5 | A FRESH START CHORAL/ VOCAL PROGRAM from the president’s pen · by rob istad 8 | A CHOIR ROOM OF ONE’S OWN thoughts on women in choral music · by eliza rubenstein

17 | WHAT ARE WE TEACHING? the composer’s voice · by dale trumbore

Dr. Robert Istad Dr. Christopher Peterson 18 | REMEMBERING AL TALBERG Director of Choral Studies Choral Music Education/ Choirs by jonathan talberg

Recent performances and recordings include: 2018 Performance at ACDA Western Division Conference, 19 | ACDA NATIONAL CONFERENCE 2018 Performances with the Los Angeles Philharmonic, Pacific Symphony, and with Segerstrom Center for 20 | PHOTOS FROM ECCO 2018 the Arts, 2017 recording with Yarlung Records, 2016 Recording with John Williams for Sony Classical, 2016 Performance with Kathleen Battle, 2015 Choral- 22 | 2019 CCDA STATE CONFERENCE Orchestral Performances in Paris, France.

Recent repertoire highlights: Mahler Eighth Symphony, 24 | VISION FOR THE FUTURE Lang The Little Match Girl Passion, Mendelssohn Elijah, scholarship fund donors Bernstein Chichester Psalms, Howells Requiem, Bach St. John Passion, Händel Israel in Egypt, Stravinsky Symphony of Psalms, Lauridsen Lux Aeterna. 26 | TURN AND FACE THE STRANGE honor choir updates · by molly peters Annual performances: the Los Angeles Philharmonic Orchestra, Pacific Symphony Orchestra, Musica Angelica Baroque Orchestra, and Andrea Bocelli at Walt Disney 28 | NEWS AND NOTES Concert Hall, the Hollywood Bowl, and major arenas. happenings from around the state

Annual performance tours: including, Spain, Scandinavia, the Baltics, Russia, New York City, Paris/ 31 | TOP FIVE: CHILDREN’S CHOIRS Northern France, Austria, Germany, Italy, Poland, Czech by kim nason Republic, Slovakia, Hungary and Australia. 32 | TOP FIVE: WOMEN’S CHOIRS Annual, fully-staged operatic productions with School’s back in session, and you orchestra. by tina peterson know what that means: More caffeine Distinguished alumni: Deborah Voigt, Rod Gilfry, Charles required, and more GREAT CCDA and Castronovo, Rene Tatum, Jubilant Sykes, and Christopher 35 | TOP FIVE: TWO-YEAR COLLEGES ACDA opportunities ahead! Job. by arlie langager

Graduates from our Master of Music in Choral Conducting program are successfully conducting 36 | TOP FIVE: VOCAL JAZZ performances with collegiate ensembles, professional by michelle hawkins choruses and orchestras, and opera companies throughout the world. 38 | CALIFORNIA ACDA DIRECTORY M.M. Choral Conducting graduates gain real-world experience leading performances with CSUF’s award- winning choirs, orchestra, and opera theater program.

100% employment rate for choral music education graduates.

Students perform, rehearse, and record in the superb, astonishing acoustics of Meng Concert Hall. music.fullerton.edu

2 • Cantate • Vol. 31, No. 1 • Fall 2018 California Choral Directors Association Leading the Way Cantate • Vol. 31, No. 1 • Fall 2018 • 3 From The president’s pen: CANTATE A FRESH START Volume 31, Number 1 he beginning of the year is upon us! Chorus America conference, hosted by the TI cherish this annual opportunity to awesomely inspiring Chicago Children’s improve, organize myself in new ways, and Choir. CCC is a massively successful Official publication of the Our vision better inspire the people who choose to organization that serves over 4,800 youth in California Choral Directors connecting and enriching all make music with me. This year, I am more all 57 Chicago zip codes. (Chicago is one of Association, an Affiliate of Californians through choral music cognizant of my role as a connector in my our nation’s most racially segregated cities.) the American Choral community. I dream of a day when my entire They support choirs in 85 schools and 10 Robert Istad is the Directors Association Our mission community sings together. Music has an neighborhood community centers in addition Artistic Director of California Choral Directors Association ability to bring people together in spite of to a graded program of auditioned ensembles Eliza Rubenstein, editor their differences, and I am keenly aware of my downtown Chicago. I wept with joy to see empowers choral musicians to Pacific Chorale. Istad [email protected] responsibility to create connected experiences that incredibly diverse body of young people create transformative experiences for is also Professor of for them. In Southern California, our com- perform John Legend’s “Glory” immediately California’s diverse communities. munity includes millions of people living in following a perfect performance of Franz Music and Director of GUIDELINES FOR SUBMISSIONS hundreds of cities and townships. The popula- Biebl’s “Ave Maria.” CCC understands that Our values Choral Studies at Cali- tion is one of the most diverse in the world, yet reaching out means more than teaching young We welcome and encourage CCDA members Artistry our choruses and audiences trend otherwise. people musicianship skill and repertoire from fornia State University, to contribute articles, announcements, music and Advocacy How do we open choral music to embrace this the “canon” of Western European music book reviews, job vacancy listings, photographs, Connectedness Fullerton, where he was radical diversity? How can we address issues (which they also do incredibly well). CCC and other items of interest to Cantate! Music Education of diversity, equity, and inclusion (DEI) in our connects with youth using familiar musical recognized as CSUF’s Please send queries and article ideas to Inclusivity & Diversity communities in a meaningful way? language first, and connects that style to other Professional Development & 2016 Outstanding [email protected]. You are also I currently serve on the board of directors music and musicianship training via a collage Lifelong Learning of Chorus America, and we are working approach. The result: CCC singers become welcome to submit completed articles, but please Professor of the Year. note that not all articles received will be published. diligently to address this challenge. In a letter exemplary musicians with a deep understand- CCDA is a 501(c)3 non-profit, tax-exempt He is Dean of Chorus this summer, Chorus America’s President and ing of their important role as global citizens. It CEO Catherine Dehoney stated, “In order is a model that should inspire us all. Deadlines for publication are as follows: corporation and an affiliate of the America’s Academy for August 15 (Fall issue); November 1 American Choral Directors Association. to truly serve our communities, we must make This year, I will choose to make my season (Winter issue); March 1 (Spring issue). Conductors, and has progress in addressing the underrepresenta- renewal effort one of openness and welcome. tion of people of color in our organizations I will select repertoire that better reflects my prepared choruses for The editor reserves the right to edit all submissions. and audiences....The moral imperative to community, and strive to make the Western UPCOMING EVENTS a number of America’s address the effects of historical and systemic European Music I love more relatable to all. racism intersects with the rapid change in I will actively advertise ensemble auditions to finest conductors and demographics of our communities, which ADVERTISING IN CANTATE ACDA National Conference lesser-served areas of my community, and I orchestras. intersects with issues of choral music’s cultural will create an audition process that honors a Please visit our website (www.acdacal.org) or February 27-March 2, 2019 (Kansas City, MO) relevance, which intersects with how we commitment to increased DEI. My colleagues e-mail us at [email protected] for engage audiences and grow our organizations complete information on advertising in Cantate, and I will find ways to move outside of our CCDA State Conference for the future.” If we lose relevance, we also comfort zones—and concert halls—to bring including rates, deadlines, and graphics specifications. lose our ability to reach people. Advertisements are subject to editorial approval. March 14-16, 2019 (San Jose) choral music’s powerful message of unity to a broader swath of the cities we call home. CCDA Summer Conference at ECCO s CCDA members, we understand I hope that you’ll join me in this effort, and choral music’s power to unify, educate, I hope to see you at our CCDA events this On the cover: Andrew Ball, Sarah Hughes, July 21-14, 2019 (Oakhurst) A and Scot Hanna-Weir are all smiles at the Greek- and edify, but we must show all Californians year. Your board of directors has been working themed party at the 2018 Summer Conference the positive impact it can have on their lives hard to more clearly reflect the incredible at ECCO. Photo by Eliza Rubenstein. and the lives of their children. I believe that diversity of California in our programs. singing and choral music in particular is Come be refreshed at our annual conferences, more uniquely positioned to embrace radical encourage your students to apply for our diversity than any other classical art form. honor choirs, invite colleagues to join CCDA Singing lives in the cultural core of every during our fall member drive, and use our ethnic community, and we can connect with network to connect with conductor-educators those powerful singing traditions to invigorate in your city to share ideas and support one choral music for the next generation. another. May you have an inspiring, successful I saw this spirit firsthand at the 2018 year making music with people you love. 

4 • Cantate • Vol. 31, No. 1 • Fall 2018 California Choral Directors Association Leading the Way Cantate • Vol. 31, No. 1 • Fall 2018 • 5 6 • Cantate • Vol. 31, No. 1 • Fall 2018 California Choral Directors Association Leading the Way Cantate • Vol. 31, No. 1 • Fall 2018 • 7

Choir A RV oom of One’s Own by Eliza Rubenstein

ut, you may say, we asked you to speak about women and fiction—what has that got to do with a room of one’s own? I will try to explain.” “B Do you recognize the quotation? It’s the first line of Virginia Woolf’s A Room of One’s Own, a book that has transcended paper and ink to become a living pres- ence in my life since I first read it at age 15. It’s a small book—a hundred or so pages long, with large type and wide margins—assembled from a series of lectures that Woolf was invited to give at two women’s colleges in England in 1928. Three summers ago, on a choir tour with my women’s chorus, a group of us visited one of those colleges and stood in the room where Woolf gave one of her talks, and in the hall where she ate one of the lunches she wrote about in them; it was a pilgrimage for me, and as I prepared to give my own talk (not about women and fiction, but about women and music) this past July to the summertime graduate students at CSU-LA, I turned first to Virginia for inspiration. Frankly, that was a dumb move. She was a thinker and writer of intimidating brilliance, so I briefly considered whether I could conscientiously collect my paycheck if I just stood and read her entire book to the grad-student audience instead of writing an obviously and dramatically inferior version of my own. That seemed unsporting, though, so I decided I’d settle for standing on Virginia’s shoulders, as I’d done so often before, and delivering a talk on the topic of “women and music” that perhaps had less than expected to do, osten- sibly, with music.

Adapted from a keynote address given at CSU-LA’s 2018 “Elevating Women in Music” Festival

8 • Cantate • Vol. 31, No. 1 • Fall 2018 California Choral Directors Association Leading the Way Cantate • Vol. 31, No. 1 • Fall 2018 • 9 For those who haven’t read A Room of One’s Own, have been free to write some of the most interesting thing of Sebastian Bach. This child is really something hen what, exactly, does progress look like, and it follows the author’s thoughts and perambulations and iconoclastic music of the 20th century if he hadn’t special.” Speaking of her accomplishment as a pianist, Twhat is our responsibility to it? What do we do as she visits a men’s college and a women’s college, been making a comfortable living as an insurance agent he paid her what must have been a very high compli- with the Fanny Mendelssohns in our history, and the musing about what to say on the topic of women and by day. The conversations we have with our students ment indeed: “She plays like a man.” potential Judith Shakespeares in our present? How do fiction-writing, only to be turned away from library would be much different if we could tell them to follow No one doubted Fanny’s talent, but the two men we reckon with our past and shape our future, and why after library by regretful attendants who explain that their dreams blithely without worrying about paying off closest to her—her father and her brother—both does it matter that we do so? women aren’t allowed inside without a man accompa- their student loans. discouraged her from pursuing music as anything but We ought to acknowledge, first, that we’ve come a nying them, or to enjoy a sumptuous lunch at the men’s Financial stability buys survival; it buys the ability a hobby. Abraham Mendelssohn reminded her more long way. Today, parents who tell their daughters that college followed by a lousy one at the women’s college to take risks; it leaves more of our attention available than once that while Felix had the option of making composing or conducting is a man’s job are a minority, thanks to its lack of funding. She cannot speak about for creativity because less of it is lost to anxiety. The music his career, it could never be anything more than even if they’re not entirely extinct, and being a woman women and fiction, she concludes, if she cannot speak starving-artist stereotype is durable and romantic, but an “ornament” for Fanny. Felix adored his sister and almost certainly won’t keep you out of music school or about women and independence, women and money, in the end it’s often just sad. The ravages of poverty supported her passion for composition, but he doesn’t disqualify you for a job. All of us can name outstanding women and free time. Women will never regularly write and poor health gave us a great story about the final seem to have questioned the conventional wisdom that female composers and conductors, and most of us have fiction, she says, until they have rooms of their own years of Mozart’s life, but wouldn’t we rather have had said that it was a job for men. “From my knowledge probably programmed music by the former and worked and 500 pounds a year. If you calculate the inflation thirty or forty more years’ worth of his music? of Fanny,” he wrote, “I should say that she has neither alongside the latter. Let’s give ourselves and our field and the exchange rate, that’s about $40,000 in today’s And we don’t—can’t—know how many Mozarts, inclination nor vocation for authorship. She is too much some credit for the progress we’ve already made, and money. She wasn’t asking for wealth—just for security. or almost-Mozarts, we’ve lost to history because their all that a woman ought to be for this. She regulates her let’s talk about where we go from here. She wasn’t asking for an estate—just a room. circumstances never allowed them the space and house, and thinks neither of the public nor of the musi- How many of us can say that the majority of our When Woolf gave her lectures, women in England security in which creativity can flourish. One of the cal world, nor even of music at all, until her first duties (non-major-work) programs include the music of at had been legally allowed to have financial assets of their most famous passages of A Room of One’s Own is are fulfilled.” least one female composer? Most of us, probably, and own for less than half a century. Most had no opportu- the one in which Woolf imagines a sister for William Fanny wrote more than 400 musical works in her that wouldn’t have been the case even twenty years nity to earn money to begin with, because a woman’s Shakespeare. She names her Judith, and she asks us brief career, but the ones that got the most attention in ago. How many of us have programmed a concert of job was generally to birth and raise children, and to to suppose that Judith was born with the same raw her lifetime were published under her brother’s name. works exclusively by female composers? Many, surely. manage the affairs of a home in which she almost talent as her brother, but that while he went to school She didn’t kill herself like Judith Shakespeare, but she How about a program that just happened to have more certainly had no room of her own. If she did earn any and began shaping the rich and varied world around did die young, while rehearsing one of her brother’s works by women than by men, without calling atten- sort of pay, it was, by law, up to her husband to decide him into words, she stayed home and was interrupted oratorios. tion to that fact? Perhaps that’s the next frontier. As on its dispensation. Women had no money to start each time she tried to read a book, because there were It’s a tragic story, but there are no villains in it; a professional, we’ve gradually grown accustomed to businesses, or to leave to their daughters, or to build stockings to mend or stew to stir. Woolf imagines Judith that’s part of the tragedy. Fanny Mendelssohn wasn’t including one or two pieces by women (or people of libraries and endow scholarships at women’s colleges, married off by her father to a man she doesn’t love, and held back by men who hated her. She was held back color) on a typical choral program, but if the scale tips or to invest in any consequential way in the affairs of laughed out of the local theater when she shows up and by men who loved her dearly. It’s difficult to hold too much farther than that, some of us get uneasy. the world. says she wants to act. In the end, she imagines her dead much of a grudge against Felix or Abraham Mendels- I’m reminded of the work of Nikole Hannah-Jones, of suicide out of frustration and shame, buried in a spot sohn when their only crime was not being significantly who studies the demographics of public education, ut what does that have to do with novels, or music, no one recognizes or visits. more enlightened than just about every other man and who found through her rather startling research Bfor that matter? “Fiction,” Woolf writes, “imagina- There never was a Judith Shakespeare. She’s an living in their era. By the standards of the time, they that when white parents in Brooklyn said they wanted tive work that is, is not dropped like a pebble upon imaginary though completely plausible character Vir- were probably considerably less sexist than average— “diversity” in their children’s schools, what they really the ground, as science may be; fiction is like a spider’s ginia Woolf created to demonstrate that talent without remember, Fanny got to go to music school alongside meant was that they wanted 85 to 90 percent of their web, attached ever so lightly perhaps, but still attached resources and support is a near-useless commodity, a her brother, which is surely more than she’d have been child’s class to be white, with the remaining 10 to 15 to life at all four corners….these webs are not spun in seed without soil or water or sun. allowed in many families. percent being children of other races. Once the non- mid-air by incorporeal creatures, but are the work of In the music world, though, we don’t need to create But this is where Virginia Woolf’s voice comes white children composed more than 15 percent of the suffering human beings, and are attached to grossly a fictional sister for a historic genius; we already have a back to us to say what Abraham and Felix didn’t class, the average white parent grew anxious, because material things, like health and money and the houses real-life Judith Shakespeare. We know her name: Fanny understand, and what we still sometimes resist today: the “diversity” that had previously reinforced their own we live in.” Mendelssohn. “Money dignifies what is frivolous if unpaid for.” open-mindedness and provided an extra educational Essentially, she’s saying that the “pure artist’s life” Most musicians know Fanny today as an adjunct Passion is a beautiful thing, hobbies are liberating in benefit to their children suddenly began to feel like a is, itself, a fiction. We know this all too well, even to her much more famous brother, but most probably their own ways, and I’d certainly never suggest that it’s threat to their sovereignty. though it’s still tempting to think of music and the other don’t know that when Fanny and Felix were both music impossible to create great art on a volunteer basis. But I suspect there’s a bit of that attitude in our own creative arts as passions that exist outside the mundane students, at least one of their teachers identified her as large-scale change doesn’t happen without the legitima- field, too: Yes, of course we want to see a variety of world of paychecks and phone bills and rent. But let’s the more gifted of the two. Carl Friedrich Zelter, their cy that economic power and professional respect confer. genders and ethnicities represented in our repertoire!— be honest: The history of the Classical Era would read composition instructor in Berlin, wrote in a letter that Individual geniuses working in isolated obscurity are but chiefly for flavor; we don’t want them taking over. very differently if Haydn hadn’t been so amenable their father, Abraham Mendelssohn, had “adorable important to history and art. But they are not, sadly, In the educational setting, Hannah-Jones calls this to working for the Esterhazys or if Mozart had been children, and his oldest daughter could give you some- indicators of progress. “curated diversity.” Naturally, in our world, “curat- better suited to taking orders. Charles Ives wouldn’t

10 • Cantate • Vol. 31, No. 1 • Fall 2018 California Choral Directors Association Leading the Way Cantate • Vol. 31, No. 1 • Fall 2018 • 11 ing” isn’t a bad thing (except insofar as the word point of including their compositions on our programs thing that fit the bill. We settled on a poem written by college, and a couple of semesters ago, a young woman has become overused and trite), and we’re centuries as we’re able. We owe it to the long-dead women who Katherine Phillips to her closest female friend, and wrote in a concert report that she’d been shocked to away from having any sort of quantitative parity in the overcame enormous odds to become composers not to we ended up with a beautiful piece; it’s still one of the see me leading a performance of Mozart’s Requiem, repertoire available to us, but the inclination to keep speak dismissively of their work when we can choose few choral works I know about friendship in a world because she hadn’t realized that women were allowed the music of marginalized people safely in its approved instead to speak honestly about the obstacles that of music about romantic love. You don’t need a huge to conduct orchestras. We still have some work to do. containers—the once-every-three-years concert of wom- kept them from achieving more, and we owe it to the budget to undertake a commissioning project, though In this realm as in so many that have been histori- en’s music with a clever title, or the “multicultural” set women and girls of today to work hard to keep remov- you do have to pay a composer what she’s worth; if cally dominated by men, we’ve moved past many of to end the show—is one we ought to practice rejecting. ing those obstacles. your preferred composer’s asking price is too high, the obvious and tangible barriers to entry. Conservato- I want to say a word about equality and quality. Frankly, I’m less bothered by the fact that there’s consider collaborating with another chorus or joining a ries aren’t going to shut their doors to you for being a Here’s a fun thing to do: Jump onto one of the big no female Bach or Brahms than I am by the fact that consortium to fund a new work together. By all means, woman, and if your parents nix your conducting career, Facebook pages for choral directors and post that there aren’t more female Eric Whitacres or Morten seek out and encourage young and emerging compos- that probably has more to do with your perceived earn- you’re looking for a piece for the voicing of your choice, Lauridsens….or Eriks Esenvalds or Sydney Guil- ers, but don’t forget the middle-aged and senior ones, ing potential than your gender identity. on the topic of your choice....and that you’d like it to laumes or Ola Gjeilos or Jake Runestads or Stacey either—and if you can, include some travel funds in But sexism (like all isms) works in subtle ways long be a piece written by a woman. Wait an hour, then Gibbs. We know why Fanny Mendelssohn didn’t your commissioning budget, so that your singers can after a profession is ostensibly integrated. Women read- come back and see how many people have arrived become as famous as her brother, but it’s less clear meet the composer and work with her in person to ing this: What’s the first thing people always want to to tell you that the gender of the composer shouldn’t why women today are far less likely than men to be- bring her music to life. talk about after you’ve conducted a performance—your matter, and that they program based only on quality. come trendy composers. One reason, of course, is that Consider, too, that there are other ways to make exquisite command of phrasing, or your dress? Right. It never fails, and the same folks show up to make the popularity breeds popularity. Many living composers, our programming more inclusive besides simply featur- Dress. Most male conductors still opt for a tuxedo same comments so reliably that I’m convinced they’ve and thus many female composers, opt to self-publish ing music written by women. Half of choral music is as performance attire; there’s no such “uniform” for set up a keyword alert on their smartphones. So let’s or to participate in a publishing collective, which on text, and that’s a great place to start as we strive for women that’s universally understood to communicate remind ourselves (and the “quality” police) of a couple one hand gives them more control over their own work representation and inclusiveness. We can look for texts formality and elegance. Wear a suit, and someone’s of things: First, “quality” is a mostly subjective term and a higher percentage of proceeds from its sales, written by a wide variety of women, because—good sure to ask why you’re trying to look like a man. Wear based on a several-hundred-year tradition in which but on the other hand means their music will never news—Emily Dickinson and Sara Teasdale are not the a dress, and, well, “you just don’t really look like a white men set all the standards and controlled most of show up in a publisher-sponsored reading session or only women whose words can be set to music. We can conductor to me.” Women, I’m the last person who will the access to education and experience; and second, repertoire packet, so it takes a bit more effort to find seek out lyrics in which women are more than the pas- offer you fashion advice, but I hope you proudly wear representation and diversity matter enormously, in our their pieces. Do it anyway. Find their websites. Share sive objects or unfortunate casualties of men’s attraction what’s comfortable and confidence-inspiring. Men, I programming and our lives. No one’s suggesting that their work with your colleagues in the field. Program or contempt. We can let the treble choir be silly and hope you’ll consider killing two birds with one stone we can’t be profoundly inspired by music that repre- their music—the weird and jarring and raucous pieces swaggering sometimes, and we can let the bass choir be by breaking out of the tuxedo mold now and then. It’s sents a different culture or tradition from our own; in- along with the gentle and pretty ones. Buy their sensitive and thoughtful. We can skip the extra-sexist liberating for you, and it helps expand the range of deed, that’s one of the enduring gifts of singing choral music, and don’t pay for twelve copies if you’re really madrigals and the opera choruses about men beating “what a conductor looks like,” which makes things a music together. But it’s tough to imagine yourself as a going to make thirty. Money dignifies what is frivolous their wives (some may disagree, but I don’t find Of- little smoother for your colleagues of different gender future composer or conductor, or to feel like a full and if unpaid for. fenbach’s “Neighbors’ Chorus” so ingenious that it’s expressions, ethnicities, or physical abilities. authentic member of the choral community at all, when worth making a joke of something that more than a Our hang-up with women’s attire, of course, is only you never hear a voice that sounds like yours or see a peaking of money: Most choruses, whether they few of our students have probably experienced in their one symptom of the larger perception issues that we still face that looks like yours. Srealize it or not, can also help chip away at the own homes), and we can talk honestly and intelligently don’t always recognize as gendered. Here’s another: Does that mean throwing out the canon of cho- gender imbalance in choral music by commissioning with our singers and listeners about the inherent gender women’s voices. Not our singing voices—our speaking ral music by men of the past? Heavens, no. I firmly new works by women. The process of working with inequity of a great many texts and lyrics throughout voices. believe that we can be passionate advocates for female a composer will engage your singers in a distinctively music’s history. When we can’t work around the The historian Mary Beard, in her wonderful essay composers while also acknowledging that no woman, as valuable way, it’s a great opportunity to engage donors problem, the next best thing is to name it. Perhaps “The Public Voice of Women in Power,” digs as far far as we know, has yet written anything as magnificent or boosters, it’s a thrill to know that you’ve helped your students can collaborate on writing some lyrics of back as Greek and Roman antiquity to trace the his- as the B Minor Mass or the Brahms Requiem. Not bring a new piece of music into the world, and it’s their own, update an old madrigal with 21st-century tory of society’s discomfort with women’s voices—what many men have, either, and men have had a lot more probably more affordable than many conductors words, or find some texts online that they’d like to see they say, how they sound saying it, and what it means chances. We don’t need to apologize for continuing to expect. Commissioning can help you out of a pro- set to music. Equality-minded, inclusive programming that they’re speaking at all. She discusses the art of ora- perform and teach the great masterworks, small- and gramming jam, too: About a dozen years ago, I was doesn’t have to limit our possibilities; it’s a wonderful tory as a signifier of masculinity, the near-total ban on large-scale, of centuries past; we do need to educate working on a program called “Shakespeare’s Sisters” way to multiply them. women speaking in public across many centuries and our students, singers, and audience members about for the Orange County Women’s Chorus, consisting societies, and the inevitable coding of men’s voices as the reasons we have so few masterworks by women of of settings of texts by Shakespeare and by some of the hat about women as conductors? Again, we’ve the standard of wisdom and artistry in elocution. She those eras. We owe it to ourselves to learn about the (literally) unsung female poets of the 16th and 17th Wcome a long way, although the universe sends us points out that most of the famous speeches by women women in our history who defied tradition to write ter- centuries. The Shakespeare pieces were easy to find; reminders now and then that we women are still not in history are about the station of women in society: rific music, to acquaint ourselves with their work even the others were not, so we commissioned a wonderful charter members of this club. I teach a music apprecia- Sojourner Truth’s “Ain’t I a Woman,” Hillary Clin- if it requires some extra effort to do so, and to make a Bay-Area composer, Ruth Huber, to write us some- tion course for mostly non-majors at my community ton’s 1995 address to the United Nations conference

12 • Cantate • Vol. 31, No. 1 • Fall 2018 California Choral Directors Association Leading the Way Cantate • Vol. 31, No. 1 • Fall 2018 • 13 on women, Malala Yousafzai’s speech to the same body of those skills, why must we automatically privilege the from the event so that the organizers could find a wider that this poet who never wrote a word and was buried 18 years later, to name a few. As uncomfortable as more masculine-coded one over the more feminine- variety of voices. I watched their conversation evolve, at the cross-roads still lives. She lives in you and in me, those speeches made some listeners at the time, women coded one? Wouldn’t a master class be a prime oppor- and I found it indescribably moving. They weren’t do- and in many other women who are not here to-night, talking publicly about women are still, on the whole, tunity to help the natural talkers become better movers ing it for attention or admiration; they had been excited for they are washing up the dishes and putting the easier to swallow than women talking publicly about and the natural movers become better talkers? to be included in this conference, but it mattered more children to bed. But she lives; for great poets do not men, or (heaven forbid) women giving orders. to them that underrepresented groups felt included in die; they are continuing presences; they need only the We don’t usually forbid women from speaking in hope we, as conductors and educators, discuss these their profession. They were being good allies, both by opportunity to walk among us in the flesh….my belief public these days (except for the occasional senator I topics with our students and singers of all ages. Let’s speaking up and by stepping aside. is that if we live another century or so—I am talking from Massachusetts who gets scolded for reading a give them the tools to recognize sexism (and racism, They were, quite literally, making room—the of the common life which is the real life and not of the letter from Coretta Scott King on the Senate floor— homophobia, transphobia, ageism, and ableism) and “room” Virginia Woolf knew we needed, even though little separate lives which we live as individuals—and nevertheless, she persisted), but we do still, as a society, the confidence to call it out. Let’s talk about how trans- in 2018 we’re still rather reluctant as a culture to make have five hundred a year….and rooms of our own; if shush them if they go on too long about things that gender issues and our evolving understanding of gender that accommodation. Say the phrase “safe space,” we have the habit of freedom and the courage to write make us uncomfortable, and we register our unease in identity fit into the choral world, in terms of culture and someone nearby will roll their eyes hard enough to exactly what we think; then the opportunity will come the language we use to describe them—“whiny,” “emo- and vocal technique alike. And let’s put our singers in be audible. Turn on any House Hunters episode and and the dead poet who was Shakespeare’s sister will tional,” “shrill,” “strident.” Women of color deal with the presence of all different kinds of capable women, you’re likely to hear a husband explaining that he needs put on the body which she has so often laid down. an added layer of stereotyping, often having to do with women who dress and move and speak in lots of differ- a “man cave” where he can be free to watch manly Drawing her life from the lives of the unknown who sounding “angry” or “aggressive.” ent ways, women who will define or redefine for them things on TV and drink manly domestic beer, presum- were her forerunners, as her brother did before her, she (If you want to see this play out in real time, hop “what a conductor looks or sounds like.” ably with at least one fastener unfastened on his manly will be born.” on Twitter every week when Jessica Mendoza is doing That means signing up for festivals with women as clothing. Have you ever heard a woman on those shows What Virginia Woolf understood so well was that color commentary for ESPN’s Sunday-night baseball adjudicators and clinicians, and bringing smart women demanding a “woman cave”? Now and then there’s “women in fiction,” like “women in music,” isn’t just a broadcast. She’s knowledgeable and pleasant, but to your rehearsals as guest directors or master teachers one who wants a craft room, but otherwise it’s generally concept or a title for an article. Women in fiction and you’d be shocked by the abuse she gets from men who for your conducting students. It means paying them for (tacitly) assumed that the woman’s space in her home music—and art, science, technology, and politics—are are enraged by her very presence in the booth. There’s their labor, respecting their time, and not grilling them is the kitchen, or the “common room” that Virginia living, working, struggling, dreaming human beings. a common theme in the complaints: It’s not that they about their “work-life balance” if you wouldn’t ask a grew to despise. Indeed, a study just a few years ago Each of us is permitted to claim without apology the have any problem with a woman calling a baseball male conductor the same thing. And because true, far- showed that women average five fewer hours of time to time and space that foster our artistry and the resources game, it’s just that this woman’s voice is so irritating.) reaching progress doesn’t happen in isolation, it means themselves each week than men, chiefly because they’re that feed it. And all of us are tasked with pooling our In the past few years, we’ve also been especially volunteering to be on the boards or the committees that more responsible for housework and chores. energies to keep bringing the Judith Shakespeares of tough on women, especially young women, for vocal choose honor-choir conductors and conference present- Creativity needs time, privacy, safety, and legroom. the past, and the Fanny Mendelssohns of the future, tics like “uptalk,” the habit of ending each sentence in ers and panelists and commissioned composers. Being an ally means making space, literal and figu- out of the common-room and onto the stage. a raised pitch as if it’s a question. It drives me crazy Sometimes, being an advocate will mean being un- rative, for women and for all the under-represented I realized, as I pondered this subject in preparation too—but did you know that research suggests that popular, like when you say “I’m sorry, is there a reason groups who have had to beg for some time alone or for my summertime talk, that even though Virginia was “uptalk” evolved in women as a defense against being that we automatically assigned the woman conductor battle for a place at the table. To paraphrase a saying infinitely wiser and wittier than I am, I had one advan- interrupted, since, according to one study, women are to the SSAA All-State choir?” just as the rest of the I’ve seen a lot lately: In the moment, scoot over; in the tage over her: She worked in an inherently solitary art interrupted 33 percent more often than men? Learning committee is all ready to wrap up and have lunch, or long term, build a bigger table. form; I work in a communal one. Did you catch this that gave me a new level of patience with people with when you write an article for your regional newsletter Finally, supporting women in the field also means in the quote above?: “I am talking of the common life this quirk, and a new way to discuss it with them if the about the absence of women composers from your last fighting for equal pay, generous parental leave policies, which is the real life and not of the little separate lives topic arises. conference. Sometimes—and frankly, I don’t think we and reproductive freedom. It means standing up against which we live as individuals….” A few years ago, a colleague and friend who was acknowledge this often enough—being an ally means sexist language, sexist behavior, and sexual harassment, She knew that, perhaps paradoxically, the only path responsible for selecting conductors for a master class giving up something that’s meaningful or valuable to and extending that same advocacy toward people of to the independence and self-reliance she wanted for based on their rehearsal videos told me that he had you, such as when you discover that everyone on your color, LGBTs, and people with disabilities. It means women was through a collective consciousness, a com- filled all of the available spots with men. “There were conference panel is the same gender or the same color not shying away from talking about money—whether mon goal, and a unified voice. women who applied,” he said, “but they all talked as you, and you say, “Tell you what—why don’t I give it’s yours or someone else’s, whether it’s an adjudicat- What a lucky coincidence—that’s exactly what we their way through rehearsal.” Hmm. Did they really up my spot so that you can make this group a little ing fee or rising tuition costs or the hourly rate your do in our choir rooms every day.  talk that much more than the men? Every single one of more diverse, and I’ll be happy to take part next time.” university pays its adjunct instructors. them? If not, what led to the perception that they did? I watched an online conversation a few weeks back Eliza Rubenstein is the editor of Cantate. This article is If so, wasn’t that a pattern worth investigating a little in which a handful of white male sportswriters did ere’s Virginia Woolf again: “I told you in the more deeply? Could it have anything to do with the exactly that: They had realized, when a conference Hcourse of this paper that Shakespeare had a sister; adapted from a keynote address given at the “Elevating fact that boys and men are generally more socialized to program was published, that there were zero women but do not look for her in Sir Sidney Lee’s life of the Women in Music” festival of the CSU-LA 2018 Summer be at home in their bodies than women and girls are, and only one person of color on the list of presenters, poet. She died young—alas, she never wrote a word. Master’s Program. Links to works cited in this essay, as well while girls tend to develop language facility earlier? and three or four of them who had been scheduled to She lies buried where the omnibuses now stop, oppo- as to resources related to choral music by women compos- And since rehearsing a chorus is always a combination speak said publicly that they were removing themselves site the Elephant and Castle [pub]. Now my belief is ers, may be found at csulawomeninmusic.wordpress.com.

14 • Cantate • Vol. 31, No. 1 • Fall 2018 California Choral Directors Association Leading the Way Cantate • Vol. 31, No. 1 • Fall 2018 • 15 the COmposer’s voice:

UNIVERSITY OF SOUTHERN CALIFORNIA THORNTON SCHOOL OF MUSIC WHAT ARE WE TEACHING? his summer, my first piano student in When we play a new piece, we aim to set TLA—a student I’d taught since she was ourselves up for success before we even start. nine years old—left for college. Knowing she We identify key signatures, modulations, and won’t pursue music in college, I couldn’t stop tempo shifts. We scan our music for everything wondering in those final lessons what she’d got- that looks challenging, and we give ourselves a ten from our time together. When our students minute to prepare for that challenge. We take Dale Trumbore has leave music, what do they take with them? the whole piece at that slower speed, so that we received commissions, So much of music isn’t actually about getting have a greater chance of getting it right. everything right; I’d rather have my students When my students are sight-reading or performances, and learn to tell a story with their playing. I want playing challenging music they haven’t practiced awards from orga- them to learn to prepare themselves as well as enough, so many of them speed up exactly when RETHINK they can for a successful performance, but also they should be slowing down. I used to do this, nizations including to keep going in the face of whatever may go too. I don’t know if it’s frustration or panic ACDA, ACME, Center wrong within a performance. I want to develop that makes our heart beat faster, speeds up our VIRTUOSIT Y resilient, confident performers, as much as that internal metronome, or triggers some fight-or- City Opera Theater, skill can be taught. flight reaction—as if by going faster, we could Chanticleer, Inscape I tell my students that some things are steamroll right over all that we don’t know, as if beyond our control, but we can always choose to muscle through it and be done with it sooner. Choral & Sacred Music Chamber Orchestra, the to try our best. I remind them that if they know But we can learn to overcome our worst at USC Thornton Kronos Quartet, and they practiced well but they still make a mistake, instincts. We can learn to proceed slowly and it’s okay. I tell them this jokingly, though it’s rationally, even when we’re feeling confused and VocalEssence, and she Are you thinking about what it means to be a not a joke at all: Even if you make a horrible frustrated. As a music teacher, this might be the classical musician? We are. Introducing our has been hailed by the mistake, your family and friends will love you. most valuable lesson I can impart to my stu- Trying is a choice, and in music, it might dents: You can take nearly everything you know new approach to undergraduate education New York Times for her be the one that matters most. We can certainly about sight-reading and performing, apply it to in our Classical Performance & Composition “soaring melodies and do less than try. We can back away from hard the rest of your life, and be a happier, calmer, work. We can turn away from pieces that will and saner person as a result. Division. Our new model, which we’re calling beguiling harmonies.” push us to the edge of our ability. We can the ReDesign, will challenge you to develop Dale is orginally from choose to do only what’s simple or what comes t’s only in teaching piano that I’ve realized the a distinct artistic voice and create a thriving easily to us. extent to which my own music lessons changed New Jersey and now I But I want my students to make mistakes. how I approach difficult situations. In my best Fall 2019 Admission for freshman, career in choral music. lives in Los Angeles. transfer, and graduate students DEGREES OFFERED I want them to take risks. Our lessons are the moments, I scan ahead for the most challenging perfect safe place in which to mess up. On some aspect of whatever I’m about to take on. If I’m Choral Music BA, MM, DMA Hear her music at Financial packages available for Sacred Music MM, DMA level, I’m actually hoping my students make lots doing something for the first time, I remind undergraduate and transfer students www.daletrumbore.com. of mistakes, so we can correct them and make myself that mistakes are okay, even welcome, new, different mistakes. Eventually, we move and that I don’t have to go fast when I don’t Teaching assistantships and scholarships past thinking about music in terms of right or know what I’m doing. I acknowledge that all I available for graduate students APPLICATION DEADLINE DECEMBER 1, 2018 wrong notes and instead focus on using those have to do, and all I can do, is prepare as much notes to tell a story. as I can, show up, and try. Fall 2019 Admission for freshman, transfer, and graduate students Sight-reading, for example, is a skill we Do I want my students to play beautifully? develop by taking on new challenges. It isn’t just Yes. Do I want them to remember to curve their Financial packages available for about recognizing patterns; it’s about approach- fingers, relax their wrists, and sit up straight? undergraduate and transfer students ing the unknown with a certain fearlessness, Of course. Teaching assistantships and scholarships striding boldly into the unknown. Confident But eventually, many of my students will stop available for graduate students sight-reading actually has a lot in common taking music lessons. They may stop making with performing something you’ve practiced music altogether. But if they’ve learned to say for months: Both are about embracing your yes to challenges that allow them to grow, to mistakes and choosing to continue anyway. Both take new experiences as slowly as they need to, @USCThornton music.usc.edu/choral force you to listen to an internal metronome tick- and to view their choices, their abilities, and ing inside you—or to follow a conductor—no their own minds with patience and kindness, matter what goes wrong or right around you. then I’ll have done my job as a music teacher. 

16 • Cantate • Vol. 31, No. 1 • Fall 2018 California Choral Directors Association Leading the Way Cantate • Vol. 31, No. 1 • Fall 2018 • 17 REmEMBERING AL TALBERG Kansas City Chorale by Jonathan Talberg Seraphic Fire Lorelei Ensemble s news of my father’s illness and subsequent passing responsible for most of humanity’s advances. Voz en Punto (Mexico) spread on social media, my family and I were touched A • Don’t do your own taxes. Nairobi Chamber Chorus (Kenya) tremendously by the outpouring of support by so many members of the CCDA. For five summers, from 2011 to • Have a drink every night. Or two. But not three. Ansang City Choir (S. Korea) 2015, Al Talberg (April 13,1928–February 25, 2018) • You’re never too old to learn. St. Stanislav Girls’ Choir (Slovenia) taught morning Tai-Chi at our CCDA Summer Conference at ECCO. During those years, he befriended many of you, • How much money someone has is absolutely no indica- Tallahassee Community Chorus took headliners to Yosemite for lunch at the Ahwahnee, tion of their worth as a human being. Kansas City Symphony & played hooky at the lake, enjoyed evening refreshments with • Racism and bigotry are always wrong. Symphony Chorus people of all ages, and danced up a storm at our legendary themed parties. I was especially moved by how many of • Never trust a zealot. …and many more! you came up to me at ECCO this • Ridicule can equal love. But only 2019 summer to express your condo- if the ridiculed understands that you lences and to tell me how much you love them. HONOR CHOIRS missed my dad. What a gift it is to • Let people help you. have your colleagues and friends Children’s know your father. • Work so that you can pay other Emily Ellsworth, conductor It was the wisdom he people to do what they do well. imparted—during his morning Consequently, don’t feel badly if you MS/JH SATB classes, at mealtimes, or sitting on can’t fix a toilet, or a radiator, or a Derrick Fox, conductor ACDA a bench overlooking the lake—that fence. You work, in part, so that a many of you have commented on. plumber, a mechanic and a carpen- HS/Collegiate SSAA While I was considering the bless- ter can work, too. Our economy Sandra Snow, conductor National ing of having had him as a father works best when we all concentrate for almost 50 years, I realized on what we do best. HS/Collegiate TTBB Jefferson Johnson, conductor Conference that many of his “Al-isms” (as my • People are imperfect and friends call them) related not only organizations are made up of to life in general, but to our crazy people, therefore organizations are AND MORE! careers as choral conductors as imperfect. Beware of groups— well. I decided to share them with especially religious, political, and Legacy Directors Chorus my dear colleagues as a tribute to educational—that seem to have the man I called Dad: all the answers. No one has all the “A Journey Through ACDA History” answers. • If you’re going to speak about Pre-Conference “Welcome to KC” event people, speak positively about them. Except for politi- • Sometimes, there are no words. Just hold the people on Tuesday evening featuring: cians. Most of them are incompetent. you love closely. Kansas City BBQ Allegro Choirs of KC KANSAS CITY, MISSOURI • There’s more to life than work. Don’t work too hard. • Don’t retire. Change your focus. Heartland Men's Chorus Don’t brag about how hard you work. Work. And then • Go for it. You can’t do life wrong. But, you can prob- Kantorei FEBRUARY 27 - MARCH 2 enjoy your time with family and friends. ably do it better. Interest Sessions & Exhibits • Tell people you love them. hank you again for the love; I wish each and every one • Tell people you’re proud of them. Conference Hotel: Tof you a wonderful year!  Kansas City Marriott Downtown • Stay active. The Kauffman Center • Listening is way more interesting than talking. Jonathan Talberg is the Director of Choral, Vocal, and The Folly Theatre • Trust the scientific method, logical thinking, and people Opera Studies at the CSU-Long Beach Bob Cole Conser- Cathedral of the Immaculate Conception Grace and Holy Trinity Cathedral smarter than you. Science and engineering have been vatory of Music, and a past president of CCDA. WWW.ACDA. ORG

CHORAL JOURNAL June/July 2018 Volume 58 Number 11 1

18 • Cantate • Vol. 31, No. 1 • Fall 2018 California Choral Directors Association Leading the Way Cantate • Vol. 31, No. 1 • Fall 2018 • 19 OPA! Our Big Fat 2018 CCDA Summer Conference at ECCO was a smash, we were thrilled to honor Swan Award winners Vance George and Linda Lovaas, and Betsy Cook Weber might just be our “best and favorite” headliner yet! Thanks to everyone who attended and everyone who worked so hard to ensure that even smoky skies couldn’t cast a pall over a fantastic event.

20 • Cantate • Vol. 31, No. 1 • Fall 2018 California Choral Directors Association Leading the Way Cantate • Vol. 31, No. 1 • Fall 2018 • 21 22 • Cantate • Vol. 31, No. 1 • Fall 2018 California Choral Directors Association Leading the Way Cantate • Vol. 31, No. 1 • Fall 2018 • 23 Vision for the Future Scholarship Fund Donors special care has been given to the preparation of donor acknowledgments. We regret any errors or omissions. please contact us at (657) 217-0767 or [email protected] with corrections. Thank you for your support!

President’s Circle Stacey Kikkawa Shelby Smith + Karl Chang + Platinum ($500 and higher) Beth Klemm * in honor of my mother and father, Ryan Clippinger + in honor of Norman Paschen, my Dad! Daniel and Suzie Smith Andrew DelMonte * Tammi Alderman * John Knutson + John Sorber * Cari Earnhart in honor of the past and present Bruce Lengacher Joe and Dana Stanford + Maryloie Espinoza + CCDA board for George Attarian and Byron McGilvary Carolyn Teraoka-Brady * Dr. Jennifer Garrett Nick Strimple * Anthony Lien * Kathryn Thickstun + Leatrice Innocent in honor of James H. Vail in honor of my musical brothers, Buddy Janice Hawthorne Timm + Erika Jackson + Burt and Polly Vasché * James, Michael Najar, Matthew Potterton Betsy Cook Weber + Derek Jamieson + Arthur Lio William Zinn * Susan Zimmer Johnson + President’s Circle MaryClare Martin * Townsend Losey + Gold ($300 and higher) David Montoya * Sponsor ($50-$99) Christopher Luthi Anonymous * Kristina Nakagawa * National Concerts + Dana Alexander in memory of Paul Salamunovich in honor of Lois Caran, Joe Huszti, Nicholas Patton + Ruth Ballenger Kenneth J. Abrams and Charlene Archibeque Loretta Pearce+ Bernadette R. Burns Lou De La Rosa * Kim Nason * in honor of Dr. Douglas Chase Patrick Burzlaff Robert Istad and David Navarro * in honor of Rob Istad and Chris Peterson Jan Pedersen-Schiff + Kelly Caswell Eric Medeiros Matthew Netto * Susan Peterson + in honor of Mary Purdy in memory of Tim Shannon in support of CSUF contributions Christiane Rohayem + Jessica Cosley Lori Marie Rios * to the choral world Alexis Rubell + Lauren Diez Jason Pano Sheen Leem Sanchez Julie Ford * President’s Circle in Honor of Lou De La Rosa, Robert Istad, Rebecca P. N. Seeman + in honor of Perla Warren Silver ($100-$299) Christopher Peterson Karyn Silva + Scot Hanna-Weir Molly Peters Stephanie Stewart Daniel Afonso * Michelle Hawkins Dr. Christopher and Tina Peterson * Mary Stocker Kyle Ball + Monica Maddern + Molly Buzick Pontin + Lois Tai * Jeffrey Benson * Susanna Martone + Mary and Wally Purdy * Kevin Tison Jenny Bent Michael J. Mello in honor of John Alexander and Darla Tuning + Jack Bertrand * Brianna Mowry + in memory of Richard Knox Elizabeth Waterbury + in honor of Dr. James K. Bass Joshua Palkki + Shawn Reifschneider * Rob Blaney + Rachelle Randeen + Enter CCDA’s 4th Annual George Heussenstamm Composition Competition! Zanaida Robles + Glenn Carlos + Krista Scharf + Antone Rodich * Mitchell and Laurel Covington Jo Anne Stoddard January 2019: Complete contest guidelines will be published at www.calcda.org and in Mike and Julie Dana * John Russell * Joseph Schubert * the Winter issue of Cantate Jennifer Gaderlund Supporter (up to $49) Emily Gates in honor of David Norman Cricket Handler * and Roman Maciejewski Bethany Alvey + April 15, 2019, 11:59 p.m.: contest submissions due online (no late entries will be accepted) Brandon Harris + SCVA + Gemma Arguelles + Jeffe Huls * Grace Sheldon-Williams + Judy Bowers + May 15, 2019: winner of the 4th Annual Heussenstamm Composition Competition at ECCO in memory of Lynn Bielefelt James & Marilyn Shepard + Jamie Butler + * Founder’s Circle announced online Mark Hulse Jennifer Sivers-Suh + Lydia Chaffee + + New donor Mary Anne James Will Skaff and David Xiques + Eileen Chang + JULY 21-14, 2019: Winning composition read and winning composer honored at CCDA Summer Conference at ECCO

24 • Cantate • Vol. 31, No. 1 • Fall 2018 California Choral Directors Association Leading the Way Cantate • Vol. 31, No. 1 • Fall 2018 • 25 2019 Junior High/9th grade HONOR CHOIR APPLICATIONS DUE OCTOBER 15 Visit www.calcda.org for complete information!

2018 Central Region Honor Choir

November 15-17, Clovis North High School, Fresno

Dr. Josh Palkki, California State University Long Beach: TTBB Choir Dr. Shawna Stewart, Biola University: SSAA Choir Dr. Joe Modica, University of Redlands: SATB Choir

2018 Coastal Region Honor Choir stangeland family july 1 - july 10, 2019 November 15-17, San Mateo High School/San Mateo Performing Arts Center, San Mateo

Dr. Anna Hamre, California State University Fresno: SATB Choir Dr. Angel Vazquez-Ramos, California State University Bakersfield: SSAA Choir Youth Choral Academy Dr. Tim Seelig, San Francisco Gay Men’s Chorus: TTBB Choir A peak artistic experience for high school choral musicians under the direction of Dr. Anton Armstrong at the world-renowned Oregon Bach Festival. Spend 10 days performing exceptional choral literature and strengthening your passion for the choral arts through daily rehearsals, classes, and workshops. 2019 All-State Honor Choir March 14-16, 2019, San Jose State University, San Jose, CA www.OregonBachFestival.org/sfyca Dr. Richard Bjella, Texas Tech: TTBB Choir Dr. Kevin Johnson, Spelman College: SSAA Choir Dr. Gisele Wyers, University of Washington: SATB Choir Dr. Rollo Dilworth, Temple University: Junior High/9th Grade Choir

Visit www.calcda.org/calendar-of-events/honor-choirs/ University of Redlands for complete information! Bachelor of Arts • Bachelor of Music Master of Music • Artist Diploma

Master’s in Vocal Chamber Music h-ch-changes!” Many of you have heard that the to stay in our block of hotel rooms (in quads). We will starting fall 2019 “CCCDA All-State Honor Choirs are rejoining have chaperones with them at all times (chaperones will CASMEC in Fresno in 2020. This is very exciting—it be assigned to groups of 10-15 students). We will also be means we will have a truly unified state conference, and it providing all meals for students. For your advance planning, Music Scholarships & also means we will have ALL of our state student honor we will need teacher volunteers to chaperone. Chaperones Graduate Assistantships Available groups performing in the same place at the same time. It will will have their rooms (doubles), meals, and conference also benefit the music teacher who does everything (band, registration covered as a thank-you for their assistance. choir, orchestra) because they can attend one conference I am looking forward to these positive changes and what Information and Applications instead of having to find time and funds for, or choose they mean for our organization and our honor choir students between, two different ones. going forward. If you have any questions about CASMEC www.redlands.edu/music What does this mean for Honor Choir? The audition and Honor Choir in 2020, please e-mail me at honorchoir. 909-748-8014 process will be the same, and there will be no changes [email protected]. Thank you!  [email protected] to Regional Honor Choir. For students and directors participating in All-State, however, we will be changing to —Molly Peters, CCDA the model of the CBDA and CODA honor groups, which Honor Choir Chair Christopher Gabbitas of The King’s Singers means all students—even local students—will be required joins U of R choral faculty

26 • Cantate • Vol. 31, No. 1 • Fall 2018 California Choral Directors Association Leading the Way Cantate • Vol. 31, No. 1 • Fall 2018 • 27 Send news of hirings, retirements, awards, by will move to Clovis HS from Granite Ridge Intermediate, Gershon, along with guest conductors Moira Smiley and commissions, premieres, collaborations, or where Riley Garcia will begin teaching. Riley is a recent Rollo Dilworth at Walt Disney Concert Hall in July. Five News and notes grad of CSU Fresno. other venues were filled with singers and live-streamed in from projects to your regional representative around the state. from around the state or [email protected]! The Tenor/Bass Choir from Rayburn Intermediate School in Clovis sang at CASMEC in San Jose last February under the Selah Gospel Choir performed at RuPaul’s DragCon in May direction Allison Crose. Kudos also to Heather Bishop, at the Los Angeles Convention Center. NORTHERN REGION The San Jose State University Cho- Viewpoint School in Calabasas after a whose stunning Women’s Chorale from Clovis North High raliers, West Valley Chamber Singers, successful five years building a choral School performed in March at ACDA’s 2018 Western Divi- The Southern Region welcomes Dr. Gene Peterson to The Northern California Band and and Resounding Achord (Directors program. Eleni steps into the position sion Conference in Pasadena. Polly Vasché, retired in 2004 California Baptist University in Riverside! Choral Directors Association will host Jeffrey Benson, Lou De La Rosa, left by Carolyn Teraoka-Brady, as conductor of the Thomas Downey High School Choirs, their annual high school Honor Band and Kristina Nakagawa), toured Central Coast Regional Representative Modesto, was named the Conference Honoree. Pick up a copy of Jason Mraz’s new album, Know, which and Select Choir January 31–February the Baltics together this summer. They for CCDA, who is overjoyed to have her features the Tesoro High School Madrigal Singers (Keith Christopher Borges of Bakersfield High School has taken 2, 2019. Chris Peterson from CSU performed in Helsinki, Tartu, and the former student take the reins. Hancock, director) on the track “Love is Still the Answer”! Fullerton will lead the choir at Sonoma Estonian National Opera Concert Hall a job at The American School State University. This year also marks in Tallin, and took part in a memorable Beth Klemm recently passed on the of São Paulo, Brazil. Amanda Isaac will take over at BHS, FAR SOUTH REGION the first annual Northern California Jazz community service project and cultural reins of the Central Coast Children’s Honor Choir during the same event! exchange at the Haiba Children’s Home leaving her post at Norris Middle Choir to her fellow directors, JoAnne In July, more than 750 singers Gaw Vang Williams from CSU near Tallinn. School and area elementaries in Stoddard and Melody Svennung- Bakersfield. Amanda Locke, in the San Diego vocal mu- Sacramento will usher in this inaugural sen. Beth was the Artistic Director for group. Selection and audition deadlines The Saint Mary’s College Chamber formerly of Taft Union High sic community gathered with 22 years. are November 1, and more details can be Singers and Glee Club (Dr. Julie School, is now teaching at Bakers- thousands more throughout the found at www.ncbcda.com. Ford, director) earned two World Choir field South High School, following state of California to participate Games Silver Medals in Tshwane, South Canzona Women’s Ensemble celebrates Katie Villereal’s move south to in the “Big Sing California.” Sacramento State School of Music Africa, but treasured most the opportu- their 10th Anniversary Season with a Oceanside. The event united the choral welcomes Andrew Kreckmann as nity to sing South African protest songs program of favorite songs selected by music communities of Los its new Director of Choral Activities. in honor of the 100th anniversary of patrons, singers, and directors, under the John Carter, retired Columbia Angeles, Riverside, San Diego, Dr. Kreckmann succeeds Dr. Donald Nelson Mandela’s birth. batons of Founding Artistic Directors College choral director, has begun San Francisco, Sacramento and Kendrick, who was there for 33 years. Cricket Handler and Jill Anderson. a series called Sonora Sings Clas- Fresno in the largest community Kendrick will continue with his Sacra- Berkeley-based Sacred and Profane “The Songs We Love Best” takes place sical, inviting any and all to the ABOVE: Bay-area ensembles collaborate to sing in California history. mento Choral Society and Orchestra, Chamber Chorus (Rebecca Petra on Sunday, November 4th at 3:00p.m. historic Red Church in Sonora to perform Alzheimer’s stories. and also as Music Director for Sacred Naomi Seeman) celebrated their 40th at the United Methodist Church, San read through serious choral litera- The Choral Consortium of San Heart Church. year of bringing exciting and beauti- Luis Obispo. ture, with accompaniment but without rehearsal. For the first Diego held its Fourth Annual CCSD Summer Chorus in ful choral programs to the Bay Area such event last March, the church was at capacity with 200 June. This year’s program focused on vocal jazz, led by Matt Jenise Coon from Chico High School in 2017-2018. The season included CENTRAL REGION area singers. The second Sing takes place in late September, Falker of MiraCosta College. The CCSD’s Beer Choir was one of eight teachers from around the commission of prominent Swedish to the delight of choristers in the Sierra foothills and beyond. San Diego chapter will celebrate its one-year anniversary in the country selected for the Freddie G composer Karin Rehnqvist’s Songs from Adam Serpa began the new school October with its ninth gathering. Each event is led by a differ- Fellowship, an all-expense paid, five-day the North, a dynamic and moving setting year as Choral Director at Modesto SOUTHERN REGION ent San Diego area choral director, highlighting the diversity trip to New York City, featuring master of poetry from the Arctic regions of High School, having most recently of San Diego choirs and serving as a recruitment tool for new classes taught by Tony Award-winning Greenland and Canada. worked at Dublin High School in the Congratulations to Kris Ornelas (Grover Cleveland Charter singers. Broadway professionals such as compos- Bay Area. High School), who was named LAUSD’s Rookie of the er and musical arranger Jeanine Tesori, On May 4, 2018, the USF Classi- Year in May, and to Andrew Ball (Corona Del Mar High In July, Sacra/Profana hosted their annual Summer Choral Newsies director/choreographer Jeff cal Choral Ensembles, the Lesbian/ On a grant from CSU Stanislaus for School) for winning Gold in the Youth, Folk Song, and Intensive, led by Dr. Keith Pederson (Point Loma Naza- Calhoun, and Broadway sound designer Gay Chorus of San Francisco, and the research in his native Brazil, Dr. Daniel Sacred Music categories at the International Youth Music rene University) and Juan Carlos Acosta (Artistic Direc- Matt Kraus. Lick-Wilmerding High School Choir Afonso interviewed conductors and Festival in Bratislava, Slovakia in July! tor of Sacra/Profana). The program involved high school collaborated in a powerful performance presented master classes and conducting singers from throughout the San Diego region in a week-long of Robert Cohen’s Alzheimer’s Stories in BAY AREA workshops there this past summer. The SCVA (Southern California Vocal Association) offered a series of workshops and rehearsals which culminated in a per- Saint Ignatius Church, San Francisco. work took him to Brasilia (the nation’s program of beginning resources in their inaugural program, formance at the First United Methodist Church of San Diego This September, the Mission Peak This moving work will receive a signa- capital), Curitiba in the south, and Jumpstart! Choral music educators in their first five years of ture performance at the 2019 ACDA along with the members of Sacra/Profana.  Chamber Singers and Artistic Director Bahia in the northeast, as well as to Rio. teaching or teaching-training programs were given valuable National Conference in Kansas City. Ofer dal Lal launch the East Bay Peo- Daniel has written a new choral suite to classroom resources in August, the first of this three-part ple’s Choir, a non-auditioned, fee-free be published by earthsongs in the fall. series. See www.scvachoral.org for more information. ensemble for people of all ages and all CENTRAL COAST REGION Thanks to our Regional Representatives (Alissa Aune, Julie backgrounds led by Ash Walker. Visit Kathy Blumer has retired after a Ford, Polly Vasché, Carolyn Teraoka-Brady, Stacey Kikkawa, The Los Angeles Master Chorale hosted “Big Sing Cali- www.chambersingers.org/peopleschoir Eleni Pantages is the the Director stellar career teaching all levels of public and John Russell) for collecting and sharing news from their fornia,” in which over 2,000 audience members sang with for information. Congratulations to Ofer of Vocal Music at San Marcos High school choral music, most recently at areas! Send your news to your regional representative if you’d for becoming a United States citizen! School, Santa Barbara. She leaves Clovis High School. Jennifer Apple- the Master Chorale conducted by Eric Whitacre and Grant like to be included in a future issue.

28 • Cantate • Vol. 31, No. 1 • Fall 2018 California Choral Directors Association Leading the Way Cantate • Vol. 31, No. 1 • Fall 2018 • 29 Top Five for your Choir: CHILDREN’S CHOIRS

’m going back to basics this year. I’m sounds. “Something is is stirring out in the Ifocusing on pieces that will let my singers hall. Shadows are creeping across the wall…” spend more time on singing beautifully than This dramatic song cries out for movement on holding onto their part. I want them to feel and interaction between singers as they try to the beautiful phrases and become really skilled convince each other that they’re not afraid. Add Online Voice Lessons and Grow your Singers! at staggering their breathing. I want them to be challenged by a new language or dialect. I Bob Chilcott Kim Nason has been want them to use their voices to express drama The Time of Snow and excitement. We’ll still make some beautiful Unison with piano or organ a K-8 music specialist harmony, but this year, the focus is on unison Oxford University Press 978019346320 with the Capistrano singing. These five examples couldn’t be more This beautiful song for soprano voices and key- different, but they all invite young singers to Unified School District board is the first of Chilcott’s Three Christmas sing together in one voice. I’m looking forward Songs. It is the story of the journey of Mary since 1988, and often to the challenge of finding the best possible and Joseph to the stable in Bethlehem, set blend and balance as we focus on melody. conducts the district against a bleak winter landscape. The lyrical melody and piano part are hauntingly beauti- elementary honor Jerry Estes ful. There are also parts available for small choir. She also serves Yo Vivo Cantando orchestra (harp, suspended cymbal, glocken- Unison with piano spiel, triangle, and strings). “VoiceLessons.com is an absolutely fantastic, as Director of Music Heritage Music Press 15/3025H state-of-the-art way for students to receive high at Shepherd of the quality voice lessons from industry level voice This joyful and rhythmic song will get your W.A. Mozart, arr. Jill Friedersdorf teachers. My students who have participated in Hills United Method- singers moving. The title phrase is the only and Melissa Malvar-Keylock these lessons have found them applicable and Spanish text (“I live to sing”), so it’s easy to Laudamus Te ist Church in Rancho relevant as they have been accurately calibrated learn. It works well as a spirited opener with a Unison with piano and flute to meet my student’s vocal needs. Gone are the Santa Margarita, where multicultural flair. Add some rhythm instru- Hal Leonard Corporation 08750095 days of poor quality remote voice lessons. ments and this will be a favorite for singers and she conducts the adult Even younger choirs can experience Mozart’s VoiceLessons.com has ushered in a new era of audiences alike. “Mass in C Minor” with this beautiful synced-up, lag free, and professional level remote choir and leads the an- arrangement for unison singers. The Latin Arr. Lori-Ann Dolloff voice lessons. I would highly recommend this nual summer music camp text gives ample opportunities to work on pure service to anyone!” Manx Lullaby vowels, and the melody will be a little more for kids and youth. Unison treble with piano and optional challenging than many other unison titles. The C instrument - Tyler Wigglesworth, Choir Director & Digital Kim received her B.M. flute obbligato adds a sparkling harmonic layer Music Studio Teacher, West Covina High School Boosey & Hawkes 48004661 to the piece.  in Music Education Manx Gaelic, as spoken on the Isle of Man, from the University of is similar to the Gaelic spoken in Ireland and Scotland. Many Manx folk songs make refer- Southern California ence to birds, as this one does. Complete with ONLINE LESSONS HAVE EVOLVED! and her M.M. in Cho- a bird-like obbligato on optional C-instrument, ral Conducting from this is a lovely selection for unison voices.

Cal State Fullerton. Sheldon Rose Something Unison with piano VoiceLessons.com/ECCO18 Alliance Music Publishing AMP0836 This song is perfect for a Halloween concert, CALL NOW! 844.5.Lesson as it describes a spooky night and creepy

30 • Cantate • Vol. 31, No. 1 • Fall 2018 California Choral Directors Association Leading the Way Cantate • Vol. 31, No. 1 • Fall 2018 • 31 Top Five for your Choir: WOMEN’S CHOIRS

usic for women, by women. Who better choir repertoire themes of ‘Oh woe, my man Mto express the thoughts and emotions of has left me,’ and ‘La la, look at all the pretty an SSAA choir? The following five pieces flowers’—hence the title of the project.” were all composed by women, using texts that were also written by women. The Orange Dale Trumbore County Women’s Chorus has an incredible Frozen In resource available on their website: a database SSA with piano and violin accompaniment Tina Glander of over 400 choral pieces written by female Boosey & Hawkes, Inc - 48023336 composers, collected by Eliza Rubenstein and Peterson has twenty “Frozen In” takes us on a journey through a FRESNO STATE CHORAL DEPARTMENT Dr. Magen Solomon. Check out these five cold winter’s night with friends from long ago. years of professional pieces and share the link (www.ocwomenscho- The piano and violin accompaniments evoke choral-directing and rus.org/women-composers) with others you images of snowflakes blowing in the wind. think would enjoy this resource! The dissonance in the vocal parts creates a teaching experience as calm yet chilly feeling of the evening. Dale a public school music Gwyneth Walker Trumbore’s setting of Annie Finch’s poem Sisters (from My Girls: Three Songs on educator in Wiscon- gives us a beautiful new winter piece to add to Poetry by Lucille Clifton) our holiday concert programming. MUSIC sin and California. SSA a cappella Treble Clef Music Press 80300153 MAJOR/MINOR Currently, she is Direc- Alice Parker Lucille Clifton’s poem speaks to the con- Dickinson: The Definition of Beauty AUDITION DATE tor of Choirs at Irvine nection of all of us as sisters, from the “very SSAA a cappella High School, where she same place” that “you and me” come from. Walton Music W1547 Gwyneth Walker adds snaps, claps, and vocal conducts five choirs Alice Parker sets this Emily Dickinson poem percussion effects that make “Sisters” a piece with beautiful melodies and extraordinary and teaches advanced that I can’t wait to program. University of counterpoint. “The Definition of Beauty” Houston’s Women’s Choir has a great record- placement music theory. was ACDA’s 2013 Raymond W. Brock ing on YouTube with movement that truly Memorial commissioned composition. The She also holds the enhances the playful nature of this joyful piece. poem expresses that beauty can be extremely position of Minister complex, even in its simplicity. This is truly a Carol Barnett well-crafted piece that will be a good challenge of Music at Church Song of Perfect Propriety for your SSAA choir. of the Foothills in SSA a cappella Earthsongs S-291 osephanye owell Tustin. Tina earned R P , Why do the TTBB choirs get all the songs arr. William C. Powell her Bachelor of Music about pirates and adventures at sea? Carol Sorida (A Zimbabwe Greeting) Education degree from Barnett puts an end to that with this setting Hal Leonard Corporation - 00200528 of Dorothy Parker’s poem. Barnett wrote this SSAA a cappella with percussion University of Wiscon- piece for the Cornell University Women’s “Sorida” is a term of greeting in the Shona sin-Whitewater and her Chorus as part of a multi-year commissioning language of Zimbabwe, similar to “shalom” project unofficially called “No Whining, Master of Music in in Hebrew or “jambo” in Swahili. Powell’s No Flowers.” All the pieces were composed brilliant use of ostinato makes this piece acces- Music Education and by women, using poetry written by women. sible, with each voice part layering in their (Check out their website for more titles from Choral Conducting individual two-measure repeated sections. It is the commissioning project: www.cuchorus. also available for other voicings, making Sorida from the University of com/commissioning-project.) A quote from the a great piece for you to program in a combined website: “The texts were intended to explore Wisconsin-Milwaukee. performance with all your choirs.  topics that differ from the traditional treble

32 • Cantate • Vol. 31, No. 1 • Fall 2018 California Choral Directors Association Leading the Way Cantate • Vol. 31, No. 1 • Fall 2018 • 33 Top Five for your Choir: Two-Year Colleges

here have been semesters at my community soundcloud.com/sympathytracks/sets/ Tcollege when I don’t know how many audience-tracks. singers I’ll have, or if I’ll even have balanced sections, until the very first rehearsal! Choosing Sarah Hopkins repertoire becomes even more puzzling if I find I Past Life Melodies have incoming choristers who have the maturity SATB divisi a cappella to rehearse and perform complex artistic Morton Music MM2001 Dr. Arlie Langager concepts, but who are relatively new to singing “Past Life Melodies” was commissioned has been the Director and sight-reading. in 1991 for a high school choir and is now The following are effective, challenging of Choral Studies at regularly included on a number of festival and performance pieces that work with a variety of all-state repertoire lists. Featuring harmonic MiraCosta College choir sizes and experience levels. overtone singing, the vocalized texture is unique, since 2008. She holds compelling, and accomplishable by choirs of Ysaÿe Barnwell various levels. A rehearsal guide is available undergraduate and Nearly Insane (from Quilt Songs) through the publisher or composer’s website to graduate degrees from Mixed choir a cappella help teach overtone singing techniques. VocalEssence Music Press the University of “Nearly Insane” is a new, three-minute octavo Lydia Adams Calgary and the from the larger work Quilt Songs: Women Mi’Kmaq Honour Song University of Texas at Weaving the Fabric of Life. Barnwell, well- SATB or unison/two-part known as a performer with Sweet Honey in Leslie Music Supply LE 5038 Austin. Dr. Langager the Rock, was commissioned along with four Inspired by the honor song of the indigenous was the Artistic other composers (Alice Parker, Libby Larsen, Mi’kmaq community from northeastern Maine Gabriela Lena Frank, and Carol Barnett) Director of the and Canada, Adams combines texts and to write pieces inspired by particular quilts. fragments of existing melodies to create a new Calgary Boys’ Choir Barnwell chose an intricate quilt from the work. Through nontraditional notation, she 1870s named “Nearly Insane,” and poet Mary and the Mount Royal sets the simple tune against a fabric of nature Moore Easter created the text. The repetitive sounds (there are a couple of solos for confident Youth Choir, and for elements make it easy to learn. Set in a lively, performers who can imitate sounds of forest tango-style rhythm, voices layer over the bass nearly a decade she animals). Like “Sympathy,” this piece is ideally ostinato pattern. performed with singers placed around the directed the award- audience. runo uviaro and cot anna eir winning University of B R S H -W Sympathy Jackson Hill Calgary Vocal Jazz Mixed choir, soprano solo, mason jars, When Spring Is Born at Last ensembles. cell phones SATB a cappella brunoruviaro.github.io/sympathy GIA Publications G-6525 This poignant setting of Paul Laurence For this setting of an 8th-century Japanese text, Dunbar’s poem “I know why the caged bird Hill uses pentatonic and 21st-century choral sings”) fosters a new look at the text, and is harmonies that are accessible and require mini- a favorite of singers and audience alike. The mal vibrato. As with his “Voices of Autumn,” work uses pre-recorded sounds for singers and he incorporates stylistic devices of Buddhist audience members to play on their cellphones. chant by writing vocal inflections and glissandi The singers experience performing an intense into the score. At almost 7 minutes long, the musical work even though the score is only piece works best when keeping a steady rhythm three pages long, and the full SATB choral without rushing. This edition includes notes texture occurs only in the middle of the piece. from the composer and James Jordan, editor of All the necessary links are available for free at the Evoking Sound Series. 

MMCC-Ad-Cantate-7.5x10-bw-Smr2019-outlined.indd 1 8/8/18 11:51 AM

34 • Cantate • Vol. 31, No. 1 • Fall 2018 California Choral Directors Association Leading the Way Cantate • Vol. 31, No. 1 • Fall 2018 • 35 Top Five for your Choir: VOCAL JAZZ

he following selections are among my wordless vocal, it brings a welcome change of Tfavorite charts for intermediate to advanced pace to your concert and a chance to explore vocal jazz ensembles. They feature a wide different timbres and means of expression with variety of styles and musical concepts to explore your choir. With its contemporary straight-8th with your choir, including wordless vocals, groove, lyric melody, and beautiful chord accessible chord changes for improvisation, changes, “Wishing Well” offers many stylistic Michelle Hawkins is an expressive ballad interpretation, and an impres- concepts to explore, and the solo section features award-winning choral sive scat soli. a simple chord progression for beginning improvisers. director, arranger, Rosana Eckert vocalist, and flutist. As In the Early Morning Stillness Darmon Meader and Peter Eldridge SSAA, Level II or III For All We Know Associate Professor of Rosana Eckert Music SATB, Level IV Music at Skyline Col- Sound Music Publications Alfred Music www.smpjazz.com lege (San Bruno, CA), This is a gorgeous and haunting ballad by Fred “In the Early Morning Stillness” is a beautiful, Coots and Sam Lewis, recorded by the New she directs the Oceana original ballad by singer/songwriter Sarah Tolar, York Voices on their CD A Day Like This. Concert Choir and arranged for treble choir. It features a gentle Explore the depths of emotional expression 16th-note groove, a lyric solo, and a flowing with your choir as you interpret this stunning highly acclaimed vocal group interlude. The solo section is set to a arrangement. It also has an optional duet California State University, Bakersfield jazz ensemble Sound- diatonic chord progression that is excellent for feature for soprano and baritone. beginning improvisers. scape. She serves on the Kelly Kunz and Nick Moore faculty of the Stanford Kerry Marsh Harold’s House of Jazz

Jazz Workshop (Palo Not While I’m Around SSAATBB, Level V SSAB, Level II Kerry Marsh Vocal Jazz and Beyond lto where she DEPARTMENT OF MUSIC & THEATRE A , CA) Kerry Marsh Vocal Jazz and Beyond www.kerrymarsh.com received the 2017 Out- www.kerrymarsh.com “Harold’s House of Jazz” is a Richie Cole “Not While I’m Around” is a beautiful and tune, arranged for Groove For Thought by standing Music Educa- VOCAL ENSEMBLES VOCAL AREA FACULTY contemporary version of the song from Stephen Kelly Kunz and Nick Moore. This impressive, Chamber Singers Prof. Heather Chu, Instructor of Voice tor Award. Her groups Sondheim’s Sweeney Todd. It is based on Jamie up-tempo jazz waltz features a challenging Opera Theatre Prof. Katherine Kiouses, Instructor of Voice & Voice Class Cullum’s arrangement from the album Pursuit (optional) scat soli section and is a great opener have won four Down- University Singers Dr. Soo-Yeon Park, Director of Opera Theatre & Diction and features a baritone soloist. I highly recom- for your concert. It also has an optional big Women’s Choir Prof. Peggy Sears, Instructor of Voice beat Music Awards mend listening to the original Broadway cast band accompaniment for collaboration with Dr. Angel M. Vázquez-Ramos, Director of Choral & Vocal Studies for “Best Vocal Jazz recording and Jamie’s version for a compare- your instrumental ensemble.  and-contrast discussion about style and delivery. Group,” and they have Explore the differences between musical theater HOW TO APPLY been selected to perform and jazz with your choir! All prospective students must apply through CSU- Mentor (csumentor.edu), the a concert session at the California State University website designed to help students through each phase of their Jeremy Fox application process. CSUMentor is also a great way to begin planning for college and to 2018 ACDA Western Wishing Well keep track of your academic progress. SATB, Level III Division Conference. www.jeremyfox.net You’ll love this newly published arrangement 9001 Stockdale Hwy. | Music Building, Room 105 | Bakersfield, CA 93311 Phone: (661) 654-3093 | Fax: (661) 654-6901 | Email: [email protected] of the song by guitarist Mike Stern. As a

CSUB.EDU/MUSIC

36 • Cantate • Vol. 31, No. 1 • Fall 2018 California Choral Directors Association Leading the Way Cantate • Vol. 31, No. 1 • Fall 2018 • 37 CCDA BOARD Directory CONGRATULATIONS CALIFORNIA EXECUTIVE BOARD REPERTOIRE & RESOURCES CHOIRS ON YOUR SUCCESSFUL President REGIONAL YOUTH Community Choirs 2018 CONCERT TOURS Robert Istad REPRESENTATIVES Jenny Bent (562) 822-5952 Children’s & (707) 664-3925 [email protected] Bay Area Community Youth [email protected] Chino Hills High School Julie Ford Kimberly Nason MS. LAURA RUTHERFORD President-Elect (925) 631-4670 (949) 472-6492 Music in Worship Choir Director Beverly Hills High School Jeffrey Benson julie julieford org MS. STACEY KIKKAWA @ . [email protected] Ruben Valenzuela (408) 924-4645 (760) 715-7956 Vocal Music Teacher jeffrey.s.benson@ Central Junior High & Middle [email protected] Rocklin High School gmail.com Polly Vasché School San Jose State Choraliers, Helsinki MR. SHAWN SPIESS (209) 526-9692 Susie Martone Vice President REPERTOIRE-SPECIFIC Choir Director Campolindo High School [email protected] [email protected] Lou De La Rosa MR. MARK ROBERTS Contemporary Commercial Director of Choral Activities Central Coast Senior High School (408) 206-7192 Choirs l delarosa wvc Carolyn Teraoka-Brady­ Tammi Alderman Fountain Valley High School . . @ William Zinn gmail.com (805) 689-­ 1780­ (626) 299-7020 x3615 MR. KEVIN TISON (916) 601-4175 Vocal Music Director cteraoka-­brady@ [email protected] Biola University [email protected] Membership & sbusd.org DR. SHAWNA STEWART Development Dr. Jonathan Talberg Director of Choral Activities Far South COLLEGIATE Ethnic & Multicultural Lori Marie Rios John Russell Perspectives San Jose State University (818) 679-7463 College & University DR. JEFFREY BENSON (917) 686-0110­ Angel Vázquez-Ramos [email protected] Buddy James (714) 305-1087 Director of Choral Activities West Valley College [email protected] (510) 885-3128 [email protected] MR. LOU DE LA ROSA Treasurer Northern buddy.james@ Director of Choral & Vocal Studies Chris Peterson csueastbay.edu Men’s Choirs Alissa Aune Resounding Achord (657) 278-3537 Gavin Spencer (530) 277-6691 Two-Year College MS. KRISTINA NAKAGAWA [email protected] (530) 241-4161 Artistic Director [email protected] Arlie Langager Peninsula Cantare [email protected] Campolindo Choirs, Nashville Executive Administrator/ DR. JEFFREY BENSON Southern (858) 774-­ 0412­ CCDA Office Artistic Director Stacey Kikkawa [email protected] Vocal Jazz Kathleen Preston (310) 551-5100 Michelle Hawkins 921 N. Harbor Blvd., #412 Student Activities (650) 738-7134 [email protected] Josh Palkki La Habra, CA 90631-3103 [email protected] (657) 217-0767 (202) 679-3350 josh palkki csulb edu Professional Choruses [email protected] . @ . Molly Buzick Pontin LIFELONG (714) 662-2345 EVENT CHAIRS [email protected] Choral Composition Summer Conference CCDA State Conference David Montoya Women’s Choirs at ECCO at CASMEC (626) 419-8031 Tina Peterson Jeffe Huls Kristina Nakagawa [email protected] (562) 453-9681 [email protected] (408) 205-6050 [email protected]

artistic@ Biola Chorale, Dublin CLA Coordinator resoundingachord.org Willow Manspeaker wmanspeaker stevenson @ - Fountain Valley Troubadours, Sydney school.org COMMUNICATIONS

All-State Honor Choirs Cantate Editor Webmaster & Social Media Coordinator Eliza Rubenstein Graphic Design Jason Pano Molly Peters www.perform-international.com www.perform-america.com [email protected] (213) 880-7597 [email protected] Anthony M. Lien (408) 768-0733 (530) 758-5896 [email protected] cantate.editor@ [email protected] gmail.com [email protected]

38 • Cantate • Vol. 31, No. 1 • Fall 2018 California Choral Directors Association Leading the Way Cantate • Vol. 31, No. 1 • Fall 2018 • 39 California Choral Directors Association 921 N. Harbor Blvd., #412 La Habra, CA 90631-3103

We can’t say where your CSULB bachelor’s degree will take you, but we know that if Elizabeth Shuman, MD you want to make a Resident Physician, Otolaryngology, University of California, San Francisco meaningful difference Member, San Francisco in the world, your Symphony Chorus beautiful journey can begin at The Beach.

Steve Blum Professional Jazz Pianist, Composer and Arranger Faculty, Pacific Boychoir Academy

Zanaida Robles, DMA Published Composer and Arranger Director, The Messiah Project Director of Choirs, Harvard-Westlake School Leeav Sofer Founding Director, Urban Voices of Los Angeles VJ Rosales Singer and Conductor “Mostly Kosher” Singer and Arranger “The Filharmonic” Staff Arranger, The Late, Late Show with James Corden

For more information, please contact: Jonathan Talberg, DMA Joshua Palkki, PhD Director of Choral, Vocal and Opera Studies Coordinator, Choral Music Education [email protected] [email protected]