductor is the keeper of the passion. The audience, even the sing ers, must feel confident that while they have been about the business of their lives, the conductor has been on vigilant watch. It is the conductor's charge to nurture and care for the passion, to see to its health and safe-keeping. All the while, however, the conductor is never to forget that the passion belongs to the larger com munity. The baton is the key and being entrusted with it honors the conductor. J But what the key unlocks is the people's treasure. The conductor isn't the hero. The conductor isn't the dictator. Passion Nc~A~ called each person to the event. The con ductor is the servant of the passion. The MUSIC FESTIVALS podium is where the servant stands. Ap proach it with humility and gratitude. AND CUSTOM TOURS NOTES Mark the Millenium with participation in a first-class J Joseph A. Mussulman, Dear People . .. Robert adjudicated festival, Shaw (Bloomington: Indiana University or with a superior customized tour Press, 1979),63. 2 Charles Fowler, ed., Conscience 0/ a Pmftssion: Festivals: Toronto, Virginia Beach, Howard Swan Choral Director and New York City, Myrtle Beach Teacher (Chapel Hill: Hinshaw Music, Inc., 1987); 132. Custom tours: Florida, Europe, Canada, Calif., etc. 3 Walter Brueggemann, Finally Comes the Poet (Minneapolis: Fortress Press, 1989),4. Contact us for more information 4 Peter Paul Fuchs, The Psychology o/Conducting (New York: MCA Music, 1%9), 12l. Voice: 1-800-533-6263 website: www.greatfestivals.com 5 Aaron Copland and Vivian Perl is, Copland Since 1943 (New York: St. Martin's Press, email: [email protected] mail: 50 Brookwood Avenue, 1989),389. Carlisle, PA, 1701 3 6 See Joachim-Ernst Berendt, The Third Ear: On Listening to the World (New York: Henry Holt and Company, 1985). -C]- APRIL 1999 PAGE 35 HIGH SCHOOL CHILD..-REN'S CHURCH "Tbejlnest " rcb music's. CHO' IRS "Finest reper~~': CH OI'RS er orgaruze,e~er:/ LH 0 IRS ellu l'estigioUS '.' . conductors. '" eV I 'Wen s most evenp t'". Ilistoricsettmgs. June 16 - 21, 2000 ford:~il'S!" August 1 -7,2000 July 5 -12, 2000 Canterbury Canterbury Canterbury Cathedral Cathedral Cathedral Festival Concert Festival Festival Concert Evensong Dr. Eph Ehly Westminster Hall Individual Choir Festival Concert Concerts with Orchestra British-American High School Fourth Annual International Third Annual British-American Church Choral Festival Children's Choir Festival (Video Available) Music Festival (Video Available) Featuring Festival Choir Concerts at York Minster Live in the shadow of majestic Canterbury Featuring Festival Choir Concerts at Britain's Cathedral, Beverley Minster and Westminster Cathedral where choral music began in597 A.D. most historic locations of the Faith-St. Giles Central Hall in London with orchestra. Individual Festival Choir Concerts, Services and Workshops Cathedral, Edinburgh; Canterbury Cathedral, concerts at St. Martin~in-the-Fields, st. Paul's in Canterbury Cathedral and Final Festival Choir Westminster Central Hall with orchestra. .Cathedral, etc. Custom itineraries can include Concert at Westminster Central Hall with Custom itineraries can include extensions extensions with concerts throughout Britain orchestra. Individual choir concerts in to explore your denominational heritage! providing educational accountabilityby enhancing Canterbury Cathedral, st. Paul's Cathedral, , and supporting your choral curriculum. st. Martin-in-the-Fields, etc. Optional extension Conducted by· DAVID FLOOD, to Paris with a concert at Cathedrale Notre . Masterof Choristers, Canterbury Cathedral, . Conducted by DR. EPH EHLY, Dame.de Paris and a major evening concert.at . and MICHAEL HARRIS, Univ. of r.iissouri, Eglise de Il),Madeleine. Pre and post-festiyal;. Master of the Music, St. Giles Cathedral aridPlIILIP MOORE, .extensions with concertsthroughoutBritain.· Master' of the M,usic, York Minster Conducted by HENRY LEeK, Indianapolis Children'S Choir, alldDAVID~LOOD) . Master ofllle' Choristers, Canterbury Cathedral REPERTOIRE & STANDARDS COMMITTEE REPORTS church, community; or school educators with different backgrounds-graduate College and to bring our singers a balanced selection school only, previous public school expe University Choirs of literature. And that balance is best rience, church staff position, or profes N THINKING about repertoire and achieved through the five style periods. sional performer. It is helpful for new standards, it strikes me that the cho Bill McMillan, National Chair directors to be able to "hook up" with I ral director is in an unusual position Committee on College and seasoned veterans who, serving as resource compared to the directors of orchestras University Choirs people, are able to assist with a variety of and bands. Colleagues in the instrumen questions and situations. tal areas are aided in their selection of repertoire by having a standard list of music that is well known and often graded Two-Year College Choirs TAKE THIS opportunity to inform 4 .~c,e ~ Controller & Ji>/JI, by difficulty. In addition, the period of you about additions to our national ,po \) ~\)~ Module Kit APRIL 1999 PAGE 37 Realistically, all two-year college R&S chairs (national, division, and state) should be considered mentors, someone you can call for help or information. We all have particular areas of expertise we are willing to share with colleagues. Your specialty might be programming, ad ministration, scheduling, conducting, rehearsal techniques, recruitment, fund raising, touring, or any number of other areas. If you are willing to offer your ex pertise as a mentor, contact me immedi ately (my stats are on page 5 of this issue) or access our website where you can "sign up" as a mentor. Those new to the two year college scene and desiring some ad vice, may contact me or check the website for a listing of mentors who might assist you. Repertoire suggestions for our website are solicited. Lists of repertoire appropri ate for the two-year college are already present, but they will become increas ingly dated with the passing of time. Therefore, we need your help to keep this repertoire section fresh. We ask you to send titles of music currently in your choir(s) folders. For this first submission, please limit your titles to two. Submit one or two pieces you are presently re hearsing and would recommend to oth ers as "must do" pieces. Contact me with your submissions, or preferably, submit them from the "Repertoire" page of our website. Anyone can access the website by go ing to the ACDA national website at PH: 1-540-899-3981 FAX: 1-540-373-3902 4521 Vicky LN Fredericksburg. VA 22408 email: [email protected] PAGE 38 CHORAL JOURNAL Doreen Rao's Choral CME Institute 1999 WEST COAST CANADA The Conductor as Educator, Artist & Peacemaker June 26 - July 3, 1999 Located on the Pacific Ocean campus of Lester B. Pearson College, this week includes working with composers Imant Raminsh, Rupert Lang and Stephen Hatfield, as well as members of the Southern California Children's Chorus and Contra Costa Children's Cho rus. The curriculum features an emphasis on the choral music experience as holistic educa tion, 20th Century choral music, rehearsals and concert performances, breathing and move ment techniques, Tai Chi for conductors, First Nations drumming and dancing, and con ducting masterclasses with string orchestra and choirs. This biannual CME Canadian-Ameri can Institute is for all CME Levels, including the Artist.:reacher Diploma. CHICAGO MIDWEST AMERICA The Conductor as Singer, Song Leader & Storyteller July 31 - August 7,1999 This week with Doreen Rao features American song leader Nick Page, members of the Glen Ellyn Children's Chorus, an emphasis on new North American repertoire, the "Circle of Sound" voice education program, audience singing, and storytelling. This week is for Level II, Level Ill, and Artist.:reacher Diplomas only. Completed Level I is a pre-requisite for course enrollment. INAUGURAL MASTER TEACHER COURSE OFFERING Teacher Education-in-Action & CME Level I ~~\ July 28 - July 31,199 0 CHICAGO MIDWEST AMERICA Doreen Rao, lee Kesselman, and Lori Anne Dolloff direct a CME Level I course along side the inaugural CME MASTER TEACHER CERTIFICATION course for CME Artist Teachers and Associates interested in using the CME performance model for teacher education in choral music. Note that the CME Artist.:reacher Diploma is a pre-requisite for Master Teacher Certification. Level I registrations are accepted without pre-requisite. For more information contact: Barbara Mancktelow, (ME Institute Administrator 208 Walton Street, Port Hope, Ontario LlA lN9 Telephone: (905) 885-1356 0 Fax: (905) 885-7229 • E-mail: [email protected] Special thanks to Boosey & Hawkes, www.ny.boosey.com. for their continued support. NEWSBRIEFS Kiefer Contributes Biography of Fred Waring to Scribner Encyclopedia of American Lives UNIVERSITY PARK, PA - Peter Kiefer, coordinator of the Penn State University Libraries' Fred Waring's America Collection, has written a biographical sketch of Fred Waring for the Scribner Encyclopedia ofAmerican Lives. The sketch appears in volume 1, "Notable Americans Who Died Between 1981 and 1985." Waring, who died in July 1984 at age eighty-four, enjoyed a nearly seventy-year career as a choral conductor and showman. He grew up in Tyrone, Pennsylvania, and attended Penn State. Waring later served the University as a trustee and distinguished alumnus, and in 1984 designated Penn State to house his memorabilia. Kiefer worked for Waring for more than thirty years and has been coordinator of his archives since his death. Waring was the leader of the Pennsylvanians, a musical group comprised of an orchestra, glee club, and dancers. He and his group entertained audiences on numerous radio and television shows and concert stages from the 1920s until Waring's death. They recorded numerous albums and had many top-ten hits. Waring also is known for developing and promoting the electric blender. He provided the funding and some expertise for the development of the product when the inventor could not create a working model. Waring then financed the manufacture of the appliance, called the Waring Blendor®, and promoted it on the radio and through other avenues. Fred Waring's America Collection is housed in the Special Services Building on Fox Hill Road in State College, Pennsylvania. For more information on the collection, contact Kiefer at (814) 863-2911/e-mail music from Shawnee Press, World Music, GlorySound, Harold Flammer Music, Novello, Gilpin Music & SandSoundS • CHOREOGRAPHY SESSIONS for elementarx and junior/senior age levels on August 2 & 3 • STUDENT DEMONSTRATION PERFORMANCES of new school musicals • SCHOOL SPECIAL-INTEREST SESSIONS: Keeping (and attracting) Boys in the Choir' Rehearsal & Conducting Techniques' Handbells in School Settings & more • CHURCH MUSIC FESTIVAL featuring chorals with brass and percussion accompaniment • SACRED SPECIAL-INTEREST SESSIONS: Making Music Sign • Adult Choir Ministry • Whafs New for Handbells • Children's Chorals • Rehearsal & Conducting Techniques • Programming and Music Selection • Children's Musicals • What's New for Keyboards • MUSIC IN THE MOUNTAINS COMES ALIVE! David Angerman, Cindy Berry, Pepper Choplin, Patti Drennan, Craig Curry, Greg Gilpin, Joseph Martin, performing keyboard and vocal selections in an intimate concert setting. Plus participation by all 1999 church clinicians and the Shawnee Press staff! -Tuesday evening, August 3 and Thursday evening, August 5 $60 per person per day, advance registration and payment required • Discounts available prior to May 1, 1999 Teachers, attend BOTH SCHOOL DAYS for university credit. Call for details! Call 1-800-962-8584, Ext. 249 or e-mail [email protected] to request registration forms PAGE 40 CHORAL JOURNAL Orchestrating a concert tour requires years of experience. Our staff of music and travel professionals pay constant attention to the countless details that spell success. We provide appealing venues and all the necessary publicity. Central Holidays Concert Tours has offices both in the USA and Italy. So you can expect unparalleled service for a song. Guest Conductors to be announced (3 Central Holidays CONCERT TOURS Call your travel agent or 1.800.9355000 ext. 365 or fax Ida Dunham at 617566.3262 e-mail: [email protected] ACDA PLANNED GIVING Mary Helps ACDA Take Stock ARY DECIDED to give tax deduction and the bypass of capital broker to sell the stock and mail a check, $10,000 to the American gains. less the commission, to the American Cho M Choral Directors Association's When she discussed the idea with her ral Directors Association endowment. Raymond Brock Memorial Endowment. accountant, he affirmed her prudence and, The ACDA Endowment Officer sug She considered her gift-planning options. knowing her healthy financial condition, gested to Mary that she write her gifting She remembered it is usually better to encouraged her to proceed: He also re instructions (including signature and date) donate appreciated stock than write a minded her that the charitable tax deduc and mail them to her broker, with a copy check for the same amount. Locating a tion of $1 0,000 could be applied against to the American Choral Directors Asso recent statement from her stockbroker, only 30 percent of her adjusted gross in ciation. That's all she needed to do. Once she reviewed her list of holdings. She come, whereas a cash gift had a deduct Mary made the gift, the broker sent a noted her stock in Merck Corporation ibility ceiling of 50 percent. However, if written confirmation to the American was valued at $100 per share. Checking she were not able to use all of the deduc Choral Directors Association indicating the evening paper, she found the stock tion in one tax year, she could carry for the stock had been transferred and the was still trading at that price. ward the unused portion into the next broker was holding it as agent for the Years ago, Mary purchased 1,000 shares year. American Choral Directors Association, of Merck stock at $10 per share. Since Mary called the American Choral Di awaiting selling instructions. Mary smiled then, through stock splits and remarkable rectors Association office and told them again. She felt good about making her gift. appreciation, her investment increased to of her intentions. The American Choral What about you? Do you have appre $100 per share, with a current value of Directors Association did not have an ac ciated assets, such as stocks and bonds, $100,000. count with her broker, but the Endow that could make a tax-wise gift? The She considered her options. If she sold ment Officer offered to call the broker ACDA Endowment Officer is available 100 shares of the stock, she would have and arrange for a temporary account so to help you think through and make such $10,000, less the sales commission, to the stock could be moved from her ac a gift. If you want additional information give the charity. However, at tax time she count to the American Choral Directors or if you would like a phone call or visit, would owe capital gains tax on the growth Association endowment's account. Once please complete and mail the form below, portion of the stock, the appreciation the transfer occurred, the American Cho or call the ACDA Endowment Office at amount. Since the 100 shares had a cost ral Directors Association would instruct the (706) 556-0079. basis of$l,OOO, the taxable amount would equal $9,000. Applying a capital gains tax rate of 28 percent to the $9,000, she calculated a tax bill of $2,520. ACDA Endowment Officer and Planned Giving Now it is likely she would be able to (Please complete and return this reply form.) offset this tax with the charitable deduc tion resulting from her gift. But the de Dear Friends at the American Choral Directors Association: duction would not be available to offset other taxable income. ___ Please send me information about making a planned gift to the Mary smiled. She took pleasure re American Choral Directors Association Endowment. minding herself that instead of selling the ___ Please send me information about giving stock. stock, she could instruct her broker to ___ Please send me information about giving real estate. transfer 100 shares directly to the Ameri ___ Please contact me personally about a possible gift. can Choral Directors Association's endow ment account. Then, because the Name ______American Choral Directors Association is a duly qualified charitable organization, Address ______it could sell the stock without any tax on the gain. In addition, she would receive a City ______State ____ Zip ____ charitable tax deduction for the full fair market value of the stock. PhoneL(_-L______If she sold the stock and gave the cash, she would receive only the one benefit of Mail this form to: American Choral Directors Association Endowments, 2973 the charitable tax deduction. But if she Vemell St. S. E., Dearing, GA 30808. Ifyou are making a gift, please send the gift to gave the stock directly to the charity, she American Choral Directors Association, P. O. Box 6310, Lawton, OK 73506. would receive two benefits: the charitable PAGE 42 CHORAL JOURNAL HALLELUJAH! Timothy W. Sharp, editor A Church Musician's Bibliography for Dealing with Change, Conflict, and Staff Relationships During the last decade, the major Biery, Marilyn. "Dealing with Personali Delamont, Vic. The Ministry ofMusic in changes, resulting in reform and in many ties in the Church." The American Or the Church: Organization and Adminis cases revolution in church music, have ganist. April 1985, p. 74-5. tration of the Music Program. Chicago: come at a price. At least, church musi Moody Press, 1980. cians are faced with changes that inevita Bock, Fred and Lois. "Harmony in the bly result in challenges and anxiety. These Church." Creating Four-Pa/·t Harmony. Dinwiddie, Richard D., and Warren W changes may result in conflict within the Carol Stream: Hope Publishing Co., p. Wiersbe. "The Harmony of Preaching church community and within the church 34-72. and Singing the Word." Christianity To staff. day. October 1982, p. 78-9. The following bibliography addresses Boertje, Wendell L. "The Minister of the issue of dealing with conflict, change, Music in Church Staff Relations: Roles Doran, Carol and Thomas H. Troeger. and staff relationships. The bibliography and Responsibilities." Review and Exposi Clarifying the Relationship between Musi reflects the writing of pastors, church tor. Winter 1981, Vol. LXXVIII, No.1, cian and Pastor. Trouble at the Table: Gath musicians, church administrators, and p.67-75. ering the Tribes for Worship. Nashville: those that deal with people management. Abingdon Press, 1992, p. 78-83. It is offered with the hope that anyone Bolinder, Garth. "Closer Harmony with confronting these issues might find some Church Musicians." Leadership/86. Durst, John K. ''A Personal Perspective words of instruction and wisdom during Spring, 1986, pp. 94-9. on Staff Relationships." Church Adminis this period of transition in church music tration. April 1984, p. 18-9. and worship. Bossart, Donald E. Creative Conflict in Bibliography Religious Education and Church Adminis Edwards, Mark. "The Pastor Can Im tration. Birmingham: Religious Educa prove the Music." Church Administration, Dealing with Conflict, tion Press, 1980. January 1986, p. 19. Change, and Staff Relationships Brown, Charles S. "Public Relations for Fisher, Roger, and William Ury. Getting the Organist." The American Organist. to Yes. Houghton Mifflin Co., 1985. Compiled by Mark Acker and June 1982, p. 48-9. Timothy W Sharp Fitzer, Joseph. ''Acting Professional." The Burroughs, Bob. "The Church Staff." American Organist. March 1985, p. 44- Allen, Robert E., "Pastor and Musician: Church Music in the Real World. Dayton: 5. Mission or Misery?" Journal of Church Tempo Music Publications, 1996, p. 66- Music. January 1982, p. 10-12. 76. Fitzer, Joseph. "Our Own Worst En emies." The American Organist. October Amundson, Melvin. "Building Positive Clark, Linda J. Music in Churches. 1982, p. 22-3. Staff Relationships." Journal of Church Bethesda: The Alban Institute, 1994, p. Music. March 1986, p. 11-14. 55-65. Glenn, W Herbert, "From the Other Side of the Chancel: A Pastor Looks at Clergy Are, Thomas L. Faithsong. Philadelphia: Clemons, Hardy. "The Pastoral Staff as Musician Relations." The American Or The Westminster Press, 1981. Ministry Team." Review and Expositor. ganist. August 1980, p. 18. Winter 1981. Vol. LXXVIII, No.!, p. Bartholomew, Betty Jean. "Interpersonal 51-7. Haskel, Marilyn Law. "Responding to Relationships: The WholisticlHolistic Conflict." Journal ofChurch Music. March Approach." The American Organist. April Cohn, Mary Ellen. "Who's On Your Par 1986, p 8-10. 1985, p. 43-44. ish Team?" Pastoral Musician, Vol. 5, No. 3.1981, p. 10-12. Haugk, Kenneth C. Antagonists in the Bavin, the Rt. Revd. Timothy, Bishop of Church. Minneapolis: Augsburg Publish Portsmoouth, Chairman. "Clergy and Deakins, Mark. "Working Relationships: ing House, 1988. Musicians." In Tune with Heaven: The Essentials for Senior Ministers and Min Report of the Archbishop's Commission on isters of Music." Creator, March/April Hefley, James c. "When There's a Con Church Music. London: Hodder and 1991, p. 8-10. flict in Your Church." Moody Monthly. Stoughton, 1992, p. 190-8. June 1987, p. 17-9. APRIL 1999 PAGE 43 Hunter, William C. Music in Your Church. Lawrence, Joy E., and John A. Ferguson. Simmons, Morgan. "Getting Your Act Valley Forge, PA: Judson Press, 1981. A Musician's Guide to Church Music. New Together." The American Organist, Sep York: The Pilgrim Press, 1981. tember 1981, p. 30. Jacobsen, Wayne. "Seven Reasons for Staff Conflict." Leadershipl83. Summer 1983, Lee, George F. "Why Conflict Arises in a Smith, Argile. "Let's Talk: Pastor-Staff p.34-9. Church." Church Administration. Febru Relationships." Church Administration, ary 1987, p. 35-6. September 1987, p. 12, 14-15. Koebler, Andrew, Jr. "I Am a Minister of Music." The American Organist, Decem Maddox, Larry. "Improving Communi Stacker, Joe. "The Pastor as a Leader." ber 1980, p. 22-3. cations Within Your Staff." Church Ad Church Administration. February 1987, ministration. April 1984, p. 11-13. p.16-19. Henrieite Scl1ellenberg McDonald, Gordon. "Is Every Pastor an Tarrant, Daniel J. "Can You Hear Us, 0 "a clear, agile, liquid voice" Administrator?" Leadership Magazine. Lord?" Pastoral Musician, Vol. 6, No. 1, Spring 1982, p. 14. 1981, p. 42-4. ART~,~J'I~'aUENT . (519) 662-3499 Fax: (519) 662-2777 Mead, Loren B. "The Reformation of Thornburg, Robert Watts, and Max the Clergy." The Once and Future Church. Miller. "When Minister and Musician Bethesda, MD: The Alban Institute: Meet." Nexus 60. Boston: Boston Uni 1994, p. 53-4. versity School of Theology. VoL :xxrv; Moores, David R. "Clergy-Organist Re No. 1-2, 1981-82,p.23-7, 33-5. lationships." The American Organist. Au gust 1985, p. 46-7. Tuck, William P. "A Theology for Healthy ULL-TIME Director of Music needed for historic Church Staff Relations." Review and Ex FLutheran parish in Reading, Pennsylvania, with extensive musical heritage. Current program includes Morgan, Maureen M. 'The Evolution of positor. Winter 1981, VoL LXXV1I, No. Adult Choir, Children's Choir, Bell Choir, and R.S.C.M. a Profession." Diapason Magazine, Octo 1, p. 5-14. program for children and youth. Other responsibiliries include: interface with ber 1981, p. 3. community-based instrumental/choral ensembles and Upton, Kathleen M., ed. "Staff Relation guest artim. Must have excellent accompanying skills, a knowledge of and love for music of the Lutheran church; Ogilvie, Lloyd. "What Pastors Wish ships." Presbyterian Association of Musi creative program development experience required. Choir Directors Knew." A Choir Director's cians Newsletter. Summer 1991, p. 5. Three-manual, 40+-rankAustin organ, grand piano, and harpsichord in the sanctuary. Four rank Andover Positive Handbook. ed., Andrea Wells Miller. Organ in the chapel. Waco: Word, Inc., 1981, p. 175-183. Van Loon, Ralph R. "Pastors and Musi Please send resume. professional references. and audio/ video rape to: cians." Journal ofChurch Music, February Trinity Lutheran Church Oldenburg, Douglas Betty L. Peek, 1980, pp. 6-7. Attn: The Rev. Glenn D. Miller, Pastor w., 527 Washington Street and Richard M. Peek. "Ministers and Reading, PA 19601 hrtp://www.oldtrinity.org (website) Musicians: Harmony or Discord?" Re Westermeyer, PauL "Clergy-Musician [email protected] (e-mail) 610/371-0712 (fax) formed Liturgy and Worship, Summer Relationships." The Church Musician. 1981, p. 134-141. New York: Harper and Row, 1988, p. 87-104. Paulson, Donal N. "How to Get Along CHOIRMASTER/ORGANIST in Church Staffs." Church Administra Willimon, William H. "Pastors and Mu tion. June 1984, p. 31-2. sicians: Getting Along Together." The T. JAMES'S EPISCOPAL CHURCH in West Christian Ministry, July 1982, Vol. 13, SHartford, CT, is looking for a full-time Music Rendler, Elaine. "Ministering Pastoral No.4, p. 5-7. Direcror ro fill this position. The applicant should have an advanced degree in music or equivalent church Music in Practice." PastoralMusician, Vol. experience in the Episcopal/Anglican liturgical tradition 5, No.5, 1981, p. 20-3. Wolgemuth, PauL "Church Musician: and the Royal School of Church Music curriculum, in adclition to being an accomplished organist. Excellent The Great Offender." ChoralJournal. Vol. choral, vocal, and direcring skills required. Position Rowan, Tim. "Ministry: More Than an 21, No.5, 1981, p. 31-3. consists of directing a 40-member treble/adult choir and the development of a junior choiri working in a Ego Trip." Pastoral Musician, Vol. 5, No. committed [cam environment with clergy/administration 3, 1981, p. 16-19. in ministry and liturgical development; supervising music budgetlfundraising activities, and leading choir tours. -C]- Competitive salary, health insurance, pension plan. Schalk, CarL "The Pastor and the Church Direct curriculum vitae and questions to John L. C. Mitman, Rector, or Deborah S. Downes, Search Musician: Thoughts on Aspects of a Committee Chairperson, St. James's Episcopal Church, Common Ministry." Church Music '80. 19 Walden Street, West Hartford, CT 06107, (860) 521-9620, by April 30, 1999. Position available 6-15- St. Louis: Concordia Publishing House, 99. 1980, p. 23-8. DEADLINE FOR APPLICATIONS: APRIL 30,1999. PAGE 44 CHORAL JOURNAL RESEARCH REPORT Lawrence Schenbeck, editor New Approaches to Romantic Choral Music ONDUCTORS approaching With "Ode to the Ninth: The Poetic and motivic progression, and word-setting to choral music in the Romantic Musical Tradition Behind the Finale of highlight Brahms's expression of the psy C Era must often feel like Hercules Beethoven's 'Choral Symphony'" (Ph.D. chological plot development. Two appen calling up Hydra: throughout the era, diss., University of North Texas, 1992), dices discuss Brahms's operatic ambitions genres were transformed or combined; James Parsons seeks to correct that im- and the texts he considered as potential styles and techniques advanced; traditions balance. He traces Beethoven's interest in libretti; these shed additional light on his evoked and then discarded. Change was the Schiller poem over a period of more musico-dramatic aesthetic. a constant, and the results lie littered in than thirty years and reminds us that the all the odd places of the great composers' poem had already been set some forty Masses catalogues. For every garden-variety times before Beethoven used it. Central "Thematic and Motivic Metamorpho partsong or motet that survives from the to Parsons's argument is an articulation sis in the Masses and Oratorios of Franz nineteenth century, we also have dramatic of what Freude-joy-meant to Liszt" (D.M.A. diss., Southwestern Bap cantatas, choral symphonies, "scenes" Beethoven, Schiller, and their contempo tistTheological Seminary, 1988), by John from Faust or Shakespeare, or semi-secular raries. Joy was in fact a cardinal tent of Barton Brookins, examines the one area Requiems. Recent scholarship has produced Enlightenment: in his Kritik der rein en ofLiszt's music in which his penchant for a number of interesting studies of these Vernunft (2d ed., 1787), Kant asserted "thematic transformation" has never been hybrid, singular works-and also of Ro- the "entire pursuit of reason" had but thoroughly analyzed. The study encom mantic composers' eccentric treatments of "one ultimate end-that of happiness." passes Liszt's Mass for Male Chorus, the the standard forms. The following descrip- Years before, Johann Adolf Scheibe had Missa solemnis or "Gran" Mass, Missa tions are based on authors' abstracts. already ascribed that aim to music. Par choralis, Hungarian Coronation Mass, sons links Scheibe's aesthetic, especially Requiem, The Legend o/St. Elizabeth, and Choral Symphony his encouragement of the strophic Lied, Christus. Brookins uses a tabular format In "Program and Process in the Sec to Kantian philosophy, to genre and its to identifY thematic elements, show their ond Symphony of Gustav Mahler" (Ph.D. expectations, and to Beethoven's setting, location in a work, the number of mea diss., University of California at Davis, thus yielding a new perspective on the sures they occupy, the voice or instru 1996), John R. Palmer traces the devel choral finale. ment that carries each element, and a opment of each movement of Mahler's comment about specific alterations that Second or Resurrection Symphony from the Dramatic Cantata dominate each appearance of the the earliest sketches to the first printed edi Brahms's secular cantata, Rinaldo, is matic element. Alterations are then tion. By combining this examination with the most significant example of his dra grouped and classified as melodic, rhyth a treatment of the processes of unifica matic music.Yet Rinaldo historically has mic, or harmonic and "other." These al tion and transformation at work within been viewed mainly in the shadow of Ein terations are discussed in relation to the the finished piece, he reveals Mahler's deutsches Requiem, published a few works examined. underlying thoughts on how to uni£}r a months earlier. "Brahms's 'Rinaldo' Op. "Kunst und Kirche: Studien zum large-scale work. Palmer then compares 50: A Structural and Contextual Study" Messenschaffen von Franz Liszt" (Art and those musical events with the ostensible (Ph.D. diss., University of Nottingham Church: Studies on the Masses of Franz programs for the piece. Based on this [UK], 1994), by Mary Isabel Ingraham, Liszt) by Anselm Hartmann (Ph.D., Uni work, he has concluded that Mahler's de seeks to remedy this neglect. Part I iso versity of Kaln, 1991) has been pub tailed programs for the Second Symphony lates Brahms's musico-dramatic ideals and lished as No. 168 in the series KaIner are post-compositional attempts to de identifies possible sources of influence Beitrage zur Musikforschung (Kassel: scribe his musical processes through meta from operatic and concerted vocal works. Gustave Bosse, 1991). Liszt wrote his phor. The real "meaning" of the Part II addresses the textual side of Masses in conscious opposition to the symphony can be found only by analyses Rinaldo. Goethe's text is a terse Romantic church music of his day. He sought to such as Palmer's and by consideration of expression of one event in Tasso's epic renew the genre by combining the "ad the text Mahler chose for the finale, the tale of the First Crusades, Gerusalemme vanced" musical art of the day with Chris Klopstock hymn Auferstehung. Liberata. The absence of detail in this tian doctrine; this was in fact part of his The finale of Beethoven's Ninth Sym retelling contributes greatly to its effec plan to reform all cultural life in Europe. phony has been the subject of numerous tiveness as a psychological drama. But Hartmann finds no evidence that and varied critical responses over the Brahms's musical setting employs a cor these ideas were worked out in any sys years. Yet relatively little attention has responding economy of means. In Part tematic way in the Liszt Masses. Each been paid to the words the composer III, Ingraham turns to extended musical yields a different set of aesthetic criteria derived from Schiller's "An die Freude." analyses of structure, tonality, thematic! when examined closely. APRIL 1999 PAGE 4S Robert Schumann's desire to make a choral groups in Dresden and Dusseldorf, police, it was assumed the oratorio was contribution in all historically signifi led to the composition of a Mass and a never performed. But it was, first in an cant genres, coupled with his work with Requiem in 1852. The Requiem is the abbreviated version and later in its en main subject of Gregory Harwood's "The tirety, after which it became a staple in Genesis of Robert Schumann's Liturgical Catanian oratorio repertory. This disser LUMINAMUSIC Works and a Study of Compositional Pro tation includes a translation of Giuditta's Featuring enduring, meaningful texts cess in the Requiem, Op. 148" (Ph.D. libretto and the first study edition of a set to provocative, original music. Buy one. Copy forever. diss., New York University, 1991). full score of any Pacini work. Schumann struggled with the opening More well known are the oratorios of www.luminamusic.com movement of the Requiem. After draft Max Bruch; he wrote five, and their re ing a traditional, austere beginning in D vival seems imminent as the twentieth minor, the composer encountered trouble century nears its end. In "Die Oratorien developing his ideas, and in the end he von Max Bruch: Eine Quellenstudie" "Professionally tailored gowns of lasting beauty." wrote a completely different setting. Its (The Oratorios of Max Bruch: A Source lyrical style and use of the more unusual Study), Matthias Schwarzer (Ph.D., Uni FREE key of Db major are decidedly less con versity ofKoln, 1988) examines all five catalog and ventional than the approaches employed Odysseus, Arminius, Achilleus, Moses, and fabric samples. by Mozart, Cherubini, or Berlioz. Gustav Adolf-with respect to their gen Since 1955 ... Schumann's concern for coherent tonal esis, reception, and the biographical cir LYRIC structure and thematic unity also influ cumstances, including persons associated CHOm. GOWN co. enced his departures from conventional with them. Each oratorio also receives a liturgical form. An appendix to detailed musical analysis. P.O. Box 16954-AZ Harwood's dissertation contains a tran Schumann's oratorio Szenen aus Jacksonville, FL 32245 Goethes Faust realizes the fundamental CALL TOLL FREE scription of the entire continuity draft of 1-800-847-7977 the work, including abandoned sketches, theme of Goethe's play, in which Faust is and a critical apparatus. gradually led to understand that eternal striving is a necessary condition of hu Oratorios, More or Less manity and that striving leads to redemp Posterity has deemed Giovanni Pacini tion. John Alston's "Words and Music in one of the most popular composers of Robert Schumann's Szenen aus Goethes the primo ottocento, less original than Faust" (D.M. doc., Indiana University, his contemporaries, Rossini, Bellini, 1995) shows how Schumann underscored Donizetti, and Verdi. His works-which the relationship between struggle and sal include operas, oratorios, cantatas, vation both harmonically and motivically. Masses, Requiems, and countless shorter Although the music is not always as sacred works-have been all but forgot inspired as the poetry, the oratorio dem ten. In "Giovanni Pacini's Giuditta: The onstrates Schumann's profound under Dramatic Possibilities of the Oratorio" standing of the original drama. Kathrin (Ph.D. diss., The Catholic University of Leven.;.Keesen explores the early drafts of America; 1997), Denise P.. Gallo seeks to the oratorio in "Robert Schumanns redeem and describe at least bne ofthose Szenen aus Goethes Faust (WoO 3): works. PaCini composed nearly ninety . Siudien zu Fruhfassungen anhand des operas, but the four oratorios of his ma Autographs Wiede 11/3" (Ph.D. diss., ture years distinguish him from his peers, University of Gottingen, 1996). Her tran for almost no other composers of Pacini's scriptions of large parts bf the sketches status were writing in that genre. Gallo's are of material aid in developing a sense archival research suggests that, faced with of Schumann's creative process and his the growing dominance of Verdi in op deepening understanding of the themes era, Pacini turned to oratorio, where he embedded in Goethe's text. This disserta could continue in a style similar to that tion was published (Berlin: E. Kuhn, of opera but remain outside its competi 1996). tive arena. In focusing on Giuditta, com posed in 1852 for the festival of Saint -C]- Agatha in Catania, Sicily (the composer's birthplace), Gallo emphasizes its close ties to Risorgimento Sicily. Because of the work's initial censorship by the Bourbon PAGE 46 CHORAL JOURNAL HIGH SCHOOL CHILDREN'S "Tbejll1est e~!1 "Finest repel~~~ C H 0 IRS orgam~e CH 0 IRS cOl1ductors. I" ever .tdren's bistoricsettl11gs. June 16 - 21, 2000 ; forcl;~irs!" August 1 - 7,2000 July 5- 12,2000 St Giles Cathedral Festival Concert York Minster Festival Evensong Canterbury Cathedral Festival Concert Westminster Hall Dress Rehearsal with Orchestra St Martin-in-the-Fields Dr. Eph Ehly Individual Choir Individual Concerts Indianapolis Concerts Children's Choir British-American High School Fourth Annual International Third Annual British-American Church Choral Festival i Children's Choir Festival (Video Available) Music Festival (Video Available) Featuring Festival Choir Concerts at York Minster Live in the shadow of majestic Canterbury Feahlring Festival Choir Concerts at Britain's Cathedral, Beverley Minster and Westminster . Cathedral where choral music began in 597 A.D. most historic locations of the Faith-St. Giles Central Hall in London with orchestra. Individual Festival Choir Concerts, Services and Workshops Cathedral, Edinburgh; Canterbury Cathedral, concerts at St. Martin-in-the-Fields, St. Paul's in Canterbury Cathedral and Final Festival Choir Westminster Central Hall with orchestra. Cathedral, etc. Custom itineraries can include Concert at Westminster Central Hall with Custom itineraries can include extensions extensions with concerts throughout Britain orchestra. Individual choir concerts in to explore your denominational heritage! providing educational accountability by enhancing Canterbury Cathedral, st. Paul's Cathedral, and supporting your choral curriculum. st. Martin-in-the-Fields, etc. Optional extension Conducted by DAVID FLOOD, to Paris with a concert at Cathedrale Notre Master of Choristers, Canterbury Cathedral, Conducted by DR. EPH EHLY, Dame de Paris and a major evening concert at and MICHAEL HARRIS, Dillv. of Missouri, Eglise de la Madeleine. Pre and post-festival Master of the Music, St. Giles Cathedral and PHILIP MOORE, ell.1ensions with concerts throughout Britain; Mastel' of the Music, York Minster Conducted by HENRY LECK,' . Indfanapolis Children'S Choir, and DAVID FLOOD, Master of the Choristers, Canterbury Cathedral Orchestrating a concert tour requires years of experience. Our staff of music and travel professionals pay constant attention to the countless details that spell success. We provide appealing venues and all the necessary publicity. Central Holidays Concert Tours has offices both in the USA and Italy. So you can expect unparalleled service for a song. Guest Conductors to be announced (3 Central HolidaYS CONCERT TOURS Call your travel agent or 1.800.935.5000 ext. 365 or fax Ida Dunham at 617.566.3262 e-mail: [email protected] COMPACT DISC REVIEWS Richard J. Bloesch, editor KrzysztoJ Penderecki: Credo the central movement, Crucifixus. Latin Oregon Bach Festival Orchestra and texts from Holy Week liturgies (Crux ...... ·.RECORDING ...... • Choir, Phoenix Boys Choir, Helmuth Fidelis, Popule Meus, and Pange Lingua .·COMPANIESTHIS ISSUE· .. Rilling, conductor Gloriosi), a fragment of the German cho Recorded 11 July 1998 rale, Aus Tiefer Not, and two Polish hymns . Han:~slei Classics HansslerClassics, 98.311; [DDD], 51:07 (one of which is an adaptation of the Collegi~.Records, agent Popule Meus text) are included. The other P,O.Box3i366 NE OF this reviewer's first ex interpolations include an excerpt from Omaha, NE 03.452 .. periences with avantgarde Revelations, "He will come again with O occured at a summer music glory to judge the living and the dead, New World Records camp when he waS thirteen years old. An and of his reign there will be no end," 701Seventh.Avenue instructor walked up to the front of the and two Latin verses incorporated into NewYorlc, NY 10036 classroom, wrote "K. Penderecki the final movement, 'Md I look forward Threnody to the Victims of Hiroshima" to the resurrection of the dead" and "And Sony Classical on the blackboard, and placed the turn the life of the world to come." The musi 5.50 Madison Avenue table needle on a record. It was not the cal language reflects the emotions of the New York,. NY 10022. most subtle introduction in the world text being set. Penderecki has not com (particularly at eight in the morning), but pletely turned his back on the music of it certainly grabbed the attention of ev his youth, and some of the lessons learned awe-inspiring. The five soloists (Juliane eryone in the classroom. in his works from the 1960s are to be Banse, Marietta Simpson, Milagro Vargas, KrzysztofPenderecki burst into the in heard here. He uses musical texture and Thomas Randle, and Thomas Quasthoff), ternational scene in the early 1960s with timbre in the same way it is found in the the members of the Phoenix Boys' Choir, pieces that contained unconventional St. Luke Passion, Stabat Mater, and For the and Helmuth Rilling must be congratu playing techniques, seemingly throwing Victims ojHiroshima. The language may lated. out many techniques important in music have changed, but the intellect and talent The booklet includes the text of the up to that time. Then he turned his back are the saine. Credo, a detailed essay on the Credo by on all of that, returning to conventional The work was recorded at the premiere Penderecki scholar Ray Robinson, and bi musical language. in Eugene, Oregon. The performance is ographies ofPenderecki, Rilling, the boys' In 1996 Penderecki was commissioned by the Internationale Bachakademie in Stuttgart, Germany, and the Oregon Bach Festival in Eugene, Oregon, to compose a mass for choir and orchestra. The com ConceJ}:~~: ...... ·rs mission was instigated by Helmuth A bridgetctt]je}¥orld Rilling, the artistic director of the Or egon Bach Festival and founder of the Not Just Another PerfQt:nJ-~~ina Foreign Place Bachakademie. He previously commis A cultural focus, in the bIQq.q¢§t,;md'lJ¢st sel1Se of the word. sioned Penderecki to compose a move A custorrrized itinerary; planneci'arc)l:ilJ.d your group's unique agenda. ment for the Requiem ojReconciliation, a Experienced professionals at every stage, froqitour design to execution. joint composition involving thirteen other An educational perspective, with viSits to historic sites & cultural landmarks. composers from Europe, the United Specialized guides, accommodations .l!x. travel amenities to meet your budget. States, and Asia. In the course of time; the piece transmuted into an hour-long; Music Collaborations and Performance Tours multimovement setting of the credo text (with some interpolations), scored for five Group Tours to New York City vocal soloists, mixed choir, boys' choir, Cathedral Tours of&reat Britain and orchestra. This work premiered on Eastern &. Western Europe July 11, 1998, at the final concert of the Oregon Bach Festival. UK, South Ameri~~,&, Asia The Credo is broken into five move~ Contact: Dennis Hunt, Concept Touts, Inc. 170 W 74th St., NYC 10023 ments. It contains a number of textual Tel: 212-580-0760 Fax: 212-874-8605 [email protected] interpolations. The bulk of these occur i~ APR! L 1999 PAGE 49 choir, and the five soloists. All this is pre Simple Magnificat; Aaron Jay Kernis: celebration of her Thanksgiving Song stays sented in English, German, French, and Teach Me Thy Wtty, 0 Lord; Judith in the mind with equal persistence. The Spanish. It is a pity they could not have Shatin: Adonai Roi; Stephen Paulus: prayerful supplication of Simon Sargon's included a complete roster of orchestra Meditations of Li Po; John Schlenck: setting ofEilNoraAlilah recalls the prayer arid chorus members as part of the forty Three Vedantic Hymns ful requests to "Teach Me Thy Way, 0 eight-page booklet, particularly since com The New York Concert Singers, Judith Lord" found in Aaron Jay Kernis's piece plete rosters of performers were included Clurman, condo bearing that title. in other Hanssler discs, such as Handel's Recorded: October, 1996 Two pieces stand out to some extent, Messiah, recorded at the 1997 Oregon New World Records 80504-2; [DDD]; if only because of their length and Bach Festival, or the recording of the Re 68:04 multimovement status. The Meditations quiem of Reconciliation. Moreover, the ofIi Po, by Stephen Paulus, captures the identity of the boys' choir is nowhere to IVINE GRANDEUR is a CD spirit ofLi Po's writings without resorting be found on the CD package, save for the of choral works by twentieth to "oriental" effects. Jonathan Schlenck brief biography of the choir. It is this D century American composers, incorporates some native atmosphere into reviewer's hope that the omission regard performed by the New York Concert his settings of three hymns from the ing the Phoenix Boys Choir was an over Choir, under the direction of Judith Hindu scriptures (the middle setting uti sight that will be corrected in future Clurman. lizes a tamboura, a string instrument used pressings. It contains a wealth of good music. as a drone), but his settings, like Paulus's David Bohn One is struck by the reverent atmosphere settings of Ii Po, are effective aestheti Unitarian-Universalist Church of Robert Beaser's setting of Psalm 119, cally. Urbana, Illinois but no less so than that found in the Judith Clurman and the New York outer sections of the same composer's set Concert Singers give effortless, exemplary Divine Grandeur ting of Psalm 150, or in Judith Shatin's performances of the works presented. The Simon Sargon: Eil Nora Alilah; Robert setting of Psalm 23 (Adonai Rot). Ellen performances are consistently skillful and Beaser: Psalm 119, Psalm 150; Ellen Taaffe Zwillich's A Simple Magnificat beautiful. Taaffe Zwilich: Thanksgiving Song, A exhibits exuberance, but the quiet David Bohn Hinshaw Music Sacred and Secular Choral Literature since 1975 HMC1682 Musica Dei Donum (SATB) the text (of unknown authorship) in praise of music, with Rutter's typically lovely treatment, truly "makes savage souls gentle and uplifts sad minds". Great to sing--Great to listen to- Order from your favorite a wonderful concert piece. music supplier, or contact us at: HS258CD Rutter Requiem $17.98 performed by the world-renowned choir of King's College, Cambridge. with the City of London Sinfonia. Contents: Requiem*( 1985) Veni Soucte Spiritu (1997, for this recording) Wltat Sweeter Music(1987) Hymn to tlte Creator of Ligltt( 1991) Can tate Domino(1992) Cantus * (1997, for this recording and inscribed to the memory of Don Hinshaw) Te Deum * (1988) *available through Hinshaw Music ~lf.-~'=I\m=,~:,,:-;.=-_=;,--:-·=eia=~~ilJ~.;~=oi~:O="'ft="'te='''iS~::tf~t.~1 HMC1629 A Clare Benediction (SATB) $1.25 also available in Unison or 2pt(HMCI630, $1.10), and SSA (HMCI634, $1.25) HMC1580 Personent Hodie-On This Day Earth Shall Ring(SATB) $1.25 HMC1575 Cantos (SATB div., opt. sop. solo) $1.75 HMC1527 Look At The World (child choir(unison) &/or mixed choir) $1.50 PAGE SO CHORAL JOURNAL Unitarian- Universalist Church Joan of Arc, the Vietnam War). Both ad Academy of Arts and Letters, the Ameri Urbana, Illinois dress the subject in a non-narrative way, can Music Theater Festival, and an Obie much as Benjamin Britten's mzr Requiem award for his theatrical oratorio, Juan addressed both of the world wars. Both Darien-a Carnival Mass, which was also Elliot Goldenthal works utilize texts assembled from a vari nominated for an Emmy. Fire -water Paper: A Vietnam Oratorio ety of sources and authors in a variety of The resources used for Elliot Pacific Chorale, Pacific Chorale Children's languages. Both use fairly large perform Goldenthal's Fire mzter Paper: A Vietnam Chorus, Ngan-Khoi Vietnamese ing ensembles, including multiple Oratorio are numerous. The text is poly Children's Chorus, Pacific Symphony "choirs," vocal and instrumental soloists, glot (French, English, Latin, and Viet Orchestra, Carl St. Clair, conductor orchestra, and pre-recorded sound. Yet namese) and drawn from a vast variety of Recorded April and July, 1995 there are many differences. sources, both sacred and secular (a dozen Sony Classical SK 68368 [DDD] 65:43 Although many people may not be authors are identified, including a poet acquainted with Elliot Goldenthal's name, who is a veteran of that war). The per Richard Einhorn it is quite likely they have heard some of forming ensemble is large and varied, us Voices ofLight his music. He has written a number of ing three choirs, two vocal soloists, solo Anonymous Four, Netherlands Radio film scores, including Heat, Sphere, cello (Yo-Yo Ma), a huge orchestra, and Choir and Philharmonic, Steven Batman Forever, as well as several for di some prerecorded material. The musical Mercurio, condo rector Neil Jordan, such as The Butcher language includes everything from jagged, Recorded: 23-25 August 1995 Boy, Michael Collins, and Interview with non-tonal writing to folk songs. Yet, for Sony Classical SK 62006; [DDD] 70:40 the Vampire (for which he was nominated some reason, this work feels like a unified for an Oscar for best flim score). He is whole. No transitions are heard as the ICHARD EINHORN'S Voices of active also as a composer for the concert music passes from clearly tonal to a more Light and Elliot Goldenthal's Fire stage, having been commissioned to write dissonant language; one is aware of the Rmzter Paper: A Vietnam Oratorio his Shadow Play Scherzo in honor of change only after the fact. are very similar in nature. Both are in Leonard Bernstein's seventieth birthday. The impetus and inspiration for this spired by devastating events (The trial of He received awards from the American piece should be fairly obvious from the The New Grove Dictionary of The New Grove Dictionary of Music and Musicians Opera Edited by Stanley Sadie Edited by Stanley Sadie NEW LOW PRICE! Now in Paperback This ultimate companion for opera enthusiasts is now available in an An indispensible resource elegant 4-volume slipcased paperback set. for music lovers and professionals alike, "... the definitive this 20-volume reference source on opera collection has been jar many, mallY years to celebrated come." worldwide as -Chicago Tribune "the greatest musical dictional} everpublished. " For more information or to place your order, contact: Grove's Dictionaries Inc. III 345 Park Ave. South, New York, NY 10010 8002212123 III fax: 212 6899711 III www.grovereference.com III [email protected] APRIL 1999 PAGE 51 title, and the commission was timed so recording) is still a difficult subject for examination of the work on its own mer the premiere of the work would fallon many people. This piece does not take its is certainly valid. the twentieth anniversary of the formal sides or try to soothe; it pulls no punches, Einhorn assembled the text for his end of the war on April 30, 1975. The but it also contains moments of great work from a variety of sources, including "Vietnam Experience" (as it is called by tenderness and even beauty. Fire \.\later the Bible, writings of a number of writers Carl St. Clair, who was involved in the Paper receives an exemplary performance from the twelfth to fifteenth centuries, commissioning process and conducted the by performers who are clearly dedicated including St. Hildegard von Bingen and to the music; the piece progresses as if St. Jeanne d'Arc herself These were wo one is looking at a giant tapestry, display ven together to produce a sort of "ritual IRECTOR OF MUSIC ing the human experience of that war in drama" roughly paralleling the action of D AND WORSHIP is sought all its brutality, anger, grief, and compas the film. He chose to set these fragments by First Mennonite Brethren SlOn. in their original languages (Latin, Italian, Church. A full-time position to The impetus for composing Voices of and both Old and Middle French), which direct multiple music ministries Light came from viewing Carl Dreyer's further adds to the ritual nature of the and lead blended worship. This film The Passion ofJoan ofAre, a singular work as a whole. He scored the piece for visionary, growing, suburban film that is on many movie scholars' short two solo quartets, several viole de gambe, church of700 attenders of all age groups is rooted in Anabaptist list of the greatest films of all time. While orchestra, and a tape of a church bell theology and committed to it might have been instructive to view the known to Jeanne d'Arc, giving himself a relevant ministry. Masters degree film in the context of reviewing Richard varied pallette to manipulate in the way a or equivalent experience preferred. Einhorn's composition, this was not pos playright uses characters on the stage. The Submit resume and references to: sible. It may be that a knowledge of the performances are polished and clearly Music Search, 8000 W 21st St., film may affect one's reaction to the piece; committed to the music presented. The Wichita, KS 67205-1744. the composer himself writes, however, that music itself is rather unimpressive. It is FAX: 316-722-5931 he wished to "attempt a stand-alone work harmonically static and full of pseudo E-mail: [email protected]. that would speak to various aspects medieval gestures, with more than a hint of Joan's life and legend," and so an of American minimalism. Furthermore, ------, it seems Einhorn cannot decide if he is composing the ritual drama the texts sug gest, or whether he is writing a more traditional piece, with all the typical dra matic effects. Either route is viable-look at Arvo Part's setting of the St. John Pas sion or Stravinsky's Oedipus Rex for ex amples of ritualized drama and the entirety of musical history for examples of the latter. Voices ofLight does not match up to any of these on its own. Established in a nurturing environ One thing repeatedly mentioned in ment, Creating Artistry offers an op the liner notes for this disk (and in other portunity for conductors to further de sources on flim history) is the unusual velop conducting skills. Through in nature of Dreyer's film-the use of un dividual andmasterclass teaching, con conventional camera angles and editing ductors study Conducting Gesture, techniques, the use of a single, complex Vocal Techniques, Rehearsal Effi set (where most parts of the set could be ciency, Pacing, Score Analysis, Rep removed and replaced to accommodate ertoire, Choral Administration and the cameras and lights), and the "natural Multi-cultural Interpretation. Labora istic" acting style. It is a pity Einhorn was tory choruses provide the opportunity not able to create a work as original as the for students to explore actively the con film that inspired it. ducting process. David Bohn Unitarian- Universalist Church For further information contact: Ginger Markham Urbana, Illinois Indianapolis Children's Choir 4600 Sunset Avenue, Indianapolis, IN 46208 -C]- (317) 940-9640 FAX (317) 940-6129 [email protected] PAGE 52 CHORAL JOURNAL A repository of historical material related to the 70-year career of Fred Waring and the MUSI(~A~ Pennsylvanians 1\'()WI..l~I(~..l~® .~ Materials available to researchers and music educators YOLlr exc.ILlsive SOLlrc.e for ~omanian Fred Waring's America c.horal mLlsic. and beyond ... Finest Fabrics including Permanent Press and Wash & The Pennsylvania State University . Wear. Superior Quality. Free Color Special Services Building Catalog and Fabric Swatches on 1127 Fox Hill Road ~ CATALOG and Request. Guaranteed Satisfaction. University Park, PA 16803·1824 SAMPLER TAPE! Toll Free 1-800-826-8612 (814) 863·2911 FAX (814) 863-2574 VISIT OUR WEBSITE! P. O. Box 27830 http://www.libraries.psu.edut Seattle, W A 98125-2830 HEGENCY crsweb/speccollwaring.htm Phone· (206) 364-4225 _ot!'#I;Wol"'j~li·. Fax· (206) 364-4569 E-n:tail • MusiRon:[email protected]:t P.O. Box 8988-CJ Jacksonville, Florida 32211 C.'L?... /p:'.' .·Pl· ',70~-'·· " '-. '. , -', .... :...... "'.'" ~.> •...... "...... : ~. '.' "'. ~ . ..~ ...... ; ..... , ..-~ ' . no, . .A diVision of Blue Heart Tours Inc. '. . . . "- . , '-. Tel: 800 882{)025 -Fax: 703329... 6777 e~mail: [email protected] www:BlueHeartcom '.. ..: .. , . . 6125Stegen'Drive,AlexandriaVA"22310: .. ' . . ; APRIL 1999 PAGE 53 BOOK REVIEWS Stephen Town, editor Robert C. Marsh About conducting: Dialogues and Discoveries: James Levine: BOOK PUBLISHERS His Life and His Music I want to make myself obsolete in THIS ISSUE New York: Scribner, 1998. 331 pp. the concert itself. I want to be able $27.50. ISBN: 0-684-83159-7. to have the conception seem to Cambridge University Press emanate from the orchestra Press Syndicate of the N THE preface to this biography of members, who are, after all, the University of Cambridge James Levine, the author states the ones with the instruments. . . . I 40 West Twentieth Street I following: would like to get to the point where New York, NY 10011 the audience would have the feeling The basic questions confronted in they don't see me. (p. 56) Scribner Books these pages are: How does the 866 Third Ave. performer make music? What is the On working with an orchestra: New York, NY 10022 source of the performance that seizes our attention so firmly? How You want these people to be does the creative process work? This inspired by what inspires you. You book has been written with these wind up saying things like, "Here Then you reach a certain point priorities foremost and the belief for me the problem is ... ," and when you start to free yourself of that these questions can be you are letting them in on your the printed music, and you start answered in a way anyone conception, so they are part of the thinking of the reality of working concerned with music will find process of developing a per with human musicians in real informative. (p. 13) formance-as if we were playing acoustical spaces, and you realize large chamber music. (p. 91-92) that the path to an honest What develops is a book written in an performance is paradoxically analytic, evaluative style in collaboration Score study: circuitous. (p. 98) with Maestro Levine. It is divided into four sections: Levine's life; his rehearsal Studying a score is, to a point, The appendixes detail Levine's exten technique; an in-depth discussion of spe gradually forming an informed sive discography and performances con cific recordings, including observations on opinion of how it ought to sound. ducted at the Metropolitan Opera. the recording of Fantasia 2000 with the Chicago Symphony; and most signifi cantly, conversations between the author Like a well-balanced choir, and the conductor from 1973 to 1996. Witte Travel's team of travel The volume also details Levine's musical professionals and concert life from his first piano recital at age six, organizers work in harmony his Cleveland Orchestra debut at age Harmonize to take care of every detail of twenty-four, and tripartite career as pia nist, symphonic conductor, and theatri your groups touring and cal conductor. performance needs. Perhaps the major reason to compel conductors to add this volume to their E~ope libraries is the "nuts and bolts" nature of the book, as Levine openly shares his ex without skipping ~t perience and advice. A few examples are cited below. a beat! WITTE TRAVEL On his success at the Met: Custom-designed tOtti'S for pelforming groups traveling in Em'ope enthusiasm, well-applied psy chology, and comprehensive Call (800) 469-4883 musicianship are keys to Levine's E-mail: [email protected] success. (p. 43) 3250 28th Street S.E. • Grand Rapids, Ml49512 APRIL 1999 PAGE 55 Gregory M Pysh ANIEL R. MELAMED'S Bach apparently a work "under construction." First Presbyterian Church Studies 2, the second volume in Several other articles in this collection Midland, Texas D a series initiated by the Ameri also try to give us a brief glimpse into can Bach Society in accordance with the Bach's workshop, such as Kobayashi's Bach tercentenary years of 1985, further study of the rhythmic variation principle Daniel R. Melamed, ed. demonstrates the breadth and scope of in the Passacaglia in C minor and Jeanne Bach Studies 2 recent research onJ. S. Bach. This collec Swack's reading of the incomplete A Ma Cambridge University Press, 1995. 238 tion of essays covers a considerable jor Flute Sonata (BWV 1032), from which pp. $54.95. ISBN: 0-521-470676 (Hard amount of territory, ranging from the Bach himself excised some forty odd mea cover) analyses of Bach's compositions with re sures. Whereas Swack's reading of the Flute gard to both his compositional and per- Sonata, though departing from previous formance practices, to looking at how readings, is a plausible reconstruction, ______-----, Bach's music was received and used by Kobayashi's arguments for rhythm as the the next generation of musicians in his governing variation principle in the family. While there has been vast research Passacaglia are less convincing. and writing on this subject over the last One of the gems in this collection is 150 years, it is astonishing and gratifYing Joshua Rifkin's essay, "Some questions of http://www.ChorolWeb.com to see the new directions and the wealth performance in J. S. Bach's Trauerode." Toll Free: 877-WEB-MUSIC or 208-882-6760 of new ideas that are still being drawn out Rifkin points out that we have more in Music Through the Internet of the seemingly inexhaustible storehouse formation concerning the compositional of treasures we know as Bach. history and first performance of this piece View. listen. Purchase and Download Choral. Handbell. Keyboard. and Kirsten Beisswenger leads this assort than any other composition by Bach; and Solo Vocal Music over the Inteme! ment of essays with a study of what might yet, a modern performance of the work be an early version of the first movement poses a great many difficulties with re See THE BLACK FOLDER on our webstlel of the Italian Concerto (BWV 971) and gard to size and disposition of the per gives us a detailed analysis of what is forming forces. One of the major PAGE 56 CHORAL JOURNAL problems Rifkin addresses is the makeup their father's legacy. Melamed investigates father's efforts to fit his own special cir of the instrumental group for the a thirty-six voice canon that was found in cumstances. One of the most interesting Trauerode, with special emphasis given to C. P. E. Bach's estate catalogue, while conclusions from this study is the obvi the use of two lutes and gambas. Rifkin Wollny studies the use Wilhelm ous reverence or respect Wilhelm spends considerable time asking why Bach Friedemann made of this father's cantatas Friedemann had for his father's work. Evi calls for this unique instrumentation, what as a music director in Halle. The Melamed dence of this is found when exploring the movements they were used in, how they article relates only tangentially to ]. S. effort he took in preserving his father's were used, and what role, function, or Bach because of Bach's extensive preoccu original conception of a work, and how notes they actually played. This is the pation and work with canons. Wollny's of all the compositions he performed as longest essay of the collection, with a essay, however, provides an interesting in part of his duties, he reserved his father's wealth of scholarly and practical informa sight into how Bach's eldest son, Wilhelm (or his own) works for the most impor tion (a large part of which is found in the Friedemann, used and reworked his tant festival services of the church year. many extensive footnotes Rifkin pro- r------vides); and yet, even the author humbly admits that the study raises more ques tions than it answers. Two of the essays deal with various aspects of the Musical Offering: "The Theological Character of]. S. Bach's Mu sical Offering," by Michael Marissen, and Paul Walker's "Rhetoric, the Ricercar, and ]. S. Bach's Musical Offering." Marissen's essay brings up some interesting points to consider, but his arguments appear to overreach his premise as he pulls together a wide variety of loosely connected ideas to make his point. Walker's articles chal lenge the Kirkendales' conviction that Come Solo Bach modeled the Musical Offering on Quintilian's rhetorical treatise, Institutio Festival 500 Sharing the Voices oratoria, by asserting that Bach was draw St. John's, Newfoundland, Canada ing on the long history of contrapuntal writing as represented by the word July 5 to 11,1999 ncercar. Christoph Wolff's article, written in The choirs are all in place, but there's a bit more room. So why don't you come solo? memoriam of his mentor, Paul Henry Festival 500 has limited space available for individual choristers and conductors to par Lang, deals with what Bach knew of the ticipate in this international event. You can attend workshops led by choral experts. music of his predecessor and how this Hear concerts featuring choirs from Europe, Asia, Africa and the Americas. Sing in a knowledge was used in his own musical life. Wolff briefly surveys the eminent massed performance at the Grande Finale concert. And attend the opening ceremonies composers (Schutz, Buxtehude), theore and the parties - all for the low registration fee of $199.00 CDN. Special guest artists ticians (Praetorius, Bernhard), and re include Chanticleer, the Vancouver Chamber Choir and Grupo Vocal Olisipo, sources (the St. Thomas School's library Bramwell Tovey, Bob Chilcott, R. Murray Schafer, Diane Loomer, Gerald Fagan, and Bach's own family heritage, Alt Bachisches Archiv) that Bach was aware of Robert M.Abramson, Luc Guillore, Nancy Telfer and Jon Washburn. and drew on creating his work. Wolff So register now and come sing solo with us! concludes his article by drawing a parallel For further information and application forms contact: between Newton's work in science and Festival 500 Sharing the Voices pursuit of perfection to that of Bach's ~ 7 Plank Road, St. John's NF AlE 1H3 Canada philosophy of musical perfection as the ~ ~-p Phone (709)738-6013 Fax (709)738-6014 fusion of theory and practice. The subject E-mail [email protected] and the brevity of this article (as well as Festival 500 Sharing the Voices Web Site: www.festival500.com the known scholarship of the author) make this reviewer hope that Wolff will soon expand on this fascinating subject. /7 NSVTE4. AIR CANADA Two final essays deal with Bach's sons emc {/ "Y:_' airNova and the role they played in passing on Tlte Home-,/If APRIL 1999 PAGE 57 Overall. the broad scope of this book diversity of current research on Bach importance of the essays vary a great deal. is very admirable, reflecting the great and his music, but the quality and This book, while not for everyone (espe ------, cially the novice in Bach studies), pro- vides interesting, challenging reading for those wishing to explore the more recent inquiries into Bach's domain. This sec ond volume of the Bach studies provides an excellent continuation of the series be gun with the first book and it is hoped will be followed by more such perceptive, insightful explorations. July 4 - 8, 2000 Bill Braun Powell River, British Columbia, Canada Wisconsin Lutheran College Milwaukee, Wisconsin Join 30 adult, youth and children's choirs from around the world in a week of concerts, competitions, workshops and social events on the shores of Canada's -CJ- magnificent Pacific Coast. Editor's Note: See "Research Report" Application Deadline November 1, 1999 in the February 1999 issue of Choral For information and application, contact Journal for a description of a new book 7280 Kemano Street by Melamed and Marissen. Powell River, British Columbia, V8A 1M2 Canada Tel; 604 - 485 - 9633; Fax: 604 - 485 - 2055 e-mail: [email protected] home a e:htt ://home. ren.or /-kathaum/ :5ta.n~a.r~ [<.efert(Jire ~~iti(Jns GLORIA - Vivaldi/edited by Elmer Thomas - CC96 SATB - 6.95 JEPlIT'E - Carissinti/edited by Fiora Contino - HCMC107 SATB - 6.00 MAGNIFICAT IN F - Hasse/edited by Martin Banner - 30/1149R SATB - 6.00 MAGNIFICAT IN G - PachelbeVedited by Walter Rodby - CS880 SATB - 5.95 MASS IN G - Schubert/edited by Elmer Thomas - CS865 SATB - 5.95 MESSIAH - G. F. HandeVedited by Leonard Van Camp - 65/1001 SATB - 7.25 TE DEUM - W. A. Mozart/edited by Walter Rodby - CS921 SATB - 5.95 TE DEUM - Hasse/edited by Martin Banner - 45/1044R SATB - 6.50 DIXIT DOMINUS - Galuppi/edited by David Larson - HCMC108 SSAA - 5.95 MESSE BREVE - Delibes/edited by Dan Krunnfusz - 30/1150R SA - 3.95 . ~------.. ~(Jntef11;f(Jra.r"1 ~h,(Jra.t ~~iti(Jns CHRIST IS BORN - Jonathan Willcocks - CC122 SATB - 6.95 ELECTA - Jean Belmont - 45/1039R SATB divisi - 6.00 THE ELEPHANT'S CmLD - Daron Hagen - 30/1135R SATBBB - 7.50 FOR UNTO US - Gerhard Krapf - CC112 SATB - 6.95 HOW SWEET THE SOUND - William Cutter - 65/1866R SATB divisi - 6.00 INVITATIONS - Jean Belmont - 30/1092R SATB divisi - 6.00 MAGNIFICAT - Jonathan Willcocks - 65/1861R SATB divisi - 7.00 THE PROMISED MESSIAH - Philip Ledger - 65/1867R SATB - 7.00 THE WAKING FATHER - Daron Hagen - 30/1164R SATBB - 8.00 PIED PIPER OF HAMELIN - Jonathan Willcocks - 45/1053R 2-Part - 5.00 P.O. Box 802 / Dayton, Ohio 4;401-0802 Order from your favorite music supplier, A DIVISION OF TIlE LORENZ CORPORATION or call (800) 444-1144 CJ1298 PAGE 58 CHORAL JOURNAL CHORAL REVIEWS Richard Nance, editor Editor's Note: It has been my pleasure to prepare this column, my first as PUBLISHERS THIS ISSUE Choral Review Editor. ACDA members by now know that Cory Carlson, the previous editor, tragically passed away Boosey & I;Iawkes Hinshaw Music, Inc. Sacred Music Press 35 East 21st Street . P.O: Box 470 Lorenz Corpo!ation, agent a few months ago. I am pleased to be NeVl'York,NYlOOl(l' Chapel Hill, NC 27514 501 East Third Street asked to take over for Cory and consider ; Dayton,OH45401 it a challenging task, because he did his CPP/Belwin, Inc. Music . Ionian Arts, Inc. Publishers . P.O. Box 259 Gordon V. Thompson Music work so well. I am honored by the trust 1580.0 Nw 48th Avenue . MercerIsland, WA 98040 Warner Brothers Music placed in me by Wesley Coffman and Miami, FL33014 Publications, agent Ann Easterling, and I feel great support Hal .Leonard Publishing. 15800 NW Forty-eighth Avenue ~songs Corporati°ll Miami, FL 33014 . from the many choral reviewers around '220 NW T:wenty-ninth Street· P.O .. Box 13189 the country who responded to my . Corvalli~,.OR.97330 Milwaukee, WI 53213 Trinitas questionnaire. One of the things I 5536NE Hassalo Highgate Pr~ss National MusicPublishers Portland, OR 97213 would like to do as editor is feature ECS Publishing;.agent 16605 Townhouse Drive composers from various regions of the 138 Ipswich Street .. Tu~tin, CA 92680 . .'. country. I feel there is a true regionality Boston,_ MA 02115 in repertoire. For example, choral musicians in my part of the country may not know much about composers from the east coast. I chose to start with VOCAL RANGES the. region most familiar to me, the northwest. This area of the u.s. and Canada is home to many fine composers who write music for a variety of choral media. As the year progresses, we will focus on other regions. Thanks the text can be easily understood, the Due North to my northwest colleagues who so poem speaks of false love and heartbreak. Stephen Chatman eagerly jumped in to write these The violin solo is a countermelody that SATB reviews. laments the sorrow described in the text. Highgate Press (E.C. Schirmer, agent) Range requirements and poetic expres Published separately: sion make the work appropriate for high school, college, and adult choirs. The piece 1. "Mountains," 7.0367 $1.10 Music from the Northwest is beautiful, artistic, and well-crafted. 2. "Trees," 7.0368 $1.25 Karen Fulmer 3. "Woodpecker," 7.0369 $2.70 Banks ofDoon 4. "Varied Thrushes," 7.0370 $1.10 Donna Gartman Schultz 5. "Mosquitoes," 7.0371 $1.55 SATB, violin, piano Boosey & Hawkes, OCTB6877, $1.75 The celebrated eighteenth-century Tour With Your Choir Scottish poet, Robert Burns, wrote often and peiform in the Great Cathedrals and Historic Churches. of love-both joyful and sorrowful. In • Brazil • Great Britain • Europe love himself at the age of sixteen and • France/Spain • Australia, New Zealand &: Fiji married at eighteen to his "bonnie Jean," Travel with the profeSSionals who have been Burns's short life was filled with unhappi coordinating concert tours for 30 years. ness as he struggled to eke out a meager living. While the melody of this work is «i)) entirely new, it is somewhat reminiscent AMBASSADOR TOURS of an old Scottish air. The instrumental 148 E. Michigan Avenue / Kalamazoo, MI 49007 obbligato underscores the great poignancy 1-888-830-4448(toll free) FAX: 616/349-7674 of Burns's lyrics. Set in homophony so http://www.ambassador-tours.com APRIL 1999 PAGE 59 Stephen Chatman lives in British Co maple, sycamore, poplar, and Douglas "business" by the choir, as well. This set is lumbia, Canada. He subtitles this set of fir} as building blocks for texture-using effective with the audience and fun to pieces, "five songs of nature for unaccom the sustaining possibilities of the n, 1, and sing. panied mixed chorus." Of moderate dif m consonants. "Varied Thrushes" uses a Richard Sparks ficulty, accessible to a good high school simple chord structure (the chorus sing choir and almost any college-level choir, ing "ah" and "oh") while two whistlers these pieces use a version of minimalistic from the choir whistle a sustained major repetition techniques to paint pictures of 2nd dissonance above (getting two who Gloria the various natural phenomena described can whistle in tune is a challenge!). Imant Raminsh in the titles. "Trees," for example, uses "Woodpecker" is the most formidable, SATBdivisi, SATB soli, Orchestra the names of different trees (pine, with rhythmic difficulties and subtly shift Boosey & Hawkes, LCB258, $10.50 walnut, hemlock, balsam, cedar, ing patterns that make memorization dif ------, ficult, while "Mosquitoes" is vocally Every moment in this twenty-six challenging; the choir sustains "bz" minute work is an expression of joy! The throughout the piece. A bass soloist alone medium is sometimes quiet, sometimes ends "Mosquitoes," the composer calling powerful, sometimes simple, sometimes for another chorister to clap hands (kill complex ... but always beautifully tonal ing the "mosquito") above the head of the and melodic. In five movements, the work soloist. "Mosquitoes" lends itself to other begins with an atmospheric and "angelic" ------, statement of "Gloria Deo," before lead ing with an accelerando into the vibrant "in-one" tempo that controls most of the ~:, 1nterculture Fo~ndation remainder of the movement. A solo quar ~ of Alller/Cil tet or semi-chorus, used briefly in this and other movements, provides contrast -PRESENTS- in the ever-changing textute. Movement #2, the "Laudamus Te," begins with a lovely tutti alti melody taken up sequen I;IRSt·I!XZER INJERNlfm0N~l CEt0R1>tl tially by the tenors and basses. When the sopranos take their turn with the fugal C0MREIIJI0N IN JEtE UNIJEID'SJAJES! theme, the other parts progress to chordal accompaniments of rhythmic statements We are proud to bring to the United States the proven competition of "lauda, laudamus te, adoramus, format used in our 30 prestigious international competitions glorificamus." Movement #3, mostly in ~ • Exposure to foreign choirs and choral singers is a flowing, melodic setting of "Domine • Share extraordinary and diverse new choral literature Deus," which would effectively stand • compete against choirs for a ranking or against a standard alone as a church anthem. In movement • Internationallv recognized Choral Adjudicators #4, even the "miserere nobis" text, re • American Advisors: Dr. Jerrv Jordan, Dr. Lee KjelsOn, freshingly composed in a major key, main Dr. John Haberlen, and Dr. Rovce Saltzman tains a humble, yet confident joy. • ChOir categories: Mixed - Male - Female- Chamber - youth - Jazz The orchestral introduction of the • Competition to be televised nationallv bv PBS final movement borrows from that of the THE FIRST INTERNATIONAL CHOIR COMPETITION & FESTIVAL previous movement and ingeniously FORT LAUDERDALE, FLORIDA transitions to an exciting fugue. One of NOVEMBER 18-21, 1999 many wonderful surprises occurs on page 74, when an unexpected recapitulation of Other Prestigious Events the first movement's opening "Gloria March 28-31 Hungary 7'h International Choir Competition, Budapest Deo" section softly interrupts the gather April 6-11 Italy 1 sl Int'l Choir Festival Grado, Adria nd ing intensity. Then, just as suddenly, the June 3-6 Germany 2 Int'l Mendelssohn-Bartholdy Choir Competition July 1-6 Hungary Int'l Summer Festival, Egar, Budapest basses briefly reintroduce an inverted ver July 7-11 Italy 1st Int'l Brass Competition, Terme sion of their earlier allegro "Cum Sancto July 21-25 Germany 1st Int'l Johannes Brahms Choir Competition October 20-24 Italy 3'd Int'l CANTO SUL GARDA Spiritu" theme. From here, the work reaches its conclusion in less than thirty CHORAL OLYMPICS JULY 7-16,2000 Austria seconds, a thrilling finish. 2080 SOUTH OCEAN DRIVE, HALLANDALE, FL 33009 Neil Lieurance (954) 456-5630 FAX: (954) 456·5635 TOLL FREE: (888) 820-5630 E-MAIL: [email protected]: www.musica-mundi.com PAGE 60 CHORAL JOURNAL He is Born! (ll Est Ne, Le Divin Enfant) given to sing with a sensible tempo, not This octavo is a nice work for all levels Donna Gartman Schultz (an.) too slow. By the nature of the text and of male choruses. It offers open-chord Two-part or unison, harp or keyboard, the expressive vocal lines, dynamic shad harmonies, reminiscent of the Middle opt. oboe and percussion ing and legato singing are essential. As Ages, and simple rhythmic interest. The Sacred Music Press, 10/1529 S, $1.40 has become standard with earthsong pub text, from the ordinary of the mass, is lications, a fine German/English transla offered in Latin, giving an opportunity to This beautiful setting of the traditional tion is provided on the back page. The work on language development. A cantor French carol is representative of the skill choir has the choice of singing either in opens the song with the primary theme, ful artistry and musical craftsmanship German or English. then the entire choir echoes the line, mov found in all music written by Tacoma, Robert A. Hawthorne ing into a two-part open chord structure. Washington, composer, Donna Gartman Schultz. This arrangement opens with a solo oboe playfully introducing a Medieval Gloria LUMINAMUSIC countermelody accompanied by finger VijaySingh Featuring enduring, meaningful texts set to provocative, original music. cymbals and hand drum. As the keyboard TB (also available SA) optional hand Buy one. Copy forever. and voice parts enter, the melody is en drum www.luminam.usic.com hanced with a light, dancelike accompa Belwin Mills, OCT9614, $1.30 . , , niment to announce the infant's birth. The optional harmony part is a melody of its own, often harmonizing in thirds. The perfect solution for a perfect performance! Energy and excitement build as each verse is set with an accompaniment enhancing SONG... LEARNING TAPESTM the text. The piece concludes with a uni ©1988 by Hammond Music Service son statement of "He is born," bringing Rehearsal tapes help choirs learn music 5 times faster! the voices and instruments together for Perfect for learning oratorios, requiems, cantatas-any major world one final announcement of the joyful AND-inexpensive rehearsal tapes for All-State &Regional Honor Choirs! birth of the child. Each tape has a grand piano playing a specific voice part in the foreground, While most of the piece is written in ~ all other parts, accompaniment and metronome in the background. meter, the occasional alternation with i Directors: call, e-mail or write for a FREE catalog, demo packet/tape, and prices provides variety and a dancelike lightness HAMMOND MUSIC SERVICE Toll Free: 800/628-0855 to the work. The modest ranges and com P.o. Box 585 Idyllwild CA 92549 • FAX: 909/659-0798· E-mail: [email protected] fortable tessituras of both voice parts make Visa and MasterCard Accepted this composition appropriate for children, middle or high school treble choirs, and adult church choirs. An optional French text is provided for the opening verse. Karen Fulmer Join a Choral Tradition Arkansas State University Maria Walks amid the Thorn (Maria Dr. Dale Miller, Director of Choral Activities durch ein Dornwald ging) Choral Ensembles Choral/Vocal Degrees Offered Ron Jeffers (arr.) Concert Choir Master of Music in Performance- Conducting SATB University Singers Master of Music in Performance- Voice earthsongs, C-05 $1.35 Men's Choir Master of Music Education Women's Choir Bachelor of Music - Vocal Performance Chamber Singers Bachelor of Music Education - Vocal Emphasis Ron Jeffers's arrangement of this late Bachelor of Arts in Music - Vocal Performance Emphasis fifteenth-century carol is superbly crafted. Each verse is voiced differently, first Graduate Assistantships and Choral/Vocal Scholarships Available women's voices, then men's, concluding For audition/application information contact: with full choir. Choirs will enjoy the '3SU Dr. Dale Miller f\.~,.~.. opportunity for women and men to sing Arkansas State University )..'\ separately and then conclude together. P.O. Box 779 LV: The harmony is sweet and lush. There are State University, AR 72467 no editorial markings on the page, 870/972-2094 ARKANSAS STATE leaving the responsibility of interpreta [email protected] UNIVERSITY tion to the conductor. Care should be APRIL 1999 PAGE 61 This harmonic section returns after two Missa Brevis the case for the repertoire selected for the new statements of text where the melody Stephen Hatfield Doreen Rao Choral Music Experience: Edu is passed from voice to voice. The work Three-part treble cation Through Artistry series, in which ends with the opening section returning in Boosey & Hawkes, OCTB6779, $1.80 most of his music is to be found. a simple canon first, then corning together The. Missa Brevis, for three-part treble in three parts. The limited ranges work well To use a phrase currently in vogue, voices, is a case in point. This work is one for changing voices, with tenors ranging Stephen Hatfield's music defies category. of his most extensive, its four movements from eh to eh1 and basses from b to b~. Where does one begin to discuss, as a providing a microcosm of Hatfield's Portland's Vijay Singh offers a simple group, works whose sources are Chassidic highly original approach. The "Kyrie" is optional hand drum rhythm that gives (Vus Vet Zayn), Afro-Cuban (Camino based on the Gaelic burial song Cro Chinn another dimension to the style. There is Caminante) , Appalachian (Queen jane), Tsail; the theme of the "Gloria" is an enough dynamic interest to provide op Tamil (Odi Odi), Australian Aboriginal ancient call used in Norway to summon portunities for energetic, sensitive singing (Sweet Tooth), Muslim Egyptian (Ya cattle; the "Sanctus" is based on street and strong, full voice singing. The long Faroule) , and Zulu (Jabula jesu)? It is music of the high Andes; and the source of lines offer chances to work on breath de tempting to be either suspicious or over the short "Agnus Dei" is a yodeling song of velopment and phrasing. This work is whelmed by the eclectic nature of his the Isongo people of Central Africa. versatile enough to be used at Christmas musical explorations. Yet there is an all When asked to expand on the fact that or any time of the year. It can also be used important commonality that character this is his favorite piece, Hatfield replied, as an effective processional, though at only izes Hatfield's publications: they work, 1:50 minutes in length, certain sections teach, and inspire. He has an instinct for I think it's my most bold and of the piece may need to be repeated. how the singing voice finds expression, successful attempt to transform the Twyla Brunson and as a result, singers are drawn to ex original sources into new forms, plore the imaginative ideas within each while retaining their emotional piece. Ranges are practical (though occa kick. I like the merging of brief sionally altos are called upon to be hero ostinati with a more linear ically low), which must of necessity be counterpi)int. I like the emotional and spiritual states visited by the movements ana the way each movement pays tribute to women's Marco Polo voices in a different way. And I enjoy the gradual intensification of the undulating line, which moves knew what he very slowly in the "Kyrie," then with a certain proud and languid energy in the "Gloria," to the rapid was doing. wave form in the "pleni sunt coeli" of the "Sanctus"-then slowly again The secrets of China cap in the "Agnus Dei," but with an tivate the imagination, added sense of weight and pain. tugging at the soul with irresistible force. If your Hatfield ofren writes for the Amabile ensemble is seeking the splendor and adventure Youth Singers, a fine Canadian group fea of a journey to points tured at the Chicago ACDA convention, OFFICE LOCATIONS: east, ACFEA will take you San Francisco. New but again categorization by target age is there. We have created Seattle • London • unwise. The Missa Brevis, like all his mu custom concert tours for Venice • Paris • St sic for treble voices, is so rich that it is performing arts groups Berlin • Moscow • for over 40 years. Now satisfYing for all levels of choirs. Harmo you can discover the ACFEA Tour '-v...... nies can be challenging, but for the most mysteries that have lured 1567 Fourth part the difficulty level is moderate. San Rafael, centuries of explorers. Rhythmic interest is very high in all his A wondrous path FAX (415) 453-6725 . works, and though the Missa Brevis does through the Far East E-MAIL not call for percussion, many of his other awaits. Let ACFEA guide acfearaJrnn1n, your musical footsteps. WEB SITE pieces do. Stephen Hatfield was a high school English teacher before he began compos 1-800-886-2055 ing music, and his exuberant love of lan guage and its implications in singing are PAGE 62 CHORAL JOURNAL hallmarks of his compositional style. It is Lluvia, the Balinese Monkey Chant, or Boosey & Hawkes, OCTB6945, $2.75 a sheer gift that his music simply feels "Ketjak," in TJAK!, or a vacuum cleaner good in the mouth. in Three ~ys to Vacuum Your House. This seldom-seen Latin text by the Solveig Holmquist Most of Hatfield's arrangements are visionary St. Hildegard von Bingen con for treble voices, and nearly all are in a tains a wealth of vibrant, positive im polyphonic style that allows easy adapta ages of nature. It comes as no surprise tion by many combinations of voices. that Raminsh provides inspired settings Odi, Odi Such is true of Odi, Odi, a warm, of these images; he enjoys natural his Stephen Hatfield (arr.) hypnotic setting of a Tamil (of India) tory, photography, and canoeing, and Treble or Mixed Voices text that describes "millions of people ... he has served as a naturalist/interpreter Boosey & Hawkes, OCTB6850, $1.25 searching for the light that is within in British Columbia provincial parks. Ev them." The arrangement is unaccompa ery fragment of the text is treated with When Stephen Hatfield is not explor nied, with the suggestion that a finger care. Constantly changing, yet unified ing the world searching for sources for his cymbal or zil be added. The edition con combinations of voices, meter variations, musical settings, he lives and teaches on tains descriptions of the music, a com and textural mixes provide variety. Both Vancouver Island, British Columbia, plete translation guide, and rehearsal and homophonic and polyphonic writing are Canada. He is well-known for his inter performance ideas, including helpful sug employed. Chantlike and chordal writing disciplinary work as an academic, linking gestions for sustaining pitch and creating sets most of the descriptions in the text, science with the arts. Those who have a recommended, stylistic tone quality. while an exciting fugal section creates an attended his workshops have been im Neil Lieurance exclamation of joy and praise. Although pressed by a demonstration of the kinetic the variable meter changes require careful energy in toys or scientific items as com attention of the sight-reader, they are pared to energy in music line and logical and appropriate inflections, which rhythms. Equally impressive is the breadth o Ignis Spiritus (O Spiritfire) are quickly recognized as rewarding, of origins of inspiration used in his com Imant Rarninsh natural expressions of the text. With positions-Andean pan-pipes in La SATB, some divisi approximately eight minutes of rather Summer Music Institute Central Connecticut State University Juna 28 - July 23, 1888 WWW.ccsu.eduf-smi Featuring: Philip Cave· Choral Issues in Church Music (July 12-1.6) Steve Zegree . Vocal Jazz Technique (June 2B-July 3) Judith Willoughby· Developing Childrens' Choirs (July 6-10) Judith Civitano· Vocal Techniques (July 19-23) Scott Campbell- Secondary Choral Literature (July 19-23) For more details about courses, sendfor a complete brochure: Plus courses in: Dr. Pamela J. Perry, Director III Band &String Methods .. Classroom Music Education CCSU . Music Department II Music Technology III Masters Degree Core Courses 1615 Stanley Street New Britain, CT 06050·4010 Phone: (860) 832·2903 • Fax: (860) 832·2902 • E·mail: [email protected] APRIL 1999 PAGE 63 demanding tessitura, this is a work for USA distr.) VG232, $1.35 educational piece for students. Both voice singers with mature voices and secure mu parts explore dynamics and phrases via sicianship (skilled church choirs or ad This extraordinarily beautiful setting carefully constructed voice-leading. It is vanced high school or college choirs). The (in English) of Psalm 121 is accessible an impressive school contest number or printed edition includes an English trans and appropriate for children's choruses, church anthem. lation by John A. Miller, intended only as high school treble groups, and adult The award-winning composer, con a reference, not as a singing alternative. women's choirs. Originally written with a ductor, violinist, and teacher, Imant Neil Lieurance rich, melodic, string accompaniment, the Raminsh, was born in Latvia and emi publication contains an effective piano grated to Canada at an early age. He is accompaniment that also works well with the founding conductor of the Prince organ. The fluctuating 1, ~, § and ~ meters George Symphony, the Youth Symphony Psalm 121 of the piece and its dramatic yet smooth of the Okanagan, NOVA Children's Imant Raminsh key changes bring life to the descriptive Choir, and AURA Chamber Choir. He Treble Choir (SA), strings or piano psalm text ("I will lift up mine eyes unto resides in British Columbia, Canada. Gordon V. Thompson (Warner Bros., the hills"). This is a highly motivating, Neil Lieurance New for Christmas 1999 from Mark Foster Music Rise up, My Love, My Fair One Mary Looks Upon Her Child Imant Raminsh by James E Clemens Two-part treble, viola, piano SATB, S solo, a cappella Boosey & Hawkes, OCTB7066, $2 MF586 Rise Up, My Love, My Fair One is a Deck the Halls (in 7/8) new setting of the well-known text from arr. by James McKelvy & David Balm the Song of Solomon. This piece is highly TTBB a cappella lyrical, with long, legato, melodic lines, MF 1501 ebbing and flowing in intensity. Rich har monies, with overlapping duple and triple FREE reference copies available upon request PO Box 4012, Champaign, IL 61824-4012 meters occupy a prominent role. The solo Phone (800) 359-1386 or Fax (217) 398-2791 viola serves as both an obbligato instru [email protected] muSIC COmPRny ment and an equal parmer in the devel http://www.markfostermusic.com opment of the musical material. The two-part treble voices divide into three and four parts frequently throughout this THE CONDUCTOR1S I NSTITUTE of six-minute work. The vocal lines of Rise Up, My Love, My Fait One range from b~ Southwestern Uniuersity to b!,2 and require solid vocal technique, Georgetown, Texas mature phrasing, and musicality. The so June 20-23, 1999 prano 1 part is especially demanding, with high tessitura and long lines. This is lord Nelson Mass by Haydn music that singers will love to sing, con Christmas Oratorio by Saint-Saens ductors will enjoy conducting, and audi ences will love to hear. Professional Orchestra in Residence Rebecca Rottsolk Master classes in conducting with Kenneth Sheppard, Ph.D. Rock & Hawk Conductor of Choirs and Orchestra at Southwestern Uniuersity Ron Jeffers Conducting lab with Mr. Brad Bouley SAB String techniques with Laurie Scott, Ph.D. earthsongs, S-59, $1.45 Lectures on Haydn's Masses with Ellsworth Peterson, Ph.D. This unaccompanied setting of Fee: $200 if paid before May 10, 1999 Robinson Jeffers's (1887-1962) poem, For more information, write or call: Kenneth Sheppard Rock & Hawk, captures the rugged, aus Southwestern University, P.O. Box 770 Georgetown TX 78627 (512) 863-1358 e-mail [email protected] tere character of the Carmel Coast of Cali fornia. Written for three-part choir, there PAGE 64 CHORAL JOURNAL are several opportunities for divided sing- creates a haunting melody and utilizes by audiences, and festival male choirs en ing in the soprano and baritone parts. A some unusual, satisfying harmonies to joy singing them in Male Ensemble good choice for choirs with a limited tenor maximize the emotional content. Other Northwest workshops. section, Ron Jeffers pens an interesting, than an al>l in the first tenor, the parts lie Howard Meharg challenging part for the baritone singers, in a very comfortable range. Singh closes 1 with full range (B-d ) and equal in har- the set with Bangidero, a lilting chantey in monic complexity to the women's voices. which the crew sings its admiration for The music is rhythmically interesting, aus- their dashing, legendary captain. Stella Maris tere harmonically, and an excellent teach- All three settings are easy enough for VijaySingh ing tool for exploring second, seventh, good high school male voices and so SSATBB, soprano solo and ninth intervals in both melody and phisticated enough for college and com National, NMP 265, $1.35 harmony. Rock &- Hawk is medium diffi- munity choirs. This set is well-received cWt. r---~------A marvelously descriptive text, set keenly by the composer, Rock &- Hawk can be programmed effectively as an open ing number for a Fall or Spring Concert. The text and its setting are declamatory, SYDNEY OPERA HOUSE strong, and powerful. Consider Rock &- Hawk for a concert built around the themes of the natural world or American Poets. Consistent with other music being published by earthsongs, an extensive ex planation of the text and notes about the author are provided on the back page of the music. Robert A. Hawthorne Sailor Songs VijaySingh TTBB 10TH ANNUAL INTERNATIONAL Hal Leonard, 08741466, $1.50 MUSIC FESTIVAL, SYDNEY This is a bargain price for three great SYDNEY, AUSTRALIA songs for male voices. These unaccompa JULY, 2000 nied pieces, composed for Male Ensemble Northwest last year, are based on sea chan WIND ORCHESTRAS • SYMPHONIC BANDS tey texts. Vijay Singh has a real sense of CHORAL GROUPS what it takes to make male voices "sound." STRING/SYMPHONIC ORCHESTRAS He possesses an uncanny ability to tie the lyrics to the music. Sailor Songs is a bit easier to prepare than his other set for Main Venue: Sydney Opera House male voices called Celtic Songs, and the humor and plaintive qualities are still there. »»»»» The first song of the set, Leave Her, ACCEPTANCE BY AUDITION Johnny, is a playful TBB number in which shipmates urge Johnny to leave his girl North America Information: friend and get on board the departing Patrick Raney ship. This work features easy voice lead Toll-Free 1-800-922-3976 ing and comfortable tessituras, with the WORLD PROJECTS Fax: (510) 232-7543 International Music Productions tenor extending to a gl and nothing lower p.o. Box 7365 Berkeley CA 94707 than a G for basses. The second piece, Her Bright Smile, is stunning in imagery and honesty to the text. The composer APRIL 1999 PAGE 65 Vijay Singh's Stella Maris is a challeng to the text. The interwoven phrases on The tessituras for all voice parts are ing, hauntingly beautiful work using Latin the text, "Maria Virginum" eventually generally modest, with the sopranos and "phraselets" for the text. The composer build to a glorious chord at the state tenors never going above flF and fill, re exhibits an understanding of how his mu ment, "Semper Clara" which marks the spectively. Exceptions to this are the sic and the associated text can be com end of the first section. This is the one second bass part, which extends down to bined to evoke desired images. To bring phrase in the entire piece with a dynamic D, and the sopranos and altos, who sing about the ethereal quality this music war marking above forte. The second half down to g. It should be noted that al rants, the piece should be performed with of the piece incorporates an effective, though the published music is listed as out vibrato, as the composer suggests, and sustained homophony with the chorus SSATTBB, there is no divisi in the tenor. at a moderately slow tempo with quite a repeating the text, "0 magnum The greatest challenge for the singers is to bit of flexibility. mysterium," beneath a soprano solo that sing with control, softly and sustained The opening of the piece is challeng floats above the ensemble. This solo re without vibrato, but expressively. At the ing for all the vocal parts, with exposed quires a pure, light voice, singing with as composer's suggested tempo, Stella Maris lines and quiet, dissonant chords requir little vibrato as possible. The final mea is a little over five minutes in length. It ing a great deal of controlled singing by sures of the piece end on an A-major would be equally effective for church ser the ensemble. These pitches can be diffi chord, with the soprano solo closing by vices or concert programs presented by cult to hear, but are poignantly important becoming part of the ensemble. college, community, or excellent church choirs that are experienced in singing un accompanied works. The 1999 Phil Mattson Marvilla R. Davis Vocal Jazz/Choral Workshops ~o1l. M (ls" SAN MARIN HIGH SCHOOL 4.J . A (' L. Novato, CA, June 20 - 25 g ~ 0 (Marin County, North of San Francisco) The Ionian Psalter ~ Soutitwestern {; Peter Hallock u> conllllllJlityColl'g,::; SOUTHWESTERN COMMUNITY COLLEGE SATB, organ ';;'1':tJ; • (,,'$>.0 Creston, lA, June 28 - July 2 Ionian Arts, Inc., subscription only Faculty: PHIL MATTSON and VOCALOGY and others. The workshop'S primary goal is to give participants a significant performance experience in choral and vocal Evocative harmonies, chant-inspired jazz music. The curriculum includes classes and seminars in rehearsal techniques, literature and performance practice, harmonfc understanding, ear training, improvisation, solo jazz singing, the rhythm section, and sound melodic contours and great sensitivity to reinforcement. The workshop will also consider the significance of music and the arts, and discuss issues of concern to the music educator. Graduate and undergraduate credit is available. text mark this complete setting of the For more information, write the School For Music Vocations, Southwestern Community College, Creston, IA 150 psalms as one of the monuments of 50801, call (515) 782-1319, or e-mail: [email protected] liturgical music by a twentieth-century American composer. Affirmed as the most widely used setting of the Psalter by Epis copal and Lutheran churches in America, The Ionian Psalter follows a pattern of accompanied, unison antiphons for the Simply . .. the best! congregation and unaccompanied psalm verses sung by the choir in a modified form ofAnglican chant. It is the magnum opus of one of the Northwest's premiere composers and church musicians, Peter MASTER MUSIC MANAGER R. Hallock, who served St. Mark's Epis copal Cathedral, Seattle, for over forty Easy-te-use computer resources for school and church musidans years. The Psalter is arranged in the three year cycle of the Revised Common Madntosh® and Microsoft® WindowsTM versions include: Lectionary now used by Lutheran, Epis Music Library Recordings Library Membership Files copal, and Roman Catholic parishes. Personal Directory Inventory Manager DataDesigner Hallock's compositional artistry in the Psalter incorporates two seminal influ Easily customize any module, or design your own! ences: plainsong and the twentieth-cen tury British church idiom. Plainsong Call MANAGER SOFTWARE for a FREE demo disk. contours and sensitive attention to scan (800) 282-9220 • Monday-Friday • 9-5 Eastern Time siol) are hallmarks of Hallock's text-set Also available for church musicians ... Hymnlndex™ Worship Planner ting. Hallock founded and continues to conduct the Northwest's finest plainsong PAGE 66 CHORAL JOURNAL group, the St. Mark Compline Choir, and SATB divisi, piano, violin however, Nance handles the balance, voice his wide acquaintance and appreciation Hinshaw Music, Published separately: leading, and harmonic style so well that of chant are evident throughout the the divisi is well within the reach of most Psalter. Similar to chant notation, he uses 1. Arkansas Traveler, HMC-1442, high school choirs. The pieces are a must white notes (reciting tones) and black $1.50 for collegiate and community groups. notes (cadential or syllabic inflections) 2. Shenandoah, HMC-1441, $1.50 What makes these pieces unique is the without exact duration; divisions are no 3. The Blue Tail Fly, HMC-1443, accompaniment of keyboard and fiddle. tated by single and double bars and are $1.95 The violin part is idiomatic fiddle writing easy to read. Unlike chant notation, with many of the stylistic cliches written Hallock takes particular care to mark dy Color, richness, and creative settings out to make it highly accessible to violin namic inflections that evoke the mood of of text are hallmarks of Richard Nance's ists not trained in the style. the verse in question. Fine gradations of arrangements and compositions. These The fitst of the three, ArkanstlS Traveler, change and dynamic alteration within a three settings of beloved Americana typifY tosses the melody from patt to patt and gives verse are common. his colorful, playful style. All are scored accompanimental voices onomatopoetic The majority of the settings are SATB, for SATB with some division of parts; sounds to portray this humorous ballad. Set at with occasional optional divisi, particu larly in bass and soprano lines. Ranges 2 rarely exceed F to a • Hallock's harmonic Custom Designed language is a unique blend oflinear direc tion and vertical color. Hallock studied at Performance Tours Coventry Cathedral, and the British idiom Europe • Australia • Great Britain is reflected in a "Howellesque" chromatic USA. Canada coloring but also an indefinable "mystic" quality that makes his music linger in the Adult and Student Choirs • Bands ear. One of the benefits of this Psalter is Orchestras • Dance Groups its high artistic quality and individuality contained within approachable formats. Call or write: The psalms range from moderately easy ISM to moderately difficult, but most can be p.o. Box 969, Manhatttan, KS 66505-0969 learned by an average church choir in one Phone 785-537-2451 rehearsal. The organ accompaniments to the congregational antiphons are pub Fax 785-537-7104 lished separately and are immediately ac Toll Free 800-678-4532 cessible to almost any instrument or player. The Ionian Psalter may be purchased Call today! only by subscription, and charges vary Choral Cruise January 21, 2000 depending on the number of choristers, though the average charge per chorister is $5.00 per set. Two sets are issued during each Lectionary year (at the beginning of Advent and Pentecost) and the entire Discover what 63 of your colleagues learned last summer and Lectionary cycle is completed in three improve your abilities as a conductor and choral educator! years. Individual psalms may not be pur chased. Each psalm is produced in loose Join us either July 20-24 or 27-31 at Concordia College. Moorhead, Minnesota. leaf format and a strength of the set is the Focus on Elements of Choral Ensemble Focus on Conducting and Rehearsal Techniques elegant layout designed by Carol Crosier, Warm-up activities, materials and philosophies Are you hearing your choir? Developing hearing Development of Choral Tone accuracy and refined pitch discrimination general editor for Ionian Arts publica Vowels & Consonants -a vocal approach Conducting Technique; pattern e1ficiency, gestural Blend through pitch and vowel integrity; clarity; relationsfiip of pesture to vocaf tone tions. For further information contact vocal color typologies; seating; and balance Student conductors in 15 segments Ionian Arts Inc., P. O. Box 259, Mercer Rhythmic precision; attack & release; sensitizing Evaluation and suggestions for growth of the inner pulse individual conductors Island, WA 98040-0259, or call 206/236- Vocal approach to dynamic shaping Insights into style, interpretation, and rehearsal Focus on Performance Practice Issues technique through choral rehearsal with Rene 2210. Clausen. Choral school members will form James Holloway Study of issues related to performance practice the chorus. in the music of all compositional styles. Sight-reading new materials for high school, Choosing editions, developing an accurate college and church choirs basis of interpretation, and making perfor mance decisions. Graduate credit available Three American Folk Songs I Call toll-free 1-888-Ren~-Clausen (1-888-736-3252) today-for registra,tion information Richard Nance (arr.) i RR 3 Box 183A, Hawley, MN ~654;9 * [email protected] * www.lr~neclausen.co.m APRIL 1999 PAGE 67 an easy pace, the difficult rhythmic sections earthsongs, #5-25, $1.35 Madeleine :LEngle's The Weather 0/ the are interspersed with unisons to make this Heart. Those familiar with :LEngle's writ piece quickly learned. We in the northwest are justifiably ing know that her subject is most often Shenandoah is a lush, beautiful setting proud of earthsongs, the publishing firm that of communication in intimate rela of this familiar tune. The melody is sung Ron Jeffers founded some years ago, which tionships, with its attendant joys, pains, initially in unison by the women, fol has established itself as an amazing source frustrations, and opportunities for growth. lowed by a four-part setting of the tune in for world music. From humble begin To a Long Loved Love reflects on the need the men. This passage is by far the most nings in his home, Jeffers's company and for and timing of both words and silence difficult of the three works, but Nance its listings now rank among the most in in a long-standing relationship, and on ensures success through excellent voice teresting and well-edited publications. the possibility of misunderstanding leading and comfortable tessitura. The Certainly, his Translations andAnnotations through both. In Jeffers's hands, the spare, piece reaches its emotional peak in the o/Choral Repertoire, Volume 1: Sacred Latin poignant lines are somehow perfectly third verse, divided into seven parts with Texts occupies an indispensable place in painted in tone: consecutive 2nds and the melody in a rich alto register. most libraries. 7ths express the discord caused by some The Blue Tail Fly is a wonderful closer What should be more generally known spoken words; painful pauses cause the of any concert. Set at a quick tempo, is that Jeffers, in addition to being a sensi singers and listeners to wait for the Nance captures the humor of this text tive, respectful editor and arranger, is also "looked-for word unuttered"; the final line through a variety of musical devices: a composer in his own right; in fact, he implores "But 0, my love, as I need daily meter changes, melodramatic soli, taught composition at Oregon State Uni bread, I need the words of love which onomatopoetic sounds, and the delight versity long before earthsongs came into must be said." ful chorus, "Jimmy Crack Corn." being and was for many years Director of Such subject matter, and the musical Geoffrey Boers Choral Activities there. That aspect of his language employed to portray it, is prob experience and training is clearly evident ably not for the young singer. The close To a Long Loved Love in his own choral works. intervals and changing rhythmic treat Ron Jeffers The text of To a Long Loved Love, which ment, set in a slow, thoughtful tempo, are SSA Jeffers composed in 1991, is from best suited to a college-level women's choir this is your chance to purchase your own copy of Rock Choral, the video. 43 of the world's top choral groups performing amidst the spectacular beauty of Newfoundland and Labrador, Canada. Over 1500 voices strong, they came from 10 countries to participate in Festival 500, Sharing the Voices. This one-hour performance documentary chronicles their stories. Bring the celebration into your home. Order Rock Choral today and experience a once in a lifetime event that will leave you applauding again and again. $ 1-877-355-4555 To order, call toll free in North America or visit our website at www.rockchoral.com Visa, Mastercard, Amex accepted. $9.95 Shipping and handling charge. PAGE 68 CHORAL JOURNAL or a community ensemble whose voices Boosey & Hawkes, OCTB6717, $2; Rebecca Rottsolk have the control to use vibrato as a color Instrumental parts: ENB-389 ing device. Of moderate difficulty, its mood is definitely not lighthearted. Based on the well-known poem by Though the piece is only about 2:30 min Canadian poet Bliss Carman, Vestigia is Wash Me Through and Through utes in length, it is enormously satisfYing inspired poetically, utilizing the various Peter Hallock to explore in rehearsal, for in addition to tone colors of the treble voices, violin, SATB (optional unison choir and a single the extraordinary text painting, Jeffers cello, and piano to make the drama of the handbell) provides challenges to the singers' ears text come to life. As with most of Ionian Arts, Inc., CH-1014, $1.85 and musicality. The piece would be a fine Raminsh's compositions, there is a strong addition to a program featuring the texts melodic emphasis that is powerful and Hallock's interest in the Psalms has of living American women poets. lyrical. All parts are equally important, resulted in a number of large-scale psalm Robert A. Hawthorne crafted with beautifully expressive vocal settings outside the scope of The Ionian lines. Vestigias challenge comes in its de Psaltel: This work is appropriate for a manding vocal range, a-i, and part writ penitential occasion and was originally ing, which includes chromaticism and written as a processional psalm for Good Two Evening Canticles crossing parts requiring competent, inde Friday. Hallock alternates a chant setting Scot Crandal pendent singers. The profound nature of (for unison choir) of Psalm 130 ("Om of SATB the text and the vocal skill necessary for the depths have I called") with choral Trinitas, 4506 $1.30 the soaring vocal lines make this eight settings of verses from Psalm 51 ("Wash minute work especially suitable for ac me through and through") to create a Two Evening Canticles includes a set complished treble choirs-children or tapestry woven of unison chant, Angli ting of the ancient hymn, Phos Hilaron adults. Excellent violin and cello soloists can chant, and a repeated choral refrain (0 Gracious Light) and Let My Prayer are crucial to the successful performance in the manner of an English burden. The Rise. Appropriate for any evening service, of Vestigia. tolling bell gives this a powerful elegiac these unaccompanied pieces are elegantly quality, and it would be a dramatic set, with great sensitivity to the natural flow of the text. Scot Crandal wrote these selections for Canon John Strege and the A tradition of Excellence SOLID OAK Chamber Singers at Trinity Episcopal Ca E.R. MOORE CO. thedral, Portland,· Oregon. CHOIR CHAIR A keyboard reduction is provided for o Gracious Light, which opens and closes with chant-style writing, using parallel fourths and fifths over a pedal point. The middle section is marked by imitative and homophonic sections. The tenor line is 1 accessible, as it never goes higher than e • All voice ranges are moderate, in keeping with the nature of the piece. Tessituras fall within mid-range. Let My Prayer Rise is a simple, short piece. Subtle and full of rich color, this piece may be sung at the time of prayer or the lighting of incense. The text is based on Psalm 141:2. Scot Crandal's writing is fresh and tastefully modern without being contrived or over with: bearing. These texts demand sensitivity FIBRE RUSH SEAT or to legato singing and dynamic shading. UPHOLSTERED SEAT Robert A. Hawthorne Pews·Chairs·Pew Refinishing-Cushions R.GeissLe~ Inc. Vestigia Since 1877 Imant Raminsh p.o. Box 432, Old Greenwich, CT 06870 SSA, solo, violin, violoncello and piano Phone: (203) 637-5115 APRIL 1999 PAGE 69 ULL-TIME POSITION in processional for church or collegiate singing the four-part textures and a uni F dynamic, growing, urban parish. choirs. son choir singing the chant, though one Current responsibilities include Originally written as a processional, choir could sing all parts. He divides the conducting and accompanying early Hallock specifies a stationary choir work in three parts, each ending with a music and contemporary ensembles, children's choir (grades 1-2), and choral refrain. The ranges are G to :P accompanying traditional choir. Some and, while the notes themselves present administrative duties. Superior only moderate difficulty; the secret to the keyboard and choral conducting skills ...:..';',>Cfl, ~ Controller & PilI, piece is supple phrasing and integration .,po ~t)~ Module Kit ~ ~'J}.. and knowledge of Catholic liturgy, as of the varied sections. It is a haunting, well as strong interpersonal and ~~... ~ $249 ~ MUSIC TOURS INC. icaids QUALITY _~"~~_"''''''rWl se 29063 • www.tpmuslcaids.com INTERNATIONAL CONCERT TOURS at At Stage Accents, outfitting your REASONABLE PRICES group to look sensational is easy. We offer a full line of trend setting performance apparel for concert choirs, show choirs and stage bands. With so many styles to choose from, you will be able to find the Call or write today style that's the perfect match for your group's unique personality. for our unique Give us a call for your free personalized service! 84 page color catalog of unique performance fashions or check us out on-line at www.stage-accents.com You'll find that our combination of distinctive designs, competitive pricing and great qualty will amaze you, and your members will be MARK FOSTER grateful for making them MUSIC TOURS look so good for so little! 'Zi' (800) 869-1406 1.800.631.1611 P.O. Box 2760, Santa Clara www.sTage-aceen1"5.com California 95055-2760 PAGE 70 CHORAL JOURNAL LUMINAMUSIC (From the President, continuedfrom p. 3.) Featuring enduring, meaningful texts Deep within my heart lies a melody, a M"(JSICA~ set to provocative, original music. Buy one. Copy forever. song ofold San Antone . .. where in dreams l\.() WI-tt..NIC-t"-® • www.luminamusic.com 1 live with the memory, beneath the stars all Your ex.::.lusive sour.::.e for ~omanian alone . .. my rose, my rose ofSan Antone. 3 .::.horal musi.::. and beyond._ See you there in 2001! " . , ~ CATALOG and Henriette Schellenberg , JamesA. Moore SAMPLER TAPE! "a clear, agile, liquid voice" , P. O. Box 27830 - ' ' Seattle, WA 98125-2830 Phone • (206) 364-4225 ART~eJ.~"%~,nENT . 1 Music and words by Fred Fisher, as sung Fax. (206) 364-4569 (519) 662-3499 Fax: (519) 662-2777 by Frank Sinatra, et al. E-:rnail • MusiRo:[email protected]:rn 2 Excerpt from the president's convention address. 3 Music and words by Bob Wills, as sung by John Denver and Willie Nelson. 1999 NATIONAL CONFERENCE SOLID OAK CHOIR CHAIR June 3-6, 1999 Messiah College Q Grantham, Pennsylvania A national conference, Church Music: Looking Back into the Future, for pastors, church musicians, academic musicians and laypersons interested in crafting a thought ful future for music in the church will be held at Messiah College June 3-6, 1999. The conference is sponsored by the Louisville Institute, the Boyer Center, and in coopera tion with the Calvin College Institute for Christian Worship. Scholars and practition ers will gather to discuss issues most vital to effective music ministry, using historical and current resources of the Christian tradition. Teams of church leaders and academic musicians who will work together following the conference are encouraged to attend. Registration is $150 per person, including all meals. A discount of $50 per person is available to teams of three or more if registration is paid as a group. For conference materials and registration information, contact the Boyer Center or visit the web site at www.boyercenter.org. with: FIBRE RUSH SEAT or THE UPHOLSTERED SEAT Pews·Chairs·Pew Refinishing·Cushions BOYER CENTER R.GeissLer.llnc. Conference Information: Since 1877 DR. CHARLOTTE KROEKER, Executive Director 0 Ms. DEBRA ELLIOTT, Conference Administrator THE BOYER CENTER· MESSIAH COLLEGE, ONE COLLEGE AVENUE, GRANTHAM, PA 17027 P.O. Box 432, Old Greenwich, CT 06870 PHONE: (717) 796-5077 • FAX: (717) 796-5081 Phone: (203) 637-5115 E-MAIL: [email protected] APRIL 1999 PAGE 71 REVIEWERS THIS ISSUE Geoffrey Boers Karen Fulmer Neil Lieurance ADVERTISERS University of Washington Sumner Junior High School First Methodist Church School of Music 1508 Willow Street 811 Fifth Avenue INDEX Seattle, WA98195 Sumner, WA 98390 Seattle, WA98104 APRIL 1999 Twyla Brunson Robert A. Hawthorne Howard Meharg AABACA ...... 37,70 Mountain View Junior High School 11716 SW 45th Avenue Mark Morris High School ACFEA Tour Consultants ...... : ...... 62 10920 199th Court, E Portland, OR 97219 1602 Mark Morris Court AD International, Inc...... 5 Sumner, WA98390 Longview, WA 98632 Ad Vantage Productions ...... 68 James Holloway Ambassador Travel Service ...... 59 Marvilla Davis 9918 Canyon Road, E. Rebecca Rortsolk Music Department Puyallup, WA 98373 Northwest Girlchoir Arkansas State University/Music Dept...... 61 University of Alaska 728 21st Avenue Blue Heart Tours, Inc...... 53 Fine Arts Building Solveig Holmquist Searrle, WA 98122 Boosey & Hawkes, Inc...... 39,54 Fairbanks, AK 99775 995 Morningside Drive, SE British European Specialty Tours ...... 36,47 Salem, OR 97302 Richard Sparks Butler University ...... 52 Pacific Lutheran Church Calvin Institute of Christian .Worship ...... 46 Department of Music Central Connecticut State University ...... 63 Tacoma, WA 98447 Central Holidays ...... 41,48 College Music Society, The ...... 16 ChoralWeb Publishing, Inc...... 56 BOOK and MUSIC PUBLISHERS and Colwell ArtS Management ...... 18, 44, 71 COMPACT DISC DISTRIBUTORS Concept Tours ...... 28.49 DJ Records ...... 28 to: Send books, octavos, and discs for review Des Moines Children's Choruses ...... 27 Choral Journal E. R. Moore Co ...... 69 P.O. Box 6310 Educational Programs ...... C4 Festival 500/Sharing the Voices ...... 57 Lawton, Oklahoma 73506 First Mennonite Church ...... 52 Telephone: 580/355-8161 Fred Waring's America ...... 53 Gateway Music Festival ...... 32 Gladde Music Publications ...... 18,34 CHORAL REVIEWERS Grove's Dictionaries, Inc...... 51 Hal Leonard Publishing Corp ...... 29 ACDA members wishing to review choral music should contact: Hammond Music Service ...... 61 Richard Nance Heritage Festivals ...... 6, C3 Department of Music Hinshaw Music Company, Inc...... 50 . i Holy Spirit Catholic Church, Atlanta, GA ... 70 Pacific Lutheran University International Choral Kathaurnixw ...... 58 Tacoma, Washington 98447 Interculrure Foundation ...... 60 Intermedia, Inc.lStage Accents ...... 70 Telephone: 253/535-7613 International Seminars in Music ...... 67 Intropa International/USA, Inc...... 37 Jeffers.Handbeli Supply ...... 70 BOOK REVIEWERS Lorenz Corp...... 58 ACDA members wishing to review books about choral music should contact: L\.unina Music ...... 46, 61, 71 Lyric Choir Gown Company ...... 28, 46 Stephen Town Manager Software ...... 66 Department of Music Mark Foster Music Company ...... 64 Mark Foster Music Tours ...... 70 Northwest Missouri State University Matterhorn Travel ...... 25 Maryville, Missouri 64468 Messiah College ...... 71 Mollard Conducting Barons ...... 12 Telephone: 816/562-1795 Music Around the Globe ...... 24 Music Workshops International ...... 4 Musica Mundi, Inc...... 11 COMPACT DISC REVIEWERS Muska Romanica ...... 53,71 ACDA members wishing to review compact discs should contact: North American Music Festival ...... 15, 35 R. Geissler, Inc ...... 69,71 Richard J. Bloesch Reference Recordings ...... 56 School of Music Regency Cap and Gown ...... 53 University ofIowa Rene Clausen Music Company ...... 67 SDG Records/Press ...... 26 Iowa City, Iowa 52242 San Diego State University ...... 24 Telephone: 319/335-1603 San Francisco Girls Choral Assn ...... 26 Shawnee Press ...... 33, 40 Showchoir Camps of America ...... 8 Southwestern Community College ...... 66 CHORAL jO URNAL Southwestern University ...... 64 SUBMISSION INFORMATION St. James Episcopal Church, Articles submitted for publication in the Choral Journal should meet established W. Hartford, CT ...... 44 specifications. Although the length of articles varies considerably, submissions generally Super Holiday Tours ...... 10 consist of ten to twenty typed, double-spaced pages. Referenced material should be Suzuki Music Corporation ...... C2 Sydenstticker UMC, Springfield, VA ...... 34 indicated by superscript and end notes. All submissions must include six copies, accompa Texas Christian University ...... 20 nying artwork if available, and a one- to two-sentence professional identification of the Trinity Lutheran Church, Reading, PA ...... 44 author. For complete writer's guidelines or to submit articles, write to: Managing Editor; Triple Disc ...... 38 Choral Journal; P.O. Box 6310; Lawton, OK 73506-0310. University of California-Los Angeles ...... 7 ViaMedia ...... 19 Webster Hills UMC, St. Louis, MO ...... 27 Choral Journal layout and production: Susan Gower Witte Travel ...... 55 World Projects Corporation ...... 65 PAGE 72 CHORAL JOURNAL American Choral Directors Association P.O. Box 6310 Lawton, Oklahoma 73506-0310 1111111I11111111111 ;11111111111111,11111111111111111 **************** 5-DIGIT 38677 CHORAL 01 39152 ACDA 6 1999/·-12 041 NICHOLAUS CUMMINS 005 po· BOX 6732 Ut-~II...IERSIT'r· MS 38677-6732 International Tours Custom Domestic Tours Performance Tours to: Our travel professionals can plan a trip that meets both your educational needs and your • England • Wales • S(:otland budget. • Germany • Austria • Fran(:e • Airline and Ground Transportation ~"ER'C4 Our exclusive partnership with '" American Music Abroad, one of the • Adjudication Festivals most respected names in student • Sightseeing and Performance Tours ~'""'{C A.~o~travel," will promise you and your • Magic MusiC Days at Walt DisneyWorld® in students a comprehensive and Orlando, FL or Disneyland® in Anaheim, CA affordable tour. • Theater and. 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