CONTENTS March 2018/ Volume 58, Number 8
FEATURES
6 The Shadow Still Lingers: A Conductor’s Guide for William Grant Still’s …And They Lynched Him on a Tree by Brandon Williams
20 Reimagining Conductor Score Study through Émile Jaques-Dalcroze’s Eurhythmics by Caron Daley
HALLELUJAH, AMEN! A section focused on Music in Worship
37 The Bach vocal Project Reviewed by Terre Johnson
41 Sacred Music Choral Reviews
On the Cover The cover artwork depicts the story of Still’s piece with a powerful contrast of dark ARTICLES and light, a parallel to the scoring of the work for White and Black Chorus. 47 All-State Choral Music: Annual dues (includes subscription to the Choral Journal): Has it Changed in the Past 15 Years? Active $125, Industry $150, Institutional $125, Retired $45, A comparison of the music selected and Student $35. Library annual subscription rates: U.S. $45; Canada $50; Foreign $170. Single Copy $3; Back Issues $4. 1995-2000 and 2014 Circulation: 18,000. Main offi ce: 405-232-8161 by Jamie Spillane The Choral Journal (US ISSN 0009-5028) is issued monthly except for July by the American Choral Directors Association. 69 2017 ICEP of the Americas: Periodicals postage paid at Oklahoma City, Oklahoma, and An Interview with Conducting Fellows additional mailing offi ce. Peppie Calvar and Dulce Maria Santos Azurdia POSTMASTER: Send address changes to Choral Journal, by John Warren 545 Couch Drive, Oklahoma City, Oklahoma 73102. 7777 Retirement: The Grand Finale (Allegro Giocoso) Since 1959, the Choral Journal has been the refereed, interna- tional journal of the American Choral Directors Association. by Diane M. Clark Each issue features: scholarly articles, anonymously peer-reviewed by the editorial board; refereed articles on pedagogical or scientifi c issues for the choral conductor; refereed articles with practical advice and ideas for the choral conductor; reviews of books, REVIEWS recorded sound, and choral works by choral experts; and editori- als from association leadership. The January issue previews each 83 Choral year’s regional or national conference off erings. Articles from the Choral Journal can be found in the following online databases: JSTOR (Arts & Sciences XI Collection); ProQuest (International Index to Music Periodicals); University Microfi lms International; EDITORIAL NaPublishing; RILM (Répertoire International de Littérature Musicale); EBSCO music index; and WorldCat. Advertising 2 From the Executive Director options are available for members and nonmembers. Cover art 4 From the President by Efrain Guerrero. Interior art by Tammy Brummell. Musical examples by Tunesmith Music
STANDING COMMITTEES From the
Advocacy & Collaboration EXECUTIVE DIRECTOR Chair …To Inspire Excellence… Robyn Lana [email protected] The American Choral Directors Association ex- Composition Initiatives ists to inspire excellence in choral music through
Chair education, performance, composition, and advo- Dominick DiOrio cacy. The means by which we achieve this mission [email protected] are constantly evolving as we grow as an Association and address the challenges of achieving excellence, Diversity Initiatives Tim Sharp and as our members grow individually in their own Chair Eugene Rogers pursuit of this high standard. The methods by which we pursue excellence [email protected] is something that each of us must grapple with individually. As I ponder the concept of excellence in my own work, I realize it is Education & Communication both a matter of individual decision but also a matter of associating with
Chair a cohort of like-minded colleagues to further defi ne and refi ne what excel- Lisa Billingham lence means in the choral art. This is where ACDA comes into play like no [email protected] other aspect of my professional life. There are two parts to my pursuit of
International Activities excellence. First, I decided in 1981 that I needed a professional association to help Chair T.J. Harper me defi ne what was meant by “choral excellence.” I determined to attend [email protected]
Repertoire & Resources
Chair Amy Blosser [email protected]
Research & Publications
Chair John Silantien [email protected]
ADVOCACY STATEMENT
Whereas the human spirit is elevated to a broader understanding of itself through study and performance in the aesthetic arts; and
Whereas serious cutbacks in funding and support have steadily eroded state institutions and their programs through- out the country;
Be it resolved that all citizens of the United States of America actively voice INSPIRING EXCELLENCE IN CHORAL MUSIC affi rmative and collective support for THROUGH EDUCATION, PERFORMANCE, necessary funding at the local, state, COMPOSITION, & ADVOCACY and national levels of education and government to ensure the survival of arts programs for this and future 2 CHORAL JOURNAL March 2018 Volume 58 Number 8 generations. The 12 Purposes EXECUTIVE DIRECTOR'S ACDA conferences, read Choral of ACDA LOG Journal, network with colleagues, and contribute my ideas and in- • To foster and promote choral What's on volvement so that pressure could singing, which will provide Tim's daytimer? be applied to my thinking and per- artistic, cultural, and spiritual formances as I worked at achieving experiences for the participants. excellence. The important fi rst step Mar 6-7 ACDA Northwestern Conference of defi ning excellence was my real- • To foster and promote the finest Portland, OR types of choral music to make ization that this is where I wanted Mar 7-8 ACDA Eastern Conference these experiences possible. to reside as a choral professional. Pittsburgh, PA Secondly, I used those resources • To foster and encourage Mar 8-9 ACDA Southwestern Conference that I found through the American rehearsal procedures conducive Oklahoma City, OK Choral Directors Association to set to attaining the highest possible Mar 10 Mozart Mass in C/ the standard for me. The consis- level of musicianship and artistic performance. Ives Celestial Country Center tent reaction I had over the years Tulsa, OK to attending a conference was a de- • To foster and promote the Mar 12-13 Choral Festival termination that I could do better. organization and development San Antonio, TX While this determination started of choral groups of all types in with my own will, I could not do it schools and colleges. Mar 14-17 ACDA Western Conference by pulling up my own bootstraps; I Conference Pasadena, CA • To foster and promote the needed the help of others for defi - Mar 21-24 Hawaii ACDA State Meeting development of choral music in nition and refi nement. I found help the church and synagogue. Honolulu. HI through listening, questioning, ex- Mar 25-26 Choral Festival perimenting, performing, refl ect- • To foster and promote the Chicago, IL ing, and repeating this pattern over organization and development and over within the community of of choral societies in cities and communities. What's on a professional association. This cy- Tim's Ipad? cle has now been repeated count- • To foster and promote the less times, and although excellence understanding of choral music may prove to be elusive, it is still the as an important medium of Origin only goal I fi nd worth pursuing. contemporary artistic expression. Dan Brown There may be a few choral pro- Leonardo da Vinci •To foster and promote significant fessionals who are able to achieve research in the field of choral Walter Isaacson excellence solely on their own; music. there are likely to be a few more What's Tim's choral professionals who can work •To foster and encourage choral Latest App? with some degree of satisfaction composition of superior quality. without a goal of excellence. For • To cooperate with all Magnet the rest of us, there is ACDA. In organizations dedicated to the an ideal world, however, I would development of musical culture like to have us all participate in our in America. What's Tim professional community for the Listening to? sake of excellence in the choral art, • To foster and promote which is our ultimate reason for be- international exchange programs involving performing groups, “Labt das Herz, ihr holden Saiten” from ing. conductors, and composers. Geschwinde, ihr wirbelnden Winde, BWV 201 • To disseminate professional news Johann Sebastian Bach and information about choral Bach Collegium Japan music. Masaaki Suzuki [email protected] —ACDA Constitution HHearear mmoreore aatt <
NATIONAL OFFICERS From the President PRESIDENT Tom Shelton 609-921-7100 [email protected] This is an exciting month for ACDA! Regional Conferences are happening all over the United States. Past President Mary Hopper I am fortunate to be able to attend both the Southern 630-752-5828 Region and the Eastern Region Conferences. I look [email protected] forward to many life-changing moments and opportu-
President-elect nities for continued growth. Lynne Gackle Tom Shelton Since I have ACDA conferences on my mind, I 254-710-3654 wanted to share with you a preview of the 2019 Na- [email protected] tional Conference in Kansas City, which will help us celebrate ACDA’s 60th Secretary/Treasurer anniversary. Lynne Gackle, President-Elect, is the chairperson for this con- Tom Merrill ference. Lynne and her magnifi cent steering committee have already been [email protected] working on this conference for over a year. After chairing the 2017 National Past President Conference in Minneapolis, I know fi rsthand the enormous amount of work Karen Fulmer and hours Lynne is dedicating to ACDA. When you cross paths with Lynne, 253-927-6814 please take a moment to thank her for her service. Following is a Kansas [email protected] City preview. There is much, much more still to come! Executive Director Tim Sharp Dates: February 27 – March 2 [email protected]
Central Region President Themes: Legacy and Community. These themes seek 1) to celebrate our Mark Munson past ACDA choral legacy and 2) to ensure the lasting legacy that we col- [email protected] lectively leave as artist-musicians, conductors, and teachers on our present and the future and 3) to foster community, which is central to the choral art. Eastern Region President Paul Head There will also be a focus on “giving back” to the community of Kansas 302-831-2578 City through our performances and our conference visit, leaving a both a [email protected] musical and a community “footprint,” which continues to model our culture
North Central Region President as citizens of this nation and of the world. Mary Kay Geston 763-443-2177 Performance Venues: The Kauff mann Center with two beautifully so- [email protected] phisticated performance halls: the acoustically perfect Helzberg Hall (1,600 seats) and the dazzling Muriel Kauff man theater (1,800 seats); The Folly Northwestern Region President Theater (1,078 seats) – Historically, one of the most wonderful halls in the Nicole Lamartine 307-766-5242 Midwest; and Grace and Holy Trinity Episcopal Church. [email protected] Highlights: Kansas City Symphony and Symphony Chorus performing Southern Region President Bloch’s “Sacred Service” and ‘Legacy’ Directors’ Chorus, featuring some of Gary Packwood [email protected] America’s most legendary conductors.
Southwestern Region President These are but a few of the wonderful and exciting experiences to be Tony Gonzalez found in Kansas City at the 2019 National Conference! It will be a confer- 405-570-6980 ence of celebration as we look back at ACDA’s rich heritage, revel in our [email protected] present, and look forward with great anticipation toward ACDA’s bright Western Region President future. I hope to see you all at a Regional Conference this month. Travis Rogers [email protected]
Industry Associate Representative Kathy Fernandez J.W. Pepper [email protected] 4 CHORAL JOURNAL March 2018 Volume 58 Number 8 From the Choral Journal
EDITOR Editor Amanda Bumgarner The cover article of this March issue of Choral Jour- ACDA National Offi ce nal highlights William Grant Still’s eighteen-minute 405-232-8161 (ex. 205) [email protected] choral-orchestral work …And They Lynched Him on a Tree.
The cover artwork depicts the story of this piece with a Managing Editor powerful contrast of dark and light, a parallel to Still’s Ron Granger scoring for White and Black Chorus, Mother, Narrator, ACDA National Offi ce and Orchestra. Author Brandon Williams writes in the 405-232-8161 Amanda Bumgarner [email protected] introduction of the article, “This dramatic work for or- chestra and racially distinct choirs was well received at its premiere, but the Board Members
provocative title, intense subject matter, and atypical vocal forces could estab- Hilary Apfelstadt lish this as a less-than-desirable option for performance. Its message is par- [email protected] ticularly relevant in today’s sensitive climate.” As the Choral Journal continues Kristina Boerger to explore important topics relating to equality and diversity, we hope you will [email protected] consider the performance suggestions for programming Still’s composition, which “deserves to be performed not as a token work by an African American Steve Grives but as a well-crafted American masterpiece and a plea for justice and peace.” [email protected] A list of companion works for a full program is included. Readers may also Edward Lundergan be interested in the April 2016 Choral Journal feature article on William Grant [email protected]
Still’s Three Rhythmic Spirituals, written by Jeff rey Webb, which includes a com- William Weinert poser biography, photos, and performance considerations for the work. [email protected] Our second feature article presents an alternative model for conductor Giselle Wyers score study based on the principles and practices of Dalcroze Eurhythmics, [email protected] which is “a century-old approach to music education that defi nes the body as the primary instrument of musical instruction.” Author Caron Daley explores Column Editors how two of the four Dalcroze Eurhythmics education areas of study can be Philip Copeland applied to a sample score, that of Mozart’s Ave Verum Corpus K. 618. [email protected] Along with sacred music choral reviews, the Hallelujah, Amen! section in- Duane Cottrell cludes a review of a new resource for those whose sacred or concert repertoire [email protected] includes the music of Johann Sebastian Bach. This concludes the Hallelujah, Amen section focus on the 500th anniversary of the Protestant Reformation. Kevin Dibble [email protected] If you are interested in contributing to this section of Choral Journal, contact Terre Johnson at [email protected] Jason Paulk In the Repertoire and Resources section of this issue, readers will fi nd a [email protected] comparison of all-state choral music selected between 1995 and 2000 to the David Puderbaugh list of selected music from 2014. The article includes repertoire organized by [email protected] composer and genre, along with a list of most programmed titles from those Gregory Pysh years. Repertoire is one of the topics most requested by our readers, and we [email protected] hope this list is useful. Finally, our ongoing column specifi cally for our retired members—Retirement and the Professional Choral Director—resumes this Magen Solomon [email protected] month with an article from Diane Clarke. If you are a retired member of ACDA and interested in sharing your refl ection of your musical journey into Richard Stanislaw the retirement years, email me at [email protected]. [email protected]
ChorTeach Editor
Terry Barham [email protected]
CHORAL JOURNAL March 2018 Volume 58 Number 8 5 The Shadow Still Lingers A Conductor’sConductor’s GuideGuide forfor WilliamWilliam GGrantrant Still’sStill’s …And…And TheyThey LynchedLynched HimHim oonn a TTreeree
BRANDONB R A N D O N WWILLIAMSI L L I A M S
“When the two Negroes were captured, they were tied to trees and while the funeral pyres were being prepared they were forced to suff er the most fi endish tortures. The blacks were forced to hold out their hands while one fi nger at a time was chopped off . The fi ngers were distributed as souvenirs. The ears of the [alleged] murderers were cut off . Holbert was beaten severely, his skull was fractured, and one of his eyes, knocked out with a stick, hung by a shred from the socket…The most excruciating form of punish- ment consisted in the use of a large corkscrew in the hands of some of the mob. This instrument was bored into the fl esh of the man and woman, in the arms, legs and body, and then pulled out, the spirals tearing out big pieces of raw, quivering fl esh every time it was withdrawn.”1 – The lynching of Luther Holbert and his wife described in the Vicksburg, Mississippi Evening Post, 1904
Brandon Williams Assistant Professor of Choral Music and Choral Music Education Rutgers, The State University of New Jersey [email protected]
6 CHORAL JOURNAL March 2018 Volume 58 Number 8 he year 1865 marked an Photos of the corpses were routinely Him on a Tree4—the fi rst and still the important turning point circulated and sold as postcards or only piece of choral-orchestral mu- T for African Americans. The published in newspapers.2 All told, sic that protests lynching. end of the Civil War and the ratifi ca- from 1892 until 1930, lynch mobs This dramatic work for orchestra tion of the Thirteenth Amendment were responsible for the murder of and racially distinct choirs was well freeing the slaves meant, at least in over 3,000 African Americans.3 An- received at its premiere, but the pro- theory, that these newly freed indi- ti-lynching campaigns supported by vocative title, intense subject matter, viduals could integrate into Ameri- both black and white citizens took and atypical vocal forces could es- can society as full citizens. White root in response to the violence. tablish this as a less-than-desirable citizens opposed to the abolition of Lynching dramas and visual art pro- option for performance. Its message slavery asserted their dominance testing lynching fl ourished, though is particularly relevant in today’s sen- through a series of violent measures there were surprisingly few musi- sitive climate. This article explores and discriminatory laws. Lynch- cal counterparts (Billie Holiday’s the forces that merged to create this ing was a particularly cruel way to popular 1939 recording of “Strange groundbreaking work, examines the demonstrate power and incite fear in Fruit” is the most notable). Despite primary musical motives, and pro- black communities; it included, but years of racial turmoil and with vides suggestions that address some was not limited to: hanging, humili- no models on which to base such a inherent performance and program- ation, mutilation, torture, beating, piece, William Grant Still and Kath- ming challenges. dragging, burning, dismembering, arine Garrison Chapin broke new castrating, and shooting the victims. ground by creating And They Lynched
CHORAL JOURNAL March 2018 Volume 58 Number 8 7 The Shadow Still Lingers A Conductor’sConductor’s GuideGuide forfor William Grant Still’s …And They Lynched Him on a Tree
Genesis of the Work And They Lynched Him on a Tree is approximately eigh- William Grant Still (1895-1978) is commonly referred teen minutes in length and divided into six sections. It to as “The Dean” of African American composers. His is scored for a White Chorus, Black Chorus, Contralto Afro-American Symphony was the fi rst symphonic work by a Solo (Mother), Narrator, and orchestra (two fl utes, picco- black composer to be played by a major orchestra. Still’s lo, two oboes, english horn, two clarinets, two bassoons, oeuvre consists of over 150 compositions, which include three horns, three trumpets, three trombones, tuba, tim- nine operas, fi ve symphonies, four ballets, and pieces pani, percussion, harp, and strings) with stage directions for piano, voice, band, chorus, and various chamber en- and off -stage sound eff ects. The White Chorus initially sembles. His earlier works caught the attention of Alain functions as a Lynch Mob and later as a chorus of white Locke (1885-1954), who was a writer, professor, philos- supporters advocating for the victims. This author distin- opher, and leader of the Harlem Renaissance.5 Locke guishes the Lynch Mob and the White Chorus as sepa- had a close working relationship with Charlotte Mason rate characters. Still includes the following scenario in (1854-1946), a wealthy white widow who was interested the score: in Negro and Native American life and who provided fi - nancial support for many black artists associated with the It is night. In a clearing by the roadside among Harlem Renaissance.6 Mason depended on Alain Locke the turpentine pines, lit by the headlights from to introduce her to Black artists whose work he thought parked cars, a Negro has just been lynched. would interest her.7 Mason’s friend and assistant, Kath- The white crowd who hung him, and those who erine Garrison Chapin (1880-1977) was a white poet watched, are breaking up now, going home. and wife of then United States Solicitor General Francis They sing together, get into their cars and drive Biddle. Written correspondence between Locke, Mason, away. Darkness falls on the road and the woods. Chapin, and Still reveal the genesis of And They Lynched Then slowly the Negroes come out from hiding Him on a Tree.8 to fi nd the body of their friend. Among them is Wayne Shirley, author of the article “William Grant the mother of the man who was hung. In dark- Still’s Choral Ballad And They Lynched Him on a Tree,” re- ness they grope for the tree; when they fi nd it the viewed all the primary sources from various collections mother sings her dirge. The Negro chorus joins and pieced together the creation of this work. He con- her and they retell the story of the man’s life and cludes that it was Mason who suggested that Chapin rehearse the tragedy. She is humble and broken write a poem on lynching, while Locke proposed Still as but as they all sing together, the white voices the ideal composer.9 And They Lynched Him on a Tree was joining the Negroes’, the song becomes strong in completed in March of 1940 and premiered in July of its impartial protest against mob lawlessness and the same year. The cover of the piano vocal score bears a pleads for a new tolerance to wipe this shadow dedication to Henry Allen Moe—an administrator from of injustice off the land.11 the Julius Rosenwald Foundation, whose fi nancial sup- port sustained the Still family throughout the composi- And They Lynched Him on a Tree is a dramatic choral tion process.10 work often considered a choral ballad or cantata. It is closely related to Still’s operatic writing more than any other genre.12 Still completed his fi rst opera, Troubled Is- Representing Two Groups land, just months before he began setting Chapin’s poem, The salient musical features of And They Lynched Him and many of the compositional techniques used in his on a Tree serve to emphasize the imbalance of power and operas are present in And They Lynched Him on a Tree. Fur- tension that existed between whites and blacks when thermore, the presence of stage directions and off -stage lynching was most prevalent. An examination of those sound eff ects suggests that conductors can view this work features will help conductors identify and augment the as a choral opera. dramatic gestures in the music.
8 CHORAL JOURNAL March 2018 Volume 58 Number 8 A Conductor’s Guide for WWilliamilliam GGrantrant SStill’still’s …And…And TheyThey LynchedLynched HHimim oonn a TTreeree
Musical Motives maintain the initial rhythm followed by some rhythmic Motivic writing is a distinctive feature in many of and melodic alteration. The fi rst variation (Figure 3a) is Still’s compositions; he frequently used recurring mo- played by the horns and trumpets and mirrors the origi- tives that identify and link dramatic situations and high- nal melodic contour and includes the descending dimin- light connections between characters—also a common ished fourth interval. The second variation (Figure 3b)— feature in his operas.13 In And They Lynched Him on a Tree, played by the cellos, basses, trombones, and tubas—has which is a drama about the struggle between two racial a slightly diff erent contour and is truncated. The initial groups, Still utilizes a motive to represent each choir or statements of the White Chorus motives and its variants character. He referred to the motive that represents the are preceded by a dissonant introductory texture that Lynch Mob as “The Wounding Power of Prejudice”14 Still called “Excitement” (Figure 4).17 (Figure 1). Its range spans a tri-tone and contains three repeated pitches that could suggest wounding, followed by two prominent descending diminished fourth leaps that could imply a potent force descending upon the weak. Barring a few exceptions for dramatic eff ect, this motive is always played by a brass instrument, thus strengthening its association with victory and power. The Black Chorus is represented by a slow ascending motive that spans a perfect fourth and contains a col- lection of pitches from the blues scale, outlined by an ascending minor third from the dominant then a whole step to tonic. The essence of this gesture could suggest distress and the black struggle for equality (Figure 2), and its primary scoring for a double reed instrument may be meant to evoke the sound of the human voice. Still preferred not to repeat motives in their exact form.15 As in his operas, he often created variations of motives that are “based either on a recurring rhythmic pattern, a rhythmic pattern and melodic contour, or on a returning rhythmic pattern and interval that are inte- grated into a diff erent melody.”16 These motivic varia- tions appear frequently in And They Lynched Him on a Tree, providing another layer of communication with the au- dience. For example, variation of the Lynch Mob mo- tive is heard twice in the introduction (Figure 3); both
CHORAL JOURNAL March 2018 Volume 58 Number 8 9 The Shadow Still Lingers A Conductor’sConductor’s GuideGuide forfor William Grant Still’s …And They Lynched Him on a Tree
The motives and the “Excitement” texture help set a Still utilizes alterations of both motives to underscore macabre scene in which the Lynch Mob rejoices, “We’ve the exit of the Lynch Mob that leads to the somber en- swung him higher than the tallest pine. We’ve cut his trance of the Black Chorus. Figure 6 shows the transition throat so he ain’t goin’ter whine.” This chilling decla- from the “Prejudice” motive played by piccolo and fl ute ration appears as yet another alteration of the original to the Black Chorus motive marked with slurs played by motive (Figure 5). fl ute and oboe. Elements of both motives are combined when, near the end of the piece, the White Chorus comments on the horrifi c exploits of the Lynch Mob and condemns their actions (Figure 7). A portion of the initial rhythm from the Black Chorus motive is fused with the melodic contour of the “Prejudice” mo- tive. This combination and instrumentation seem logical dramatically because the victim is alive and struggling with the Lynch Mob as the White Chorus recalls, “Justice was too slow the white men said... they marched to the jail and broke into the cell and roped the prisoner to drag him out to die.” Still displays his mastery of writing for the theater by using motives to foreshad- ow events and characters and reinforce dynamics of power. The musical mate- rial from Figure 6 is heard before the Black Chorus emerges from hiding. The
10 CHORAL JOURNAL March 2018 Volume 58 Number 8 A Conductor’s Guide for WWilliamilliam GGrantrant SStill’still’s …And…And TheyThey LynchedLynched HHimim oonn a TTreeree
chorus tentatively proceeds and warns others to “Creep Utilizing the “Prejudice” motive in this way also calls softly, de dawgs [Lynch Mob] are in de meadow.” Still attention to the imbalance of power between the white- abruptly inserts the “Prejudice” motive to underscore dominated justice system and her black son. their warning—a particularly striking choice consider- Still also juxtaposes the two motives in order to high- ing that an ostinato of the Black Chorus motive pre- light imbalances of power. A harmonized martial-like viously dominated the texture (Figure 8). Likewise, we statement of the “Prejudice” motive precedes a sudden hear a rhythmic alteration of the Black Chorus motive shift of texture to a unison statement of the Black Cho- just before they discover the tree and corpse of the de- rus motive (Figure 11). This gesture occurs as the Black ceased (Figure 9). Chorus notices “a shadow” in the distance and makes The victim’s mother emerges from the doleful crowd an utterance. The harmonization and range of these and sings a lament that reveals some of her son’s troubled motives act as an aural signifi er of dominance and may life experiences. The B section of the aria is commentary be meant to remind the audience that the Lynch Mob on the day he was given a life sentence. Still underscores killed a black man (the Black Chorus does not know at her words with the “Prejudice” motive played by muted this point). trumpet that foreshadows his judicial fate (Figure 10). A similar instrumental confi guration is used before
CHORAL JOURNAL March 2018 Volume 58 Number 8 11 The Shadow Still Lingers A Conductor’sConductor’s GuideGuide forfor William Grant Still’s …And They Lynched Him on a Tree the narrator remarks, “Justice was a slow thing to be The unresolved G natural is preceded by a prominent waiting for! He was a man” (Figure 12), which reminds two-octave ascent of the Black Chorus motive that is the audience of the victim’s humanity and murder. Per- played against melodic material from the Lynch Mob- haps the most meaningful juxtaposition of musical ideas associated “Excitement” texture—a combined gesture occurs in the fi nal four measures. The closing sonority is that could symbolize the past and present struggles of an F minor 9 chord that releases, while the G natural is black people amid years of social “excitements.” As Shir- left to decay (Figure 13). ley remarked, “We can’t just applaud the piece and go
12 CHORAL JOURNAL March 2018 Volume 58 Number 8 A Conductor’s Guide for WWilliamilliam GGrantrant SStill’still’s …And…And TheyThey LynchedLynched HHimim oonn a TTreeree
on to something else: the real work is still to be done.”18 refuse information, refuse to look or even think about Still believed American opera should “speak directly something, simply because it’s unpleasant, or poses a to American people and in dramatic situations to which problem, or raises ‘issues’—emotional and intellectual they could relate.”19 And They Lynched Him on a Tree is the friction that rubs our heavily therapeuticized selves the fi rst and only choral-orchestral work that addresses the wrong way.”24 The brutality of black bodies hanging on lynch mob violence that plagued our country. Under- trees is not an easy topic to approach, and one can un- standing these compositional features can aid conduc- derstand why many, particularly non-African American tors in making musical choices that will amplify the con- conductors, might feel uncomfortable with the idea of nections between musical gesture and dramatic intent. programming Still’s work. According to theologian James Cone, lynching vio- lence is a “memory white Americans would prefer to Performance Considerations forget.”25 In a separate interview he says, “Whites feel Those involved in the creation of And They Lynched a little uncomfortable [talking about lynching] because Him on a Tree were well aware of the potential perfor- they are part of the history of the people who did the mance limitations posed by the title, subject matter, lynching.”26 In a 2005 Senate apology, then Senator and required performance forces. As Locke observes, Mary Landrieu of Louisiana said, “It’s important that “Only the heavy requirements of full orchestra and we are honest with ourselves and that we tell the truth two large choruses can stand between it and frequent about what happened.”27 Historically, blacks and whites performance.”20 Still wrote to Chapin, “I…pray that have united in a variety of ways to work toward equality. it will outlast the purpose for which it was written.”21 It is, in fact, the eff orts of a black composer and a white Still’s wife believed “[Still] has avoided the obvious, and poet that created And They Lynched Him on a Tree. Non- has produced something that should have value as mu- African American conductors have led the majority of sic whether the lynching bill is passed or not passed.”22 the twenty-fi ve fully documented performances of And The title alone can be perceived as passé and off ensive, They Lynched Him on a Tree that have occurred from 1940 and Shirley suggests muting its aff ect by using “Choral to 2015.28 Most of those non-African American conduc- Ballad: And They Lynched Him on a Tree.”23 The title is a tors held positions with organizations that seem to have vital part of the impact and, as is, sets the stage for what easy access to a full orchestra, which could account for Locke called “sober criticism” for our democracy. the uneven representation. Regardless of intent, one must be cognizant of au- It is interesting to note that African American con- dience and patron reception. Those interested in con- ductors have led the last fi ve fully documented perfor- ducting this work must consider any personal discomfort mances from 2009 to 2015. This trend could be due in about leading this performance, how they will handle part to the impact high-profi le police shooting deaths of the racially distinct choirs, if they will use the sound ef- black males has had on the black community. It is the fects and stage directions in the score, any atypical re- author’s hope that the following suggestions in this guide quirements for the orchestra, the clarity of the score and will empower all conductors in a variety of leadership parts and which version of the text will be used in the situations to feel comfortable launching thoughtful and fi nal section, and how the work could be programmed culturally sensitive performances of And They Lynched for performance. Him on a Tree should they so choose. Each presentation has the potential to help us remember and move forward by not repeating the past. Conductor Discomfort Programming and rehearsing And They Lynched Him on a Tree forces conductors, ensembles, and audiences The Quandary of the Two Choirs to consider subject matter that is atypical in the choral- The most important and obvious performance deci- orchestral canon. Hinton Als declares, “Too often we sion a conductor must address is the representation of
CHORAL JOURNAL March 2018 Volume 58 Number 8 13 The Shadow Still Lingers A Conductor’sConductor’s GuideGuide forfor William Grant Still’s …And They Lynched Him on a Tree
the racially distinct choirs. This can be problematic for African American singers to form a large enough choir, monetary reasons, or if the required singers are simply and the amount of music for each chorus (one-third for not present in your geographical area or institution. Still the White Chorus and two-thirds for the Black Chorus) suggests: “In the event that it is not possible to secure is disproportionate. I saw this as a means to economize both a White chorus and a Negro chorus…the avail- my use of the vocal forces and to let the singers, who able chorus be divided, one half representing the White were mostly future conductor-teachers, perform all the people and the other half representing the Negro peo- material. The projected images eliminated the personnel ple.”29 Two separate choirs have traditionally served as issue by creating racial contrast and helped alleviate any the model for performance. Special lighting or clothing angst the all-white choir experienced in anticipation of could also help achieve the desired eff ect. Neither Still singing violent text such as, “We’ve cut his throat so he nor Chapin suggest that a single choir perform the entire ain’t goin’ter whine.” The images30 also served another work. level of “chastisement” by forcing the audience to grap- In a 2015 performance in an academic setting, I used ple not only with the text but also with images of lynch- a single ensemble and projected images to maintain the ings that took place in America within the fi rst quarter dramatic intent of two racially distinct groups. In this of the twentieth century. When performing this work, context, the images served as the actors and the singers conductors are urged to make it a priority to provide gave them voice. Projections were eff ective for this per- historical context and address any discomfort before the formance situation because there were not enough local music is rehearsed.
Below is a preview of the Winter 2018 issue of ChorTeach.
Teaching Habits of Mind in Youth Choirs: Adapting A Mind-set for Learning to Enhance the Choral Experience by Lindsey Blackhurst- Using as a framework the ideas provided by Kristine Mraz and Christine Hertz in their guide for the elementary classroom teacher, this article discusses practical implementation to fostering a mind-set of learning within a choral ensemble.
Preparing for the First Rehearsal: A Guide for Choral Conductors by Timothy Mount - Careful planning and mindful tech- niques are the foundation of a productive rehearsal. The author of this article shares keys to effi cient choral rehearsals, using Bach’s motet Jesu, meine Freude, BWV 227 as a sample guide.
Reconsidering the Use of Metaphor in Choral Rehearsals by Brian Winnie - This article examines how a director’s use of imagery and metaphor in the choral rehearsal can cause confusion and produce unintended problems. Approaches for clearer phrasing are suggested.
From the Treble Choir to the Treble Choir to the Treble Choir! by Amanda Sprague Hanzlik - The author of this article shares her personal refl ection of her musical journey from joining the middle school treble choir as a young seventh-grader to later directing a middle school treble honor choir.
14 CHORAL JOURNAL March 2018 Volume 58 Number 8 A Conductor’s Guide for WWilliamilliam GGrantrant SStill’still’s …And…And TheyThey LynchedLynched HimHim oonn a TTreeree
Sound Eff ects and Stage Directions and woodwind quintet (fl ute, oboe, english horn, clari- The theatrical nature of And They Lynched Him on a Tree net, horn, bassoon). is enhanced by three stage directions:31
Exeunt white chorus. At intervals the sounds The Score, Parts, and Recordings of starting motors and of occasional auto horns Choral scores and orchestra parts are available ex- are heard off stage, never loud enough to inter- clusively from William Grant Still Music.32 The copied fere with the music, and growing steadily fainter handwritten conductor’s score contains some awkward up to the measure before No. 15, at which point spaces that are diffi cult to decipher. Also, the typewriter they cease. text underlay is crowded at times and impossible to read with the corresponding pitches. Likewise, the notation A quiet moaning begins. The Negros come out font of the instrument parts may be diffi cult for some to from hiding and gather one by one, feeling their read. Examine the individual parts and locate anything way in the darkness. that could be unclear in advance in order to enhance rehearsal effi ciency. The choral octavos include an er- During the narrator’s lines the White Chorus roneous quarter rest and a missing tie in measure 161 of has reentered very unobtrusively. They stand the Mother’s aria. Be sure the rhythm in measure 161 now back of the Negro Chorus. matches that of measure 153. There are only two commercial recordings in circu- These directions are not crucial for a successful per- lation. The earliest is a muffl ed recording of the 1942 formance, but they do serve to augment the story. A thor- broadcast with the NBC Symphony that is only available ough examination of the performance venue and concert for purchase through William Grant Still Music. Voca- logistics will determine if sound eff ects and movement lEssence, Leigh Morris Chorale, and conductor Phillip are feasible. The Black Chorus in the 1942 NBC broad- Brunelle recorded And They Lynched Him on a Tree in 1995 cast, conducted by Leopold Stokowski, moaned with ex- for the CD Skyward My People Rose: Music of William cessive vibrato on beats two through four of measures Grant Still. The latter recording is recommended for its 125-27 and measures 129-30. The result seems ineff ec- musical and production quality. tive and detracts from the fear this group experiences while hiding from the Lynch Mob. Any vocalism em- ployed in this section should be something unmetered Altered Text and dramatically appropriate for the situation. Both choruses sing text in the fi nal section that was quite controversial. It originally read:
Instrument Considerations Cut him down from the gallows tree! The orchestration for And They Lynched Him on a Tree Cut him down for the world to see! encompasses that of a standard nineteenth-century Talk of justice and take your stand. orchestra but incorporates the use of mutes for brass But a long dark shadow will fall across your land, instruments, a technique commonly used with the big An evil shadow will defame your land, bands of the 1920s and ‘30s. Still requires straight, cup, A long dark shadow will fall across your land! or soft hat mutes for the trumpets, trombones, and horns. While straight mutes are fairly common, cup and hat There was great fear during World War II that And mutes are less common for concert works. Conductors They Lynched Him on a Tree would be perceived as pro- should be aware of this necessity and prepared to accept paganda. Artur Rodzinski, conductor of the Cleveland a substitute if the specifi ed mutes are not available. The Orchestra and later the New York Philharmonic, led publisher does off er an alternate orchestration for piano the premiere. He was excited about the possibility of a
CHORAL JOURNAL March 2018 Volume 58 Number 8 15 The Shadow Still Lingers A Conductor’sConductor’s GuideGuide forfor William Grant Still’s …And They Lynched Him on a Tree
performance but worried that the text might cause “un- is similar to And They Lynched Him on a Tree and features a necessary excitements.”33 Shirley notes that Rodzinski prominent baritone solo. Still’s Rising Tide, also known as worried that being part of the project with the current Victory Tide, is an adaptation of a larger work written for text might jeopardize any hope that his sister-in-law and the 1939 New York World’s Fair. Albert Stillman’s text is niece would receive visas to come to the United States.34 an optimistic extension of the lynching poem that speaks Chapin consulted with Still, created an optimistic ver- of brotherhood. The fi nal lines of the poem, “for we’re sion of the text for the printed program, and enlisted the starting today, hand in hand, side-by-side, and tomor- help of her husband and Solicitor General, Francis Bid- row and forever comes a great rising tide!” also capture dle, to assuage Rodzinki’s fears.35 The altered text reads: the spirit of the two racially distinct choirs united for change. Cut him down from the gallows tree! Conductors who would like to continue the theme of Cut him down for the world to see! justice as it relates to the black experience could con- Call him brother and take his hand. sider Roland Carter’s arrangement of “Lift Every Voice Clear the long dark shadow that falls across your and Sing.” The text, written by James Weldon Johnson, land, began as a speech and was later developed into a poem O trust your brother and reach out your hand, about the struggles, courage, and survival of African And clear the shadow that falls across your land! Americans through years of slavery. John Rosamond Johnson, James’s brother, later created a musical setting The conductor’s score contains the original text, but the of the poem. The National Association for the Advance- altered version is printed in the choral octavos. Each ment of Colored People (NAACP) adopted “Lift Every conductor must decide which he or she will use and plan Voice and Sing” as the “Negro National Anthem.” Cart- accordingly to make the necessary changes. Both sets of er’s arrangement is dedicated to the choirs of the Hamp- text match syllabically, so rhythmic alteration is not nec- ton Institute, an institution whose musical heritage was essary. infl uential to Katherine Garrison Chapin and the reason she insisted that a black chorus be used for the premiere of And They Lynched Him on a Tree.36 The orchestration is Programming Suggestions similar and parts and choral octavos can be purchased The performance length of And They Lynched Him on or rented through Mar-Vel Music Company. “We Shall a Tree is not long enough to fi ll an entire concert and Overcome” is a popular protest song associated with the barely enough for half of a program. Furthermore, the African American Civil Rights Movement. Roy Ring- bleak ending and fi nal text, “but a long dark shadow will wald’s arrangement increases in intensity with half-step fall across your land,” might not create the appropriate modulations before each of the four verses. The fi rst atmosphere in which the audience would feel comfort- verse is sung in unison, which presents the option for able applauding. One can consider following the per- audience participation. Choral scores and parts can be formance with a moment of silence followed by a piece purchased from Shawnee Press. that continues the theme and provides a more uplifting Dr. Martin Luther King Jr.’s famous “I Have a outlook and an ending with more fi nality. Dream” speech is a pivotal moment in American history There are several choral-orchestral pieces that would that parallels the desired outcome of And They Lynched pair well with And They Lynched Him on a Tree and could Him on a Tree. The text for “Like a Mighty Stream” by provide enough material to form half of a program (see Moses Hogan and John Jacobsen is a biblical reference sidebar on page 17). An obvious source for additional (Amos 5:24) used for the excerpt of King’s speech that literature would be William Grant Still’s vast catalogue reads, “We will not be satisfi ed until justice rolls down of works. Plain-Chant for America is the other Still and like waters and righteousness like a mighty stream.” Chapin collaboration from the World War II era with The piece is written in a call-and-response gospel style, text that highlights universal freedom. The orchestration making it accessible and a strong ending of a program.
16 CHORAL JOURNAL March 2018 Volume 58 Number 8 A Conductor’s Guide for WWilliamilliam GGrantrant SStill’still’s …And…And TheyThey LynchedLynched HHimim oonn a TTreeree
Choral scores are available through Hal Leonard, and a conductor may opt to have an orchestration created. Lists of Literature Complimentary to Samuel Barber’s Adagio for Strings is widely considered And They Lynched Him on a Tree to be one of the most popular pieces for string orchestra. The Philadelphia Orchestra, Indianapolis Symphony Orchestra, and St. Louis Symphony Orchestra have all Option 1 launched successful performances of Adagio for Strings And They Lynched Him on a Tree- 18 min. that underscore an entire reading of Dr. King’s “I Have Lift Every Voice and Sing- 7 min. A Dream” speech. The ending is subdued musically, but (J. Rosamond Johnson/arr. Roland Carter) a skilled orator can deliver the speech in a powerful man- ner and remind us of Dr. King’s dream, one that many Option 2 would argue is yet to be realized. Both suggestions could also be used to commemorate the 50th anniversary of And They Lynched Him on a Tree- 18 min. Like A Mighty Stream- 4 min. Martin Luther King Jr.’s death. (Moses Hogan/John Jacobsen) “Agnus Dei” from Robert Ray’s Gospel Mass is a plea for peace and mercy that closes with a cascading “amen,” which means, “so be it.” This sentiment is an Option 3 apt ending and another expression of Still and Chapin’s And They Lynched Him on a Tree- 18 min. ultimate goal. Scores and parts are available through Plain-Chant for America- 10 min. Hal Leonard. (William Grant Still/Katharine Chapin) The suspended G natural of the fi nal F minor sonori- ty that concludes And They Lynched Him on a Tree can sym- bolize unresolved tension regarding race in America. Option 4 This could play out harmonically, in that the G serves as And They Lynched Him on a Tree- 18 min. a tonal anchor into the next piece. Plain-Chant for America, Adagio for Strings- 8 min. Rising Tide, and Lift Every Voice and Sing all begin in G. For (Samuel Barber w/Dr. King’s speech) those who desire a broader sense of tonal completion (a resolution of the G natural), Plain-Chant for America and Like A Mighty Stream end in F. Option 5 And They Lynched Him on a Tree- 18 min. We Shall Overcome- 6 min. A Plea for Justice and Peace (Seeger et al/arr. Roy Ringwald) Alain Locke wrote an extensive review of the piece where he said our democracy “needs sober criticism, Option 6 even courageous chastising… And They Lynched Him on a Tree gives our democracy in crisis just that much-needed And They Lynched Him on a Tree- 18 min. heroic challenge and criticism. When, on occasion, art “Agnus Dei” from Gospel Mass- 5 min. rises to this level, it fuses truth with beauty, and in addi- (Robert Ray) tion to being a sword for the times it is likely to remain, as a thing of beauty, a joy forever.”37 And They Lynched Option 7 Him on a Tree helps us learn from our sordid past and And They Lynched Him on a Tree- 18 min. refl ect on the present. I was honored to prepare and Rising Tide- 3 min. conduct And They Lynched Him on a Tree for a doctoral (William Grant Still/Albert Stillman) conducting recital as a celebration of its seventy-fi fth an- niversary in 2015.
CHORAL JOURNAL March 2018 Volume 58 Number 8 17 The Shadow Still Lingers A Conductor’sConductor’s GuideGuide forfor William Grant Still’s …And They Lynched Him on a Tree
High-profi le police shooting deaths of unarmed black chosen to remove elipses in this article. See also: Zackery males in the United States have fueled a revival of read- Harlan Jr., “Reception History and Conductor’s Guide to ings of anti-lynching plays that were written in the early …And They Lynched Him on a Tree” (Ph.D. diss., University 1900s. An actor in one such play commented, “I think of Southern Mississippi, 2016), 1. the revival of these plays that happen a long time ago 5 African Americans fl ed the South where lynching was most give us enough distance to say, ‘Oh! That’s awful! Oh, common and headed north to large cities in search wait a minute! That looks a lot like what’s happening of safer living conditions and opportunities for more right now.’”38 Like those plays, the message of And They economic advancement. Historians call this the Great Lynched Him on a Tree is particularly resonant in today’s Migration. The large concentration of Black people in sensitive climate. The civil rights lessons and reminders the Harlem area of Manhattan who arrived with the hope that can be gleaned from the horror of lynching violence for a better life propelled a cultural, social, and artistic extend to other areas of society. Johnson and Ingram are eruption called the Harlem Renaissance that lasted from two legal scholars who argue that recent immigration- the 1920s to the middle of the 1930s. Alain Locke, an related hate crimes directed at Latinx39 are similar to important leader of the Harlem Renaissance, described the lynching terror endured by African Americans, in its goal as the transition from “social disillusionment to that the violence serves to “maintain racial hegemony in race pride.” See Alain Locke, The New Negro (New York: times of change and ferment.”40 Simon & Schuster, 1997), 11. The movement cultivated a And They Lynched Him on a Tree deserves to be per- safe environment where Black artists could use their craft formed not as a token work by an African American but not only as a means to celebrate Black expression but also as a well-crafted American masterpiece and a plea for to protest a plethora of social woes, including lynching. justice and peace. The fi nal line of the work reads, “But 6 Emily Bernard, Carl Van Vechten and the Harlem Renaissance: A a long dark shadow will fall across your land.” It seems Portrait in Black and White (Yale University Press, 2012), 51. as though the shadow still lingers. And They Lynched Him 7 Bernard, Carl Van Vechten, 51. on a Tree is a compelling composition worthy of a place 8 These letters and documents either belong to the family within the choral-orchestral canon. In a time when ra- or are housed in archives at Georgetown University, cial tension seems to have reached a boiling point, this the Library of Congress, Howard University, and the work reminds us there is still work to do, and most im- University of Arkansas. portantly, that progress, change, and unity are necessary 9 Wayne D. Shirley, “William Grant Still’s Choral Ballad And and possible. They Lynched Him on a Tree,” American Music 12 no. 4 (1994), 427. NOTES 10 Shirley, “William Grant Still’s Choral Ballad,” 453. 11 William Grant Still, And They Lynched Him on a Tree, (New 1 Sterling White, Rope and Faggot: A Biography of Judge Lynch York: J. Fischer & Bro., 1940). (Notre Dame, IN: Notre Dame University Press, 1929), 12 Zackery Harlan Jr., “Reception History and Conductor’s 36-37. Guide to …And They Lynched Him on a Tree” (Ph.D. 2 James Allen, Hinton Als, Leon A. Litwak, Without Sanctuary diss., University of Southern Mississippi, 2016). Harlan (Santa Fe: Twin Palms Publishers, 2000). James Allen argues that And They Lynched Him on a Tree does not is a collector who catalogued photos and postcards of adequately fulfi ll the defi nition of “cantata” or “oratorio;” lynchings that took place throughout the United States. Brandon Williams, “And They Lynched Him on a This book is a compilation of his collection that is Tree: A Critical Analysis” (Ph.D. diss., Michigan State complete with notes on each gruesome photo. University, 2016). Harlan and Williams highlight the 3 Jacqueline Goldsby, A Spectacular Secret: Lynching in American closer connection And They Lynched Him on a Tree has to Life and Literature (Chicago: University of Chicago Press, the literary genre known as the “lynching drama.” See 2006), 15. Judith L. Stephens, “Racial Violence and Representation: 4 The title can be written with or without elipses. I have Performance Strategies in Lynching Dramas of the
18 CHORAL JOURNAL March 2018 Volume 58 Number 8 A Conductor’s Guide for WWilliamilliam GGrantrant SStill’still’s …And…And TheyThey LynchedLynched HHimim oonn a TTreeree
1920s,” African American Review 33, no. 4 (Winter 2011). full images that showed mobs posed with black corpses 13 Bonnie Cutsforth-Huber, “The Operas of William Grant were gradually revealed as the Lynch Mob rejoiced in Still” (Ph.D. diss., University of Kentucky, 2004), 181. their murder. Historical images of protest fi lled the screen 14 Shirley, “William Grant Still’s Choral Ballad,” 435. as both choirs combined in the fi nal section. I interpreted 15 Cutsforth-Huber, “The Operas of William Grant Still,” 247. the musical gesture in the fi nal four measures to be a 16 Ibid., 181. representation of the black struggle for equality and the 17 Shirley, “William Grant Still’s Choral Ballad,” 435. continued work necessary to aff ect change. This idea is 18 Ibid., 438. even more relevant amid increasing racial tension in the 19 Cutsforth-Huber, “The Operas of William Grant Still,” 41- United States and served as an opportunity to highlight 42. parallels with specifi c current events. With that in mind, 20 Alain Locke, “Ballad for Democracy,” Opportunity: Journal of I chose to project images of the corpses and funerals Negro Life 18, no. 8 (1940), 229. of Trayvon Martin, Michael Brown, Eric Garner, and 21 Shirley, “William Grant Still’s Choral Ballad,” 435. Philando Castile, during the fi nal text, “But a long 22 Ibid., 452. The Gavagan Anti-Lynching Bill passed the dark shadow will fall across your land.” The conductor house of representatives in January of 1940 and reached or producer must be well aware of the purpose of the the senate during the production of And They Lynched Him performance and the audience who will receive the on a Tree. The bill did not pass. message and consider what will work best in his or her 23 Ibid. setting. 24 Allen, Without Sanctuary, 38. 31 Still, And They Lynched Him. 25 James H. Cone, The Cross and the Lynching Tree (Maryknoll, 32 William Grant Still Music is based in Flagstaff , AZ, and is NY: Orbis Books, 2011), xiv. currently run by William Grant Still’s daughter, Judith 26 James H. Cone, interviewed by Bill Moyers, Bill Moyers Anne Still. https://william-grant-still-music.myshopify. Journal, interview video, November 27, 2007, http:// com www.pbs.org/moyers/journal/11232007/profi le.html. 33 Shirley, “William Grant Still’s Choral Ballad,” 441. 27 Fox News. “Senate Apologizes for Not Passing Anti-Lynching 34 Ibid., 442. Laws,” Fox News, last modifi ed June 13, 2005. http:// 35 Ibid., 443-444. www.foxnews.com/story/2005/06/13/senate-apologizes- 36 Ibid., 445. for-not-passing-anti-lynching-laws. From 1882 until 1968, 37 Locke, “Ballad for Democracy,” 228. almost 200 anti-lynching bills were presented to Congress, 38 Hansi Lo Wang, “Deaths Of Unarmed Black Men Revive and only three passed the House of Representatives. ‘Anti-Lynching Plays’,” NPR: Code Switch, April 17, Seven presidents from 1890 to 1952 petitioned Congress 2015, accessed April 17, 2015, http://www.npr.org/ to pass a federal law outlawing lynching. sections/codeswitch/2015/04/17/399604918/deaths- 28 Zackery Harlan Jr., “Reception History,” 181. Harlan’s of-unarmed-black-men-revive-anti-lynching-plays. dissertation includes eleven interviews and four surveys he 39 “Latinx” is a gender-neutral term that covers Latino and carried out with conductors who have led performances. Latina. These discussions highlight the conductor’s perfromance 40 Kevin R. Johnson, Joanna Cuevas Ingram. “Anatomy of decisions and their accounts of chorister and audience a Modern Day Lynching: The Relationship Between reactions. Hate Crimes Against Latina/os and the Debate over 29 Still, And They Lynched Him. Immigration Reform,” University of California Davis 30 The images displayed during the introduction of my Legal Studies Research Paper No. 311 (October 25, performance were portions of pictures that only revealed 2012): 3. http://ssrn.com/abstract=2167051 members of various lynch mobs. These innocuous pictures of white adults and children established the opening ensemble as the Lynch Mob and provided context for the more graphic images that followed. The
CHORAL JOURNAL March 2018 Volume 58 Number 8 19 ne of the primary tasks of the conduc- tor is to construct a vivid physical real- O ization of the musical score. Conductors aim to look like the music, translating musical sym- bols into accurate and expressive conducting ges- tures. These gestures are the result of score study, a process whereby the conductor teaches herself the music, interfaces with the composer, and creates a personalized musical interpretation. Score study also prepares the conductor to deliver a convincing gestural realization of the music to the choir and to audiences. If the conductor’s accuracy and expressivity rely on an ability to convert a notated score into conducting gestures, what score study techniques facilitate this conversion? Is there a type of score study that directly relates musical notation to physi- cal experience, to prepare conductors to conduct? Can score study be an opportunity for gestural skill- building for the conductor or of imagining new and creative musical outcomes? This article presents an alternate model for conductor score study based on the principles and practices of Dalcroze Eurhythmics, a century-old approach to music education that defi nes the body as the primary instrument of musical instruction.1 A Dalcroze Eurhythmics education comprises four areas of study: eurhythmics, solfège rhythmique, improvisation, and plastique animée. This article will explore how two of these areas—eurhythmics and plastique animée—can be applied to the study of a sample score, W. A. Mozart’s Ave Verum Corpus K. 618. Three aspects of the conductor’s prepara- tion will be examined: (1) exploring an expressive bodily response to the music; (2) developing musical eurhythm, including accuracy and expressivity in the metrics and plastics of the music; and (3) distill- ing a personalized interpretation through a whole- body representation of the score. The original writ- ings of Émile Jaques-Dalcroze (1865–1950) provide a historical perspective for the discussion, while the author’s personal experience as a Dalcroze-trained conductor and conductor-educator suggests a mod- ern-day framework for its application.
20 CHORAL JOURNAL March 2018 Volume 58 Number 8 Reimagining Conductor Score Study through Émile Jaques-Dalcroze’s Eurhythmics
CARON DALEY
Caron Daley Director of Choral Activities, Assistant Professor of Music, and Ensembles Coordinator Duquesne University [email protected]
CHORAL JOURNAL March 2018 Volume 58 Number 8 21 Reimagining Conductor Score Study through
Historical Perspectives Dalcroze Eurhythmics games for use with conductors, Émile Jaques-Dalcroze designed his methodologies while John Dickson proposes a three-stage model for to meet the needs of all types of musicians; however, training conductors through a methodology he calls the conductor and the act of conducting are featured kinesthetics.7 Kristin Bowtell suggests that experiences prominently in his writings. Jaques-Dalcroze began his in Dalcroze Eurhythmics prepare the conductor for in- musical career as an orchestral conductor at the Théâtre terpretive decision making and increase the conductor’s de Nouveautés in Algiers, Algeria. His early experiences rate of score memorization.8 Andrew Mathers suggests as a conductor contributed signifi cantly to the develop- Dalcroze Eurhythmics can help conductors develop mu- ment of his pedagogical ideals, and exercises in conduct- sical expressivity, an aspect of conductor training that ing are recommended throughout his methods books.2 is underemphasized in the conducting pedagogy litera- In his 1919 essay, Eurhythmics and Moving Plastic, Jaques- ture.9 Kenneth L. Meints advocates for the inclusion of Dalcroze suggested that his methods should be featured Dalcroze Eurhythmics in the teaching of introductory specifi cally in the education of conductors.3 In several conducting courses, and references several programs instances, he describes the conductor as the musician in higher education where Dalcroze Eurhythmics is a best able to demonstrate the interconnection between required part of an undergraduate music curriculum.10 sound and gesture, or the archetypal eurhythmician: To date, there are no articles that supply a theoreti- cal framework or practical methodology for conductor Observe the movements by which a conductor score study through Dalcroze Eurhythmics. This article of an orchestra, endowed with temperament, proposes that the pedagogical principles and practices represents and transmits rhythm. Does he con- of Dalcroze Eurhythmics can uniquely inform the con- fi ne himself to movements of the arm alone in ductor’s score preparation work. And, although Dal- seeking to convey to the instrumentalists the im- croze Eurhythmics is typically taught in a group setting age of the rhythm they are to create? By no with a teacher providing musical prompts, the principles means. His knees will stiff en, his foot will press and practices of the approach can equally be applied to against the platform, his back will straighten, his the conductor’s individual practice and study of a musi- fi nger and wrist movements harden. His whole cal score.11 body will be seen to cooperate in his represen- tation of the rhythm: each articulation, each muscle, contributing to render the rhythmic im- A New Vision for Conductor Score Study pression more intense; the aspect of his whole Over a century ago, Émile Jaques-Dalcroze de- person becoming, in short, the refl ected image veloped a comprehensive approach to music educa- of the movement of the music, and animating tion with the principal aim of training the body to be the executants—his own representation of the a musically accurate and expressive instrument. In his rhythm being transmuted to them.4 work with collegiate musicians at the Conservatoire de musique de Genève, Jaques-Dalcroze discovered that Dalcroze Eurhythmics has gained signifi cant traction students’ musical hearing improved when the body’s as a choral pedagogical tool in the past few decades. natural movements were engaged. Over the course of Several articles have addressed the uses of Dalcroze his lifetime, he developed a pedagogical system aimed Eurhythmics in the choral rehearsal setting, describing at uniting sound and physical movement, or gesture, to its benefi ts to the development of body awareness, fo- create a reciprocal relationship he called eurhythmy: cus and concentration, and musicianship skill, and its uses as a rehearsal tool to solidify ensemble rhythm and Sound Gesture musical interpretation.5 Select other authors have ad- vocated for the use of Dalcroze Eurhythmics in choral Eurhythmy is a fl uid linkage between the musician’s conductor training.6 Claire McCoy provides specifi c hearing and her performance. And reciprocally, a fl uid
22 CHORAL JOURNAL March 2018 Volume 58 Number 8 Émile Jaques-Dalcroze’s Eurhythmics
linkage between the musician’s movements and the re- A conventional approach to score study prioritiz- sultant sound. Eurhythmy is the opposite of arrhythmy, es visual and aural analysis of the music. Conductors an incongruous relationship between sound and ges- compare written musical notation to sounds stored in ture. For the conductor, an arrhythmic response to mu- the musical ear, singing parts, playing at the keyboard, sic may result from a reliance on visual score study, or or listening to a recording to aid in the process. Once an emphasis on technical precision without attention to conductors have visually and aurally studied the music, musical nuance, or a disconnection between the con- conducting gestures are applied as a kinesthetic repre- ducting gesture and the musical intention. sentation of the score. This type of a score study process Dalcroze Eurhythmics games and exercises capital- is summarized by the following equation: ize on the principles of embodiment and entrainment to teach musical eurhythmy. The Dalcroze understand- Visual and Aural Analysis ing of the body is as a holistic entity, inclusive of the n musician’s physical body parts, such as the eyes, ears, MUSICAL SCORE torso, and limbs, and the musician’s somatic perspec- m tive, or the body’s interior sensing of its movements, Kinesthetic Representation balance, and positioning in space. Embodiment, or the physical realization of an idea, is deepened through The central premise of this application of Dalcroze whole-body experiences with music. Entrainment Eurhythmics to conductor score study is that whole- aligns the body’s natural movements, such as breathing, body movement experiences can aid the conductor in a shift in balance, or walking, to the movement implied internalizing the music, and in turn, externalizing an in the music. accurate and expressive interpretation of the music. For As such, a Dalcroze education is constructed as a Jaques-Dalcroze, a vivid realization of the score must type of “double education,” designed to target both begin with a vivid encounter of the music. Conducting musical perception and musical performance.12 First, gestures should be the result of many varied and rich experiences in Dalcroze Eurhythmics enlarge the musi- experiences in body movement. This type of score study cian’s fi eld of sensory perception by providing the body process is outlined in the following equation: with rich proprioceptive feedback about time, space, and energy. Second, experiences in Dalcroze Eurhyth- Kinesthetic Perception (embodiment and entrainment) mics entrain a vocabulary of body movements that are + Aural Perception (musical ear) + Visual Representa- specifi cally related to musical concepts or a musical tion (notated score) = Embodiment of the MUSICAL score. Jaques-Dalcroze posited that this “double edu- SCORE in conducting gesture cation” would ultimately shape the musician’s sense of artistry, including her ability to create a compelling in- The following exercises are based on the pedagogi- terpretation of a musical score: cal sequencing typically found in Dalcroze Eurhythmics study. They are designed to move the conductor from an The student, by gradually training his body in initial experience with the music to a fully realized inter- the dynamic and rhythmic laws of music, be- pretation. The purpose of these exercises is to inspire comes more musical generally, and eventually the conductor to conceive of score study as an embod- capable of interpreting sincerely and spontane- ied process, inextricably linked to the embodied work of ously the intentions of the great composers… rehearsal and performance . in short, the student will have the music within him, and his instrumental interpretation will become more convincing, spontaneous, vivid, Expressive Bodily Response and individual.13 A Dalcroze Eurhythmics approach to conductor score study places an important step before visual analy-
CHORAL JOURNAL March 2018 Volume 58 Number 8 23 Reimagining Conductor Score Study through
sis, typically considered to be the fi rst step in the con- occurred, an aesthetic response, or a musical insight that ductor’s preparation. Jaques-Dalcroze warned that a was gained. visual-only analysis of music was an insuffi cient analysis Jaques-Dalcroze believed that movement to music and would lead to an incomplete rendering of the mu- would do more than simply awaken physical and au- sic. Written musical notation fails to fully capture the ral awareness. The instinctual movements of the body emotive and expressive aspects of the music.14 For ex- would also register aff ective and imaginative responses, ample, the notation of a quarter rest denotes a period equipping the musician with fresh musical impres- of silence; however, the musical intention of that rest sions.17 These impressions form the basic foundation of may be one of dramatic anticipation. the conductor’s musical interpretation, including a kin- As a result, a central pedagogical principle in Dal- esthetic feel for the music that can be harnessed in con- croze Eurhythmics is that theory, or analysis, must fol- ducting gestures. Dalcroze educator Timothy Caldwell low fi rsthand bodily experience.15 This is evidenced in suggests that movement explorations to recordings can a typical eurhythmics class, where pedagogical sequenc- facilitate the development of a Gestalt, or framework, for ing dictates that students should move to music before the composition.18 This is not to disqualify the many fi n- they consult musical notation. Dalcroze exercises invite er details of the music but rather to help the conductor students to respond to what they hear and to move in- deepen her sensory impressions and sense-of-the-whole stinctually. The pedagogical focus is on developing a for the composition. sensory response to sound, not an intellectual response. This type of Dalcroze listening activity can precede Jaques-Dalcroze cautioned that “music is not purely in- the study of a new score. Or, it can be used midway tellectual; it works through the senses—it sets our whole through the score study process, or even during the re- organism in vibration. If this organism is incapable of hearsal process to inspire the conductor in a new way. responding in all its parts, the brain will register incom- Even if the conductor has signifi cant prior knowledge plete sensations.”16 of a specifi c score, an experience of instinctual move- In the absence of a Dalcroze Eurhythmics teacher, ment to music can render new impressions and ideas or a group class, the conductor can still fi nd ways to for the music. Developing an expressive bodily response respond instinctually to sound through the body. This is to sound also relates directly to the conductor’s podium not the same type of aural and physical sound-response work, where responses to the choir are not always in the that conductors typically perform, such as rehearsing a form of error correction. Conductors with strong bodily passage of music or detecting errors. A Dalcroze exer- instincts for sound can more fl exibly interact with the cise in responding to sound is intuitive, not corrective. music while it is in action. The following exercise is one that will challenge con- ductors to revisit an instinctual response to music. Begin by sourcing out a quality recording(s) of the Mozart Ave Developing Musical Eurhythm Verum Corpus, K. 618. Stand, and listen without a score. Eurhythmics games and exercises explore musical While listening, allow the music to freely move the body, rhythm, broadly defi ned as the interrelationship be- responding instinctually to the basic patterns of tension tween time, space, and energy in music.19 In any given and relaxation in the music. Conductors may be tempt- eurhythmics class, movement tasks are numerous and ed to apply conducting gesture to the music as they lis- varied, including activities in stepping, clapping, skip- ten or to choreograph what they hear. Instead, invite ping, running, or freely-improvised movement. Eurhyth- the music to evoke a more basic movement response, fo- mics instruction explores equally the metrical motion of cused on the patterns of breath, balance, and tension/ the music including its pulse, tempo, note-duration, and relaxation in the music. Listen a second or third time, meter, and the plastic motion of the music including its noticing how the music moves the body. After listening, timing, fl ow, and direction. Jaques-Dalcroze believed the sit, and record the various impressions evoked by the human body had the capability to be extremely versatile music. This may include the types of movements that and nuanced, and that the richer the movement vocabu-
24 CHORAL JOURNAL March 2018 Volume 58 Number 8 Émile Jaques-Dalcroze’s Eurhythmics
lary, the richer the musical interpretation: part while stepping the pulse (Figure 2). This coordina- tion layers pulse with rhythm to give the conductor a Rhythm, like dynamics, depends entirely on stronger sense of melodic motion, including rhythmic movement, and fi nds its nearest prototype in similarities and diff erences between voice parts. our muscular system. All the nuances of time— As a next activity, step the specifi c note durations allegro, andante, accelerando, ritenuto—all of each of the voice parts, one step per note duration nuances of energy, forte, piano, crescendo, di- (Figure 3). While stepping, continue to tap the pulse on minuendo—can be “realized” by our bodies, the sternum, layering pulse with rhythm. Considering and the acuteness of our musical feeling will stepping the rhythm of one part while singing another depend on the acuteness of our bodily sensa- part. Or, layer three musical tasks by stepping, pulsing, tions.20 and singing.
Pulse and Duration Metrics and Plastics Several eurhythmics exercises are useful as the con- Meter is explored next in eurhythmics study. The ductor approaches a score. Jaques-Dalcroze suggested concept of meter is understood as the grouping of that metrical exercises should begin with the explora- pulses into a repetitive movement pattern. In his 1920 tion of pulse. Stepping, with its regular and balanced Rhythmic Movement Vol. 1, Jaques-Dalcroze outlined alternation of weight, is the body’s natural analogue a series of large-scale conducting patterns designed to for an even pulse.21 For the conductor, stepping pro- physically embody the movement qualities inherent in vides a whole-body experience of tempo, a foundation- any given meter. These arm beats were to be added to al element in conducting gesture. The use of walking the stepping of a given rhythm, to layer melodic motion also gives the conductor a sense of the timing between beats, rather than just the attack of the beat. In con- ducting gesture, this correlates to the time, space and | | versus n n n energy in-between each ictus (Figure 1). In the Mozart Ave Verum Corpus, conductors can begin by stepping the quarter-note pulse. Even if the (Movement through (Beat attack) conductor may later choose to conduct this music in a each pulse) half-note pulse (cut-time), the smaller note value em- beds a regularity of motion that will underpin a sta- Figure 1. ble tempo. Travel through space with each step, swinging the arms naturally at the sides of the body. Step in the quality of the music, allowing the ear to inform the body’s move- ment. Experiment with a variety of tempi, measuring the amount of time, space, and energy required for each tempo option. In a typical eurhythmics class, move- ment activities are systematically layered to require the mover to automate a given movement while adding another move- ment. Once the conductor is comfortable with stepping the pulse of Ave Verum Corpus, singing should be added. Sing each voice
CHORAL JOURNAL March 2018 Volume 58 Number 8 25 Reimagining Conductor Score Study through
with metrical motion. For the conductor, these arm beats conductor, including how the music moves toward and are an exaggerated version of common conducting beat away from goal points. Plasticity begins with the most patterns. Quadruple time (4/4) is shown in Figure 4. basic form of musical motion, the alternation of sound Plasticity in musical rhythm is of equal concern to the and silence.22 Sound, in its various qualities and intensi- ties, correlates to muscular activity. Silence, by con- trast, correlates to muscular repose or the prepara- tion for muscular activity. Movement in music is a continuous cycle of preparing for sound, continu- ing sound, and ceasing sound.23 Physical gestures are likewise qualifi ed by their initiation, continu- ation, and termination, or what Jaques-Dalcroze called “gestural points of arrival and departure.”24 Physical gestures have three parts: (1) an anacrusis, or preparation of energy; (2) a crusis, or moment Beat 1 Beat 2 Beat 3 Beat 4 of energy release; and (3) a metacrusis, or energy follow-through. Each of the three parts of the ges- Figure 4. Jaques-Dalcroze, Émile. Rhythmic Movement, Vol. 1. ture also interrelates. The quality of the anacrusis (London, UK: Novello and Company, 1920), 43. determines the quality of the crusis and likewise the metacrusis. The conductor is well acquainted with the use of an anacrusic gesture as it relates to the prepara- tory beat in conducting. Traditional beat patterns also embody the three parts of a physical gesture with an anacrusic beat (last beat of measure – up- ward motion), a crusic beat (fi rst beat of measure – downward motion), and a metacrusic beat(s) (re- maining beat(s) in measure – lateral motions). If the conductor beats Ave Verum Corpus in quadruple time, each measure has an anacrusis, crusis, and metacrusis. The result is a complete movement cycle, with a greater sense of repose in the middle of each measure (Figure 5a). If the conductor beats in 2/2, each measure has only crusic and anacrusic motion. The result is a greater sense of forward motion in each measure and from measure to measure (Figure 5b). Another option exists. Grouping two measures together in a quadruple conducting pattern, or macro-beating, maintains the half note as the pulse, while grouping the music into two measure segments, creating a new 2-bar measure, or 4/2 time. Macro-beating is a way for choral conduc- tors to impose a larger rhythmic relationship onto the natural rhythm of the meter (Figure 5c). Jaques-Dalcroze urged musicians to always
26 CHORAL JOURNAL March 2018 Volume 58 Number 8 Émile Jaques-Dalcroze’s Eurhythmics
maintain continuous motion in music-making. A sense are as closely proximal as possible to the desired musical of anacrusis, crusis, and metacrusis should also apply to outcome. For example, a series of legato quarter notes larger rhythmic relationships in the music, such as phras- may be represented by the continuous transfer of weight es, periods, and sections. At the phrase level, for example, from foot to foot, as in walking forward in a straight line. the music is moving toward a goal and then away (Figure That same series of legato quarter notes could not be 6). Rests in the middle of a phrase are not considered a represented by hopping, a type of physical movement stoppage in the motion but rather a transference from reserved for staccato. external activity (singing) to internal activity (prepara- tion). For the conductor, a type of movement transfer- ence also occurs in timbral or instrumentation shifts, as Plastique Animée in the instrumental interludes found in Ave Verum Corpus. In 1919, Jaques-Dalcroze proposed a new method These notations of “A,” “C,” and “M” can be ap- to embody a musical score called plastique animée, or plied in score marking. Labeling the anacrusis, crusis “moving plastic.”25 The goal of plastique animée was to and metacrusis of small-scale movements, such as rhyth- corporally realize the specifi cs of a musical composition, mic motifs, can help the conductor to ascertain musical creating a bodily choreography of the music. This may shaping. On a larger scale, whole phrases or sections of a include a physical representation of several aspects of piece can be labelled as anacrusic, crusic, and metacru- the music, including pitch, harmony, rhythm, form, tim- sic. This type of analysis facilitates the conductor’s deci- bre, articulation, or dynamics. Body choreographies are sion making, including how to pace and time the music not applied to the music, as in a dance choreography; as it moves forward. These decisions will also translate rather, they emanate directly from the musical move- into greater clarity of gesture in conducting. ment in the score, as it is understood by the musician As conductors analyze the metrics and plastics of a [conductor]. given score, special attention to the quality of the physi- Jaques-Dalcroze outlined a type of taxonomy of cal movement is needed. Jaques-Dalcroze cautioned bodily gestures that could correlate specifi cally to the against “counting” the music and instead advocated for musical elements of a composition. For example, pitch the development of “feel” in musical rhythm. If sound was represented by the positioning and direction of arm and gesture are to have a reciprocal relationship, eu- gestures in space, whereas musical form was represented rhythmic exercises aim to entrain physical responses that by large-scale body movements or travel through space.26
CHORAL JOURNAL March 2018 Volume 58 Number 8 27 Reimagining Conductor Score Study through
The practice of plastique animée among Dalcroze Eu- sical interpretation. In this way, a whole-body plastique rhythmics educators is freer today than in Jaques-Dal- animée tests the conductor’s ability to clarify the music, croze’s time. It is generally considered to be a culmi- an exercise that aids in the development of conducting nating exercise in a Dalcroze Eurhythmics pedagogical gestures for rehearsal and performance. sequence or a distillation of the concepts explored in eurhythmics. The development of a plastique animée, which may be done alone or in groups, aims to capture Individual Musical Voice the essence of the music. Dutoit explains that “plastique Dalcroze Eurhythmics reimagines score study as a requires the study of musical structure, the discovery of fi rsthand musical encounter. Eurhythmics and plastique the music’s message, its emotional force, its style, its form animée are not designed to be ends in themselves but and its whole character.”27 Jaques-Dalcroze explains: rather tools to help the conductor create a more embod- ied interpretation of the score. Jaques-Dalcroze simply This corporal interpretation does not profess desired to help musicians reunite their musical experi- to render the complete thought of the master ences with their bodily experiences: “Rhythm [Dalcroze and to substitute an arbitrary mode of interpre- Eurhythmics] is a means, not an end in itself. Its func- tation for the means of expression selected by tion is to set up the relationship between the music we him: it is merely a matter of substitution, for hear and that we have within ourselves.”29 the purely intellectual analysis of the work, of These types of Dalcroze Eurhythmics explorations the experience of sensations of the whole or- will also benefi t the choir. First, the conductor’s score ganism. To bring out the diff erent parts, dis- preparation will more directly relate to the physical ex- sociate the polyrhythms, realise the stretti, and perience of the chorister. As conductors deepen bodily oppose the nuances of dynamic contrasts will awareness and eurhythmy, a type of empathy for the become for the student a perfectly natural pro- singer’s physical experience occurs. In the choral setting, cess. All the structural details of the phrasing where the body is the primary instrument of musical in- and shading will be made clear, because felt by struction, pedagogies that incorporate embodiment and the body—and so become organic.28 entrainment equip all parties to extend musical artistry through musical eurhythmy. For the conductor, plastique animée summarizes the Second, the conductor’s experimentation with move- work completed in the earlier stages of score study, in- ment can reveal areas of challenge in the score and cluding listening with free body movement and metri- facilitate the development of rehearsal techniques to cal and plastic movement through eurhythmics. An surmount these challenges. This may include move- exercise in plastique animée for conductors does not ment games or listening activities for rehearsal, like the require a knowledge of a specifi c movement taxonomy. ones described above. Embodied score study prepares It is instead a self-developed physical representation of the conductor to craft a rehearsal experience that pri- the score in an overarching sense. Diff erent movement oritizes whole-body learning and enjoyment through qualities might represent diff erent emotions represented movement. in the music, while travel through space might indicate The pedagogy of Jaques-Dalcroze has as its ultimate the goal of a given phrase. purpose the development of the musician’s individual Plastique animée helps the conductor to solidify a musical voice. Experiences in movement are designed musical interpretation. It is both a deep expression of to lead the musician toward greater imagination and the conductor’s knowledge and experience with the mu- independence. For the conductor, this pedagogical aim sic and an important exercise in reduction. The process aligns directly with our task—to create a compelling re- of constructing a plastic choreography of the music alization of the music, and to share the music, through necessarily requires the mover to make choices about the instrument of the body, with communities of singers what to embody. These choices represent a type of mu- and audiences.
28 CHORAL JOURNAL March 2018 Volume 58 Number 8 Émile Jaques-Dalcroze’s Eurhythmics
NOTES 2012). 9 Andrew Mathers, “How Theories of Expressive Movement 1 Émile Jaques-Dalcroze, Rhythm, Music and Education, trans. and Non-verbal Communication can Enhance H. F. Rubenstein (London: The Dalcroze Society, 1921). Expressive Conducting at all levels of Entering 2 Arthur F. Becknell, “A History of the Development of Behaviour” (PhD diss., Monash University, 2011). Dalcroze Eurhythmics in the United States and its 10 Kenneth L. Meints, “The Application of the Kinesthetic Infl uence on the Public School Music Program” (EdD Learning Theories of Emile Jaques-Dalcroze in diss., University of Michigan, 1970), 19. Conductor Preparation Coursework” (DMA diss., 3 Émile Jaques-Dalcroze, Rhythm, Music and Education, 266. University of Nebraska, 2014). 4 Ibid., 87. 11 Timothy Caldwell, Expressive Singing: Dalcroze Eurhythmics for 5 Hilary Apfelstadt, “Choral Music in Motion: The Voice (Englewood Cliff s, NJ: Prentice Hall, 1995). Caron Use of Movement in the Choral Rehearsal,” Choral Daley, “Moved to Learn: Dalcroze Applications to Journal 25, no. 9 (1985). Angela Crosby, “Dalcroze’s Choral Pedagogy and Practice” (DMA diss., University Eurhythmic Techniques for Choral Rehearsal: Moving of Toronto, 2013). Alexandra Pierce, Deepening Musical to ‘O Magnum Mysterium,’” Choral Journal 48, no. Performance through Movement (Bloomington, IN: Indiana 11 (2008). Caron Daley, “A Whole-body Approach to University Press, 2007). Choral Teaching and Learning: Dalcroze Eurhythmics 12 Claire-Lise Dutoit, Music Movement Therapy (London, in Action in the Choral Context,” Canadian Music UK: The Dalcroze Society, 1971). Anne Farber and Educator 52, no. 4 (2012). Lewis W. Gordon, “Body Lisa Parker, “Discovering Music through Dalcroze Movement Exercises in the Choral Training Program,” Eurhythmics,” Music Educators Journal 74, no. 3 (1997). Choral Journal 15, no. 7 (1975). Herbert H. Henke, 13 Émile Jaques-Dalcroze, Rhythm, Music and Education, 284. “The Application of Émile Jaques-Dalcroze’s Solfège- 14 Ibid., 105. rhythmique to the Choral Rehearsal,” Choral Journal 15 Ibid., 118. 25, no. 3 (1984): 11-14. Marilyn Shenenberger, “Using 16 Ibid., v. Dalcroze Eurhythmics in the Choral Rehearsal,” in The 17 Ibid., 124. School Choral Program: Philosophy, Planning, Organizing, and 18 Timothy Caldwell, Expressive Singing: Dalcroze Eurhythmics for Teaching, ed. Michelle Holt and James Jordan (Chicago: Voice (Englewood Cliff s, NJ: Prentice Hall, 1995), 125. GIA Publications, 2008). 19 Ibid., 83. 6 Marie-Laure Bachmann, Dalcroze Today: An Education 20 Ibid., 115. Through and Into Music (Oxford: Clarendon Press, 21 Ibid., 82. 1991). John H. Dickson, “The Training of Conductors 22 Ibid., 280 though the Methodology of Kinesthetics,” Choral 23 Ibid., 149. Journal 32, no. 8 (1992). Wilhelm Ehmann, Choral 24 Ibid., 279. Directing (Minneapolis: Augsburg Press, 1968). Alberto 25 Ibid., 258. Grau, Choral Conducting: The Forging of the Conductor 26 Ibid., 261-2. (Venezuela: GGM Editores, 2009). Claire W. McCoy, 27 Claire-Lise Dutoit, Music Movement Therapy (London, UK: “Eurhythmics: Enhancing the Music-Body-Mind The Dalcroze Society, 1971), 52. Connection in Conductor Training,” Choral Journal 35, 28 Émile Jaques-Dalcroze, Rhythm, Music and Education, 284. no. 5 (1994). 29 Ibid., 116. 7 McCoy, “Eurhythmics”; Dickson, “The Training of Conductors.” 8 Kristin Bowtell, “The Embodied Score: A Conductor’s Application of the Dalcroze Approach to Interpretive Decision-making” (MM diss., University of Glamorgan,
CHORAL JOURNAL March 2018 Volume 58 Number 8 29 Audition Guidelines For Performance at National Conferences Kansas City, Missouri Feb. 27 – March 2, 2019
Invitations to choirs for ACDA National Conference performances are based solely on the quality of musical performances as demonstrated in audition recordings (uploaded mp3 submissions).
I. Preparation of Mp3s ACDA will consider only UNEDITED mp3 files prepared in compliance with specifications listed below and ac- companied by requested materials in pdf form:
1. proposed repertoire for the 2019 conference; 2. a brief description of the group which may include context for the ensemble (school/community, auditioned, non-auditioned, etc., mission statement (if applicable) and demographics). 3. scanned copies of three representative programs sung by the auditioning group, one each from 2017-2018; 2016-2017; and 2015-2016. (For further information, see Section V. below.)
The uploaded mp3 files should contain only complete pieces. If a longer work is excerpted, several minutes should be included on the file. The repertoire from all three years’ examples should be essentially the same kind as that proposed for the conference performance.
II. Audition Procedures All mp3, pdf, and choir/conductor information will be submitted and uploaded through the link provided at www. acda.org no later than 11:59 pm CDT, April 18, 2018. Upon receipt, a National Office staff member will assign each submission a number to assure confidentiality until after the National Audition Committee has completed its consideration. At no time will the choir/conductor identity be known to any of the audition committee. Submissions must fit into the following Repertoire & Resource committee areas as clarified below:
• Children’s and Community Youth
1. Children’s choirs are defined as unchanged voices and may include school choirs, auditioned community choirs, boychoirs, and church choirs.
2. Youth choirs are defined as community groups including singers ages 12-18, pre-college level, and may include (a) treble voicing, (b) mixed voicing (including changed voices); (c) male or tenor/bass voices (including changing and changed voices). Note: School ensembles need to submit in the Junior High/Middle School or High School categories.
• Junior High/Middle School • Senior High School • Male Choirs or Tenor/Bass Choirs • Women’s Choirs/Treble Choirs • Two-year College: Community College (2 year schools) • College and University (4 or 4+ year schools) • Vocal Jazz • Show Choir (Show Choirs will need to submit both audio and video uploads.)
30 CHORAL JOURNAL March 2018 Volume 58 Number 8 • Community Choirs: ages 18 and up, adult mixed groups or single gender choirs, in either category: (a) volunteer amateur groups with a maximum of one paid leader per section, or (b) semi-professional or professional ensembles with paid members.
• Music in Worship: ages 18 and up adult choirs (treble, mixed or men or tenor/bass voices) including gospel choirs, even those sponsored by a community or school organization. (Note: children’s and youth church choirs can enter in the children’s choir and youth categories).
• Ethnic and Multi-cultural Perspectives: groups that represent various ethnic backgrounds (excluding gospel choirs that will be considered under Music in Worship).
III. Screening Process All auditions will be handled via the ACDA online audition program (Auditions and Sessions) to ensure a fair and unbiased review of all submissions.
There are two levels of screening: 1. an initial or fi rst screening level at which semi-finalists will be selected; and 2. a final screening level at which only those recommended from the fi rst screening will be considered. Each choir is requested to include a brief description of the group, providing context for the ensemble (i.e., school/community, auditioned, non-auditioned, etc., mission statement (if applicable) and demographics. It should be noted that all auditions are “blind,” that is without specifi c knowledge of the identity of the choir or conductor.
For Level 1 In consultation with the National R&R Chair, national chairs for each R&R area will appoint two additional people, representing different divisions, to screen submissions in each category. Auditors will be chosen from outstanding conductors of groups who have previously performed at divisional or national conferences. The online submissions process automatically tabulates responses from listeners in the respective committees and generates a list of up to 20 top submissions for the National Audition Committee. In areas where there are fewer than 20 auditions, the National Committee (Level 2) will hear all submissions.
For Level 2 National Audition Committee members will hear up to 20 choirs in each category, unless fewer than ten are submit- ted in that area, as mentioned above. The review process is online, and all scoring is tabulated and ranked electroni- cally. Score results are submitted to the National Audition Committee Chair and the National Conference Program Chair, who together with the Conference Steering Committee, will decide which eligible groups to invite, in consid- eration of planning the most eff ective conference. Every eff ort will be made to represent a broad range of excellent performing groups, and there is no quota in any area. Audition committee members will not know the identity of groups until AFTER fi nal decisions are made so as to maintain the integrity of the blind audition process.
National Audition Committee members will be selected from the following:
• Division Presidents, past-presidents and/or past divisional and national officers
• National and/or division Repertoire & Resource Chairs in the area of audition
• Outstanding choral directors of groups in the Repertoire and Resource areas being auditioned that performed at previous national conferences
• The National Repertoire & Resource Chair, the National Conference Program Chair, and a designated member of the Diversity Committee.
No person submitting audition materials for the forthcoming conference may serve on either the fi rst screening or final audition committee.
CHORAL JOURNAL March 2018 Volume 58 Number 8 31 All choirs who submitted performance auditions will be notifi ed by the Performing Choir Chair of their audition results no later than June 18, 2018.
IV. Eligibility Conductors must be current members of ACDA and must have been employed in the same position with the same or- ganization since the fall of 2015. No choral ensemble or conductor may appear on successive national conferences. It is understood that ACDA will not assume financial responsibility for travel, food, or lodging for performance groups. This application implies that the submitted ensemble is prepared to travel and perform at the conference if accepted.
V. Items Required for Application Submission:
1. Director’s name, home address, phone, e-mail address, ACDA member number and expiration date.
2. Name of institution, address, name of choir, number of singers, voicing, and age level (See Section II above for clarification regarding Repertoire & Resources area clarification of choir categories).
3. PDF #1 – Proposed Program for Performance at the national conference. Please include title, composer, and ap- proximate performance time in minutes and seconds. The total program time may not exceed 25 minutes including entrance, exit, and applause. The use of photocopies or duplicated music at ACDA conferences is strictly prohibited. Accompaniment in the forms of mp3/tape/CD may not be used on the audition recordings or on ACDA conference programs. Programmed selections will be a consideration in the adjudication process. Programs which include di- verse repertoire (i.e., music from various style periods, music by minority composers, women composers, world music, etc.) are encouraged, unless proposing a concert by a single composer or genre. One manuscript (unpublished) piece may be included.
4. PDF #2 a brief description of the group which may include context for the ensemble (school/community, audi- tioned, non-auditioned, etc., mission statement (if applicable) and demographics).
5. PDF #3, #4, #5 – Programs – Applicants must upload one scanned program page as proof of conducting and programming for each year represented on the recordings, i.e. from 2017-2018; 2016-2017; and 2015-2016.
6. PDF #6 Title, Composer, Recording location (live, studio, rehearsal), Production (unedited only) for each of the submitted uploads.
7. Non-refundable application fee of $50 submitted by credit card only.
8. Recordings in mp3 format based on the following specifications:
The total length of the three audition uploads should be 10 to 15 minutes, one selection each from 2017-2018; 2016- 2017; and 2015-2016. The first uploaded mp3 must be from the current year, 2017-2018; the second uploaded mp3 from 2016-2017, and the third uploaded mp3 from 2015-2016.
All materials must be submitted in full no later than 11:59 p.m. CDT, April 18, 2018 via www.acda.org. An incom- plete upload of all audition materials will not be considered.
VI. Schedule of Dates Audition portal opens January 1, 2018. Application available online at www.acda.org. By April 18, 2018 Audition application, uploads, and payment completed by 11:59 p.m. CDT By June 15, 2018 National auditions completed By June 18, 2018 Applicants notified of audition results
32 CHORAL JOURNAL March 2018 Volume 58 Number 8 Call for Interest Session Proposals 2019 ACDA National Conference Kansas City, Missouri Feb. 27 – March 2, 2019
We’re looking for your best interest session ideas for ACDA’s 2019 National Conference to help America’s conductors reach their full potential, be chal- lenged and inspired, and advance their art. We encourage sessions of all shapes and sizes that address the diversity of our membership and that actively engage participations.
In 2017, approximately 1450 of the Minneapolis attendees were student members of ACDA, with choral profes- sionals representing all areas of education and performance making up the remainder. Meeting attendees are look- ing for high-level content that opens their minds to new possibilities for how they grow in their profession and how they connect back to the field.
All topics will receive consideration and will be evaluated for scholarly content, variety, innovation, value, pedagogi- cal strength, and relativity to current trends in the choral profession. We encourage submissions from members with a wide variety of experience. The conference themes are Legacy and Community. These themes seek 1) to cel- ebrate our past ACDA choral legacy; 2) to ensure the lasting legacy that we collectively leave as artist-musicians, con- ductors, and teachers on our present and the future and 3) to foster community, which is central to the choral art and to our culture as citizens of this nation and of the world. Topics relating to these themes are especially welcomed.
Registration and Travel Info It is understood that ACDA will not assume financial responsibility for travel, food, lodging for presenters or interest session participants. This online application implies that the above-mentioned pre- senter is prepared to travel and perform at the conference if accepted.
Session Presenter Expectations Presenters must be current members of ACDA, willing to grant ACDA rights to record their presentation, and allow ACDA to use such recordings to advance the mission of ACDA. Please note that all accepted presenters are expected to meet ALL posted dates and deadlines. We reserve the right to make adjustments to any session that does not meet deadlines.
Selection Process Submit your session ideas along with headshots and bios by March 31, 2018 through the online application at acda.org. At the end, you will receive an automatic confirmation number of your submission. Keep this confirmation in your files. Each submission will be reviewed by ACDA national Repertoire and Resource chairs and by the conference committee. You will be notified in July 2018 of the status of your submission.
Important! We suggest that you first develop your submission proposal in Word to save your work and then copy and paste the information into the appropriate sections in the online form. The online form does not have spell check so editing your information in advance and then copying and pasting will ensure greater accuracy. Please submit no more than two proposals. *If you are requesting to use a specific demonstration choir, that group must submit a performance audition application to the National Office for consideration (see Audition Guidelines for Performance at National Conferences for details).
Equipment: Presenters will bring their own computer, an adapter and a cord to connect to a projector, if using projection. No Wi-Fi will be available. With the exception of one microphone, LED projector, screen, and sound/ playback, any requests/costs for additional audio-visual equipment will be the responsibility of the presenter.
Eligibility: Presenters must be current members of ACDA.
Application may be submitted online at acda.org beginning January 1, 2018. Deadline: March 31, 2018 11:59 pm CDT
CHORAL JOURNAL March 2018 Volume 58 Number 8 33 Why just sit there? Earn graduate credit attending ACDA Regional Conferences!
DR. ROBERT L. SINCLAIR Dean of Graduate Studies Director of Choral Activities ACDA members can earn graduate credit from VanderCook College of Music for attending performances, clinics and exhibits at ACDA Regional Conferences. Special price for ACDA members: $150 per credit.
For more information, please contact Dr. Robert L. Sinclair, at 312.788.1144 or [email protected]. • Undergraduate • Certification • Graduate • Continuing Education
www.vandercook.edu #TeachMusic
34 CHORAL JOURNAL March 2018 Volume 58 Number 8 KIM ANDRÉ ARNESEN Infi nity
Kantorei • Joel Rinsema
Kim André Arnesen is one of Norway’s most frequently performed contemporary composers. International recognition of his music includes a performance of the beautifully evocative Cradle Hymn at the White House for Barack Obama in 2016. Arnesen’s association with Denver’s Kantorei resulted in their commissioning the warmly expressive ‘The gift I’ll leave you’ and the eloquent ‘Making or Breaking.’ ‘Even when He Is Silent’ sets a text written by a prisoner on a concentration camp wall, and Arnesen’s own summing-up of ‘Flight Song’ is that “music making is the song of new life, fragile as the fall of a feather.”
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CHORAL JOURNAL March 2018 Volume 58 Number 8 35
The Bach vocal Project Reviewed by Terre Johnson
The 500th anniversary of the las and St. Thomas in Leipzig. His stantiated by research in the case of Protestant Reformation has occu- known compositions exist in all the discrepancies in handwritten original pied the primary focus of “Hallelu- musical genres of his time except materials. While conductors who are jah, Amen” in its last several issues. opera, and like most composers, he programming the music of Bach can That focus concludes with a review wrote primarily to fulfi ll the needs of be expected to diligently search for of a new and important resource the positions he held. Not only did defi nitive answers to their questions, that has become available for those he incorporate the musical styles and few of them are availed the time and whose sacred or concert repertoire practice of the day, but he developed resources to thoroughly search origi- includes the vocal music of Johann each one to a level of technical so- nal materials or read multiple docu- Sebastian Bach. phistication and attention to detail ments relating to them. The great Lutheran composer that made each eff ort an example Given the desire for increasingly lived from 1685 to 1750. It is in- of his genius. Bach’s music was sel- well-produced material for use by teresting to note that from Luther’s dom published, and most remained conductors and performers of this birth in 1493 to Bach’s death is a in handwritten copies until the nine- important repertoire, and the de- span of 267 years. From Bach’s teenth century, forgotten and seldom sire for “Hallelujah, Amen” to share death to the recent year of the Ref- performed. Its rediscovery reframed pertinent repertoire and resources, it ormation anniversary also spans 267 musical composition and perfor- is a pleasure to review a monumen- years. Not only does Bach’s monu- mance, and Bach is recognized as a tal and ambitious new publication, mental output of sacred music de- singular composer among Baroque “Bach vocal,” from Carus-Verlag rived from the worship tradition of masters and sacred musicians. Stuttgart. Edited by Ulrich Leisinger Luther place him at the center of Thanks to the fact that centuries and Uwe Wolf, this Stuttgart Bach Protestant music, but his birth, life, passed between the composition and Edition now contains Bach’s com- and death place him at the center of publication of Bach’s music, it is un- plete sacred oeuvre. protestant history. derstandable and not uncommon The complete motets, masses, Bach spent three formative years that the availability of the resources passions, oratorios, and more than attending the Latin school that Lu- necessary for modern performances 200 cantatas are available with com- ther attended 200 years earlier. As of his vast repertoire has been incon- plete performance materials, incor- Bach grew into adulthood, he was sistent and unreliable. Fine editions, porating what the editors perceive to known to possess several theological well-edited and expertly printed, be “the current state of research,” books and the Lutheran translation exist for much of the well-known and including a singable English of the Bible. His vast musical out- canon. Performance materials such text. While much of this music has put of sacred music was composed as full scores, orchestra parts, trans- been available, the achievements of primarily in the years in which he lations, and vocal scores can be this edition include the provision of served the churches of St. Nico- mismatched, however, or unsub- reliably matched and complete per-
CHORAL JOURNAL March 2018 Volume 58 Number 8 37 Hallelujah, Amen! The Bach vocal Project formance material, no matter the instrumentation, and composite edition dating from the nineteenth century. a thoroughness of research no matter how underper- A diff erent approach was also taken for the Mass in B formed the work. Minor. The Carus edition follows the Dresdner parts of The Stuttgart Bach Edition was prepared in coopera- the Kyrie and the Gloria, which were annotated in detail tion with the Bach-Archiv Leipzig. It incorporates “the by Bach himself in 1733, instead of creating an editori- greatest emphasis on the new scholarly edition of the ally problematic compilation from score and parts that music text.” In instances in which there are alterations would have been unfamiliar to Bach in that form. to the music text due to recent research, recordings have In the selection of the versions of works to be taken been made by such leading Bach interpreters as Frieder into consideration, the editors did not only focus on fi nal Bernius, Hans-Christoph Rademann, and Masaaki Su- editions, an aesthetic criterion that could not meaning- zuki. For the largescale works of Bach, discrepancies in fully be applied to Bach, but always kept an eye on per- original material that have been heretofore refl ected in formance relevance. In the case of the cantata Lobe den appendices have, in some cases, led to the publication Herren BWV 69, for example, the version for the Twelfth of entirely diff erent performance editions. For example, Trinity Sunday performed on several occasions by Bach the two complete surviving versions of the St. John Pas- himself during his early Leipzig years (BWV 69a), was sion BWV 245 of 1725 and 1749, the ones performed published in addition to the late cantata for the town by Bach himself, are off ered, along with the traditional council election. The text, which is grounded in the li-
38 CHORAL JOURNAL March 2018 Volume 58 Number 8 A Focus on Music in Worship
turgical year, signifi cantly expands the church music pos- BWV 197/197a sibilities for this cantata. • Sanctus BWV 232 Other individual works that off er valid individual ver- sions are off ered in either separate movement editions • St. John Passion BWV 245 presented in appendices or complete separate editions where warranted. This is the case for: Performance material for works that are incomplete are rendered in a variety of ways, through the addition • Cantatas BWV 50, BWV 69/69a, BWV 80/80b, of individual lost parts, the addition of fragmentary sec- BWV 8, BWV 147/147a, BWV 186/186a, tions of works, or the reconstruction of missing versions
ss his 2.
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BOSTON CONSERVATORY AT BERKLEE VOCAL PEDAGOGY PROFESSIONAL WORKSHOP July 12–15, 2018 For voice instructors and vocal music educators. Kevin Wilson, program director. Register by July 1 at bostonconservatory.berklee.edu/vppw
CHORAL JOURNAL March 2018 Volume 58 Number 8 39 Hallelujah, Amen! The Bach vocal Project of works or whole works. All of these are clearly identi- cialist ensembles to recreate “historical performance fi ed in the music text. The editors for these works are: conditions” (strings and winds playing with diff erent tun- ing pitches.) This availability represents an innovation in • Pieter Dirksen: BWV 188 Bach performance editions. In addition to the possibility of accessing performance • Adreas Glöckner/Diethard Hellmann: BWV 247 material for each work, it is possible to own the entire • Diethard Hellman: BWV 186a, 197a collection—some 12,500 pages of score—in 23 volumes encased in three slipcases. Volumes 1-16 comprise the • Klaus Hofmann: BWV 80b, 139, 157 Cantatas BWV 1-199, and volume 17 contains the Mo- • Reinhold Kubik: BWV 50, 181, 193 tets and Wedding chorales. These are contained in two slipcases. The third case holds the Masses, Passions, and • Detlev Schulten: BWV 192 Oratorios. • Masaaki Suzuki: BWV 162 This defi nitive edition, accomplished over decades by leading Bach scholars, makes this monumental mu- • Masato and Masaaki Suzuki: BWV 190 sic more than just available—it places the same perfor- • Uwe Wolf: BWV 1322, 145a mance material in the hands of both a young conductor and a lifelong researcher. Information on the Stuttgart The diff erent tuning pitches of various instrumental Bach Edition from Carus-Verlag is available at: www. groups in Bach’s early cantatas can be problematic for carus-verlag.com. modern musicians. Solutions are off ered on a case-by- case basis, which result in versions that are performable The author acknowledges the cooperation under modern circumstances. In many cases, however, and detailed information received from the performance material also makes it possible for spe- Miriam Wolf of Carus-Verlag Stuttgart.
A new service learning program opportunity for student chapters
ChorTransform takes students into setti ngs with underserved populati ons – such as urban or rural schools, under-resourced programs, or programs that lack administrati ve or community support – to help pre-service choral directors gain insights into the challenges of early career teaching.
Interested? Want to learn how to start a program on your campus? Contact the ACDA Nati onal Offi ce (Sundra Flansburg - sfl [email protected]) and ask for the ChorTransform Toolkit, which describes program requirements and provides template agreements and other documents.
40 CHORAL JOURNAL March 2018 Volume 58 Number 8 A Focus on Music in Worship Sacred Music Choral Reviews
Sacred Music in an “Americana” Style
How Can I Keep from Singing fi rst verse, she introduces a pulsing diff erent voice leading and rhyth- Music: Robert Lowry vocal obligato in common time, which mic structure in the obligato, creating (1826-1899: 1869) undergirds a repetition of the fi rst and sustaining interest. These obligati Text: Robert Lowry (1869: adapted) verse. The switch to the new meter are not diffi cult, despite being high- arr. Sarah Quartel (1982: 2017) also requires some rhythmic adapta- lighted by gentle dissonance. A rising SSAA, unaccompanied tion of the hymn tune, matching the harmonic structure in the fi rst verse Oxford University Press similar shifts that have appeared in complements a gradual crescendo that 9780193522084 4/4 settings found in some more re- climaxes between verses. In the sec- SATB Product no. 9780193524590 cent hymnals. ond verse, the melody appears over a e-address: https://global.oup.co An obligato frames the strophic new, more elongated and syncopat- hymn tune throughout the arrange- ed accompaniment. Quartel’s alter- ment. Each verse, however, features nates 4/4 and 7/8 time at the end of
CHORAL MUSIC at BUCKNELL UNIVERSITY
This issue’s column will review sacred choral music in an “Ameri- cana” style. It is apropos to start with Sarah Quartel’s beautiful new set- ting of Robert Lowry’s iconic How UNIVERSITY CHOIR & CAMERATA Can I Keep from Singing? The text has Dr. Beth Willer, conductor MUSIC DEGREES OFFERED: undergone numerous addendums Elite ensembles, performing a and modifi cations since its appear- broad repertoire BACHELOR OF MUSIC ance in 1869, often sung with an Frequent collaboration with high-profile Vocal Performance Music Education additional verse by Doris Plenn. guest artists International and Domestic Touring BACHELOR OF ARTS Quartel, however, uses an adapted with concentrations in Performance, Scholarships available for majors and Contemporary Composition, or version of Lowry’s original text and non-majors Cultural and Critical Studies tune for her setting, opening her ar- rangement with a simple solo in tri- bucknell.edu/music ple meter. At the completion of the
CHORAL JOURNAL March 2018 Volume 58 Number 8 41 Hallelujah, Amen! Sacred Music Choral Reviews
the leading to a beautiful, peaceful Text: Isaac Watts (1674-1748: with quick, rugged energy, led by a third verse over a texturally reduced 1707) robust men’s choir in four-part har- vocal accompaniment. The original Arr. by Tim Sharp (1955: 2017) mony. The full SATB chorus enters obligato returns like a bookend for SATB, divisi, unaccompanied at the refrain in a thick seven-part the satisfying coda. Gentry Publications texture. The strong chorus features JG2520 the frequent doubling between voic- Performance demonstration: e-address: es common in shape-note singing. https://www.sarahquartel.com/ www.GentryPublications.com Choirs versed in the best of Parker/ how-can-i-keep-from-singing.php Shaw arrangements will be at home within this harmonic language. The second verse features wom- When I Can Read My Title en’s voices, as Sharp expertly twists Clear harmonic expectations with a drop Music: Tune PISGAH from from G Major to the parallel minor. Kentucky Harmony (1817) His foray into the minor key is brief, attributed to Joseph C. Lowry Tim Sharp’s new setting of When however, for the piece opens up with (19th century?) I Can Read My Title Clear explodes a sudden, sunshine-like transforma- tion to A Major on the words “I can smile.” The men return in verse three with an introduction similar to the opening. The sopranos and altos, however, now echo the men in staggered fuging-tune entrances which individually resolve on tonic before launching the fi nal verse, for the fi rst time sung by the entire en- semble, in D Major. The fi nal verse again features doubled voices in a rousing, joyous chorus culminating in a sparkling unresolved dissonance. Sharp de- scends off of this climactic moment with an almost painted falling dis- sonance on the word “weeping” to For the school of hard knocks. fi nd fi nal resolution quietly in tonic Students can be tough on gear. But with their durable stitched harmony. leatherette covers and bash-resistant metal corner protectors, our folders come prepared. Choose from options like cords and/or rings and foil imprinting to configure your perfect folder for singers, Performance demonstration: conductors or instrumentalists. Fast delivery online or by phone. https://www.jwpepper.com/ When-I-Can-Read-My-Title- 5PMMGSFFt5FMFQIPOF'BY Clear/10795503.item#/submit Free pencil with each folder until March 19, 2018 ordering online using coupon code CJ2P
42 CHORAL JOURNAL March 2018 Volume 58 Number 8 A Focus on Music in Worship
My God Is a Rock fi rst six chapters, the full ensemble Now Shall My Inward Music: Traditional Spiritual sings the chorus again before return- Joys Arise Arr. By Stacey V. Gibbs ing to a new countdown of chapters Music: Tune AFRICA by William (1961: 2017) seven through twelve using similar Billings (1746-1800:1778) Text: Traditional Spiritual with texture. Text: Isaac Watts (1674-1748: 1709) refrain by Vernon J. Charlesworth The countdown ends with a blue- Arr. by Brad Holmes (1956: 2001) (1839-1915: ca 1880) sy, devilishly fun chord progression, SATB, divisi, unaccompanied SATB, divisi, unaccompanied which serves to usher Satan “straight Brad Holmes Music Walton Music Corporation to hell,” before jumping into re- e-address: WJMS1155 peated, grinding, punctuated state- www.BradHolmesMusic.com e-address: www.giamusic.com ments of “Yes, my God is a rock!” The recording demonstration below includes occasional ad lib solo lines from the sextet that do not appear in the music, but which are stylisti- cally important. Gibbs’ penultimate, dissonant chord begs for resolution and fi nds it by landing and remain- No study of sacred “Americana” Stacey Gibbs’ extended arrange- ing satisfyingly on the minor tonic. would be complete without includ- ment of My God Is a Rock immedi- ing music by William Billings. His ately grips the listener with stun- Performance Demonstration: extended choral works and fuging ning, aural gravitas. Gibbs arranges https://soundcloud.com/walton- tunes should be staples in any serious this traditional spiritual such that it music/gibbs-my-god-is-a-rock choral library, though more strophic successfully creates exciting choral hymn tunes like Africa sometimes go tension while still managing to drip with profound worldly weariness. The piece is certainly reserved for For advanced singers talented ensembles—basically set for Chamber Choir & and choral directors double choir consisting of a SATB Sessions and final concert choir with divisi and a featured, six- Choral Conducting Workshop video and audio recorded led by Conductors will have the part treble ensemble for the most ac- • Simon Carrington August 12 – 19, 2018 opportunity to conduct complished voices. choral and instrumental The sextet introduces the spiritu- ensembles Deadline: March 22, 2018 al’s chorus and then expounds upon Repertoire from the Questions: [email protected] • 860.542. 3000 the material in complex echoes. The Renaissance to the Apply: norfolkmusic.org 21st century SATB choir enters under the fea- tured ensemble with symbolically fatigued triplet repetitions of the titular text. The SATB choir then performs an incipit-like introduction to the verses, after which the sex- tet trades solo lines using a “count- down” of six biblical chapters and YALE SCHOOL OF MUSIC • NORFOLK CHAMBER MUSIC FESTIVAL Robert Blocker, Dean • Melvin Chen, Director YALE INSTITUTE OF SACRED MUSIC Martin D. Jean, Director divine acts from the Bible. After the
CHORAL JOURNAL March 2018 Volume 58 Number 8 43 Hallelujah, Amen! Sacred Music Choral Reviews
unsung due to lack of quality ar- Brad Holmes follows Billings’ in- out dynamic indications, which al- rangements. Billings’ own instruc- structions to provide an increasingly lows the director and singers some tions recommend doubling voices complex sonic landscape in his ar- freedom to experiment. and switching melodies between rangement of Now Shall My Inward The score contains suggestions for sections on repeats, which often puts Joys Arise (Africa) without creating un- changing tonal production to match the onus for creatively arranging the due diffi culty for the average choir. an early American “unlearned” hymn onto the shoulders of the di- Firmly in the spirit of Billings and sound, a hallmark of Holmes’s work rector and performers. shape-note singing, Holmes leaves with his Milliken University choirs.
44 CHORAL JOURNAL March 2018 Volume 58 Number 8 A Focus on Music in Worship
Unique in these instructions is the iar music, set in pulsing, energetic year. suggestion to employ snaps, claps, syncopation. Harmonically, Garrett The motet structure leads to the and stomps in the performance. The provides brief examples of modern fi nal section of the arrangement, arranger admits these possibilities cluster harmony that serves to set which employs more extensive divisi. are “beyond the typical practice of this arrangement apart from its pre- Defi ned by funk-inspired syncopat- shape-note singing,” but performed decessors. ed rhythms in the upper voices over well, they add a great deal of excite- Uniquely, Garrett also provides a bass soli lines, the piece drives to an ment to an already eff ective arrange- beautiful central motet using Jesus’s exciting staccato fi nish without ritard. ment. These rhythmic indications famous quote from St. Matthew’s are not present in the score, however, Gospel, “Come unto me, all ye that Performance demonstration: but are included in the performance labor…” The motet setting is a fi t- https://www.youtube.com/watch?v demonstration below. ting commentary on the spiritual’s =g6GRpamt2uc&feature=youtu.be text, as well as a stark artistic con- Performance demonstration: trast to its familiar melody. In fact, http://bradholmesmusic.com/ the motet could easily be excerpted Timothy Michael Powell, arrangements-publications/africa-2 for a prayer response or choral in- Atlanta, GA troit, providing additional fl exibility for repertoire throughout the church Sit Down, Servant Music: Traditional Spiritual Text: Traditional, quoting Matthew 11:28-29 NEXTDIRECTION Arr. by Marques L. A. Garrett (1984: 2015) A new program to inspire and SATB, divisi, unaccompanied develop future choral conductors G. Schirmer Collegiate Symposium Joe Miller, #HL 50600744 headline conductor e-address: www.halleonard.com June 25-27, 2018
High School Conference Edith Copley, headline conductor June 27-30, 2018
Developed by the Wisconsin Choral Directors Association as a state program, the Wisconsin developers and ACDA are opening the event up Concluding this article’s review to a national audience in 2018. of sacred music in an “Americana” style, Marquest L. A. Garrett’s Sit It is being planned as a collaborative Down, Servant is a rhythmic, fresh sponsorship between ACDA national, regional, approach to this beloved concert and state levels. Stay tuned for more! spiritual. The altos and basses domi- nate the introduction with almost To be notified as the event develops, contact the ACDA National Office pizzicato echoes amidst soprano and tenor harmony, leading to the initial ([email protected]). homophonic rendition of the famil-
CHORAL JOURNAL March 2018 Volume 58 Number 8 45 ANNOUNCING NORTH DAKOTA STATE UNIVERSITY’S 3rd CHORAL SYMPOSIUM
OCTOBER 11-13, 2018 FARGO, ND INCLUSION • SOCIAL JUSTICE • TRANSFORMATION DIVERSITY • INSPIRATION • COMMUNITY
FEATURING Craig Hella Johnson Conducting Conspirare in Considering Matthew Shepard
CONCERTS • INTEREST SESSIONS CALL FOR PAPERS APRIL 1, 2018 SEND PROPOSALS TO DR. JO ANN MILLER [email protected] ndsu.edu/music
The Doug and Jackie Nielsen Bakken Choral Residency Fund RRepertoireepertoire & ResourcesResources
the All-State choirs of the fi fty states guest clinician selected to conduct YYouthouth ChoirsChoirs has a profound eff ect on the choral each choir for the festival. Some Gretchen Harrison music purchased and performed states have three All-State choirs— National R&R Chair throughout the nation. men’s, women’s, and mixed—while [email protected] the majority of states have a single mixed choir. In most states, the All- High School All-State All-State Choral Music: Choral Music Study Has it Changed in A 2004 study evaluated the High the Past 15 Years? School All-State choral music select- ed for all fi fty states over the period A comparison of the music of fi ve years from 1995 to 2000.1 selected 1995-2000 and 2014 Building upon the lists complied by by Jamie Spillane Rebecca Reames and published an- nually in the Choral Journal between 2 The All-State choir format is one 1997 and 2001, each of the 2500+ of the most important forces dictat- compositions programmed during ing the choral music programmed the period was evaluated according and heard each year throughout the to how often each individual com- United States. It is also one of the poser was represented, how often most measureable in regards to cur- each specifi c composition was se- rent thoughts on choral music selec- lected, the style period of each work, tion. A choral work that is selected which guest conductor selected the for a single All-State choir in a large work, specifi c voicing utilized, and state can result in the sale of thou- whether it was part of a balanced sands of copies of an octavo and of- program. As this type of study has ten a hundred or more performanc- not been revisited in over a decade, es of a new work in a single year. this author chose to take a snapshot All-State choirs are most often con- of more current trends by evaluating ducted by university professors who the choral music selected for a re- work diligently to produce a varied cent year to see how All-State choral program of music that is musically music has changed in the years since interesting, moderately challenging, that music was last investigated. educationally sound, and compel- The year of 2014 was selected, ling for the choir and audience. The and each state was contacted re- music selected for performance by questing the list of works and the
CHORAL JOURNAL March 2018 Volume 58 Number 8 47 RRepertoireepertoire & ResourcesResources - YouthYouth ChoirsChoirs
State choir is governed by the feder- list of most-programmed compos- signifi cant increases in the program- ated state chapter of the National ers as they were in 1995-2000. Also ming of Folk, Romantic, and Re- Association for Music Education expected was the rise of new com- naissance music and slightly less pro- (NAfME). In other states, the Ameri- posers who were not present on the gramming of Baroque and Classical can Choral Directors Association original list. See Table 2 for a list of music (Table 3). (ACDA) or other state organization the most selected composers. Music The “most-programmed compo- such as the Iowa High School Music being selected for All-State choirs is sitions” list comparing 1995-2000 Association sponsors the festival. one of the most effi cient means of and 2014 shows signifi cant diff erenc- Table 1 shows the new list of All- promoting newly composed choral es (Tables 4 and 5). This is expected State choral music from 2014 that music. Guest conductors often seek because of all the new compositions was generated and evaluated accord- new music for their own programs, created in the ensuing fourteen years, ing to the categories identifi ed above. and participating high school direc- but it is also evident for the non-con- There were signifi cant areas of com- tors are always on the lookout for temporary pieces. Moses Hogan’s monality with the previously studied new literature. The 2014 programs well-loved arrangements of spiritu- music from 1995 to 2000. Com- tend to be similarly balanced as to als have consistently remained some posers such as: Handel, Brahms, genre and style period as they were of the most programmed choral Mendelssohn, Mozart, Haydn, Eric in the previous study, with new mu- music for festival choirs for the past Whitacre, Rene Clausen, and Moses sic being selected four to one over twenty years. His interesting and en- Hogan are still near the top of the other genres. There were small but ergetic writing, while still being ac- cessible to a high school musician, is appealing to the All-State conductor, singer, and audience member alike. Stacey Gibbs is quickly following in Hogan’s footsteps, and his arrange- ments are evident on more and more programs. Another interesting phenomenon is that it is not only newly composed “I continue to work with Witte for a reason: they works that we fi nd on the 2014 list understand our desired outcomes and make every effort to help us accomplish those goals. that were not evident on the 1995- The formal concert planning was exactly what 2000 list. Older compositions have we asked for, and the informal and impromptu occasionally been rediscovered by a performances were serendipitous and exciting. conductor, and the work becomes The staff did a fantastic job.” popular as more directors become — Dr. Porter Stokes, Director, The Presbyterian College Choir aware of it. A good example is Mo- (Czech Republic, Austria & Hungary – February 2017) zart’s Veni Sancti Spiritus K.47. This work does not appear at all on the GO BEYOND lists from 1995-2000 but was pro- A Leader grammed three times in 2014. In Concert Tours GO WITTE SINCE In the November 2017 issue of 1975! Choral Journal, there was a Letter to the Editor from ACDA’s Diversity Initiatives Committee3 regarding 800 GO WITTE an article from the September 2017 www.wittept.com issue titled “Most Recommended Choral Music from 20 State Music
48 CHORAL JOURNAL March 2018 Volume 58 Number 8 Lists.”4 Valid concerns were raised the 2014 All-State choir list includes ress; the list includes the music of a regarding the preponderance of the over 10%. Overall, if we count mu- dozen women composers, includ- music of male composers, North sic of female composers, Non-North ing an arrangement of Hildegard American and European compos- American or European composers, Bingen’s O Frondens virga, new mu- ers, Caucasian composers, and sa- Non-Caucasian composers, and sic such as Joni Jensen’s El Vito and cred texts of the Christian tradition. sacred texts not from the Christian Andrea Ramsey’s I See the Heaven’s While it is beyond the scope or in- tradition, 26% of the 2014 All-State Glories Shine, and works that are not tent of this article to look closely into list can be counted as supporting di- only composed by women but uti- specifi c areas of diversity, there are a versity in some form. lize texts that speak to empowering few important highlights to note. Where there is a signifi cant diff er- women such as Rosephanye Powell’s When we evaluate the composi- ence between the two lists is in the Still I Rise and Susan Borwick’s Ain’t tions on the 2014 All-State list with music of women composers/arrang- I a Woman with a powerful text by regard to the aforementioned diver- ers. In 1995-2000, the top eighty freed female slave Sojourner Truth. sity focus, we fi nd the same areas of works included the compositions of Although there is still much more concern and some signifi cant diff er- only two women: Willametta Spen- work to be done with respect to di- ences. Whereas only 1% of the com- cer’s At the Round Earth’s Imagined Cor- versity in state choral music lists, this positions included in the September ners, and Viva L’amour, arranged by does represent progress in the right 2017 state music list were composed Alice Parker and Robert Shaw. In direction. or arranged by female composers, 2014, there seems to have been prog- This study of All-State choral lists
Choral Masterworks– CHORAL & VOICE Haydn’s The Creation July 9-13, 2018 Faculty: Ann Howard Jones and William Weinert In-depth analysis and rehearsal, with attention to issues of Classical-era performance practice. The Complete Conductor July 16-20, 2018 William Weinert, director Faculty: Robert Swensen, Kathryn Cowdrick, Monica Dale Daily sessions in conducting, singing, musicianship, vocal pedagogy, and Dalcroze Eurhythmics. Singing Gregorian Chant and Renaissance Polyphony - San Francisco June 25-29, 2018 Schubert to Sondheim: Pedagogy for the Male Voice July 16-20, 2018 summer.esm.rochester.edus [email protected] ((585) 274-1074 | Toll-free: 1-844-820-3766
CHORAL JOURNAL March 2018 Volume 58 Number 8 49 RRepertoireepertoire & ResourcesResources - YouthYouth ChoirsChoirs
serves as a valuable resource, par- prove as a valuable resource for All- though the music was programmed ticularly for high school-level choral State chairs nationwide in assuring for auditioned high school festival directors in providing strong insights the selection of successful programs choirs, most of this music was origi- into the current state of new music for each year’s festival. nally heard on the programs of the and newly found historical music. Further study could initiate the clinicians’ own collegiate or church Most helpful would be to create a creation of some general guidelines choirs. Conductors are forever striv- yearly list of the music selected so for festival music selection with in- ing for more resources to fi nd the directors can be aware of what is sights garnered from the past All- best music to program for our own programmed throughout the nation. State programs. Although all of the choirs. Any comprehensive resource Collecting the repertoire and con- guest conductors selected to direct is valuable, and any resource that ductor information of the fi fty states All-State choirs are worthy, some provides a nationwide view can be is challenging and time consuming. have less experience in choosing especially helpful. If there were a database where the music for large high school festival All-State choral chair from each state choirs, and insight and guidelines could simply upload each year’s All- would benefi cial for all involved. NOTES State choral program information, it This study is also informative to would provide a wealth of informa- choral directors of collegiate, com- 1 James Spillane, “All-State Choral tion. This information would also munity, and church programs. Al- Music: A Comprehensive Study
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50 CHORAL JOURNAL March 2018 Volume 58 Number 8 of the Music Selected for the High and conductors of Fifty All- Editor” Choral Journal 58, no. 4 School All-State Choirs of the Fifty State Choirs, 1997-1998” Choral (2017): 6. States from 1995-2000” DMA diss., Journal 39, no. 8 (1999): 49-63; 4 Jim Watson, “Most Recommended University of Arizona, 2004. Rebecca Reames, “1998-1999 Choral Music from 20 State Music 2 See: Rebecca Reames, “Repertoire All-State Choirs: Repertoire Lists” Choral Journal 58, no. 2 and conductors of Fifty All- and conductors” Choral Journal (2017): 8-22. State Choirs, 1995-1996” Choral 40, no. 5 (2000): 62-70; and Journal 38 no. 5 (1997): 29-32; Rebecca Reames, “1999-2000 Jamie Spillane is associate profes- Rebecca Reames, “Repertoire All-State Choirs: Repertoire and sor of music and director of choral and conductors of Fifty All- conductors” Choral Journal 41, no. 5 studies at the University of Con- State Choirs, 1996-1997” Choral (2001): 47-64. necticut. [email protected] Journal 39, no. 7 (1999): 45-57; 3 The Diversity Initiatives Committee Rebecca Reames, “Repertoire and Emilie Amrein, “Letter to the
Table 1. All-State Choral Music 2014 by Composer Composer Title Voicing Conductor State
Afonso Jr., Daniel Rufi no Rosa Amarela SSAA Mariana Farah ID Aitken, Paul A. Flanders Fields SATB Julie Yu-Oppenheim LA Alexander, John and McSweeney, Ryan arr. Buffalo Gals SATB Andrew Clark PA Alexander, John Starr Aia Ke Kanaka SATB Ron Kean HI Allaway, Ben Wake Up Ollie Brown SATB Sarah Graham WA Ames, Jeffrey Gloria Fanfare SATB Eph Ehly ID
Holy Is the Lord SSAA Lynne Gackle MS In Remembrance SATB John Hurty WV Tshotsholoza TTBB Paul Carey TN Antognini, Ivo Rose of Sharon SATB Julie Yu-Oppenheim LA Argento, Dominick So I’ll Sing With My Voice SATB Ellen Gilson Voth RI Azelton, Phil arr. When I Fall in Love SATB Michael Crawford AK Bach, Johann Sebastian Wir eilen mit schwachen, doch emsigen Schritten SATB Craig Jessop NE Bach, Johann Sebastian/Swingle, Ward arr. Aria SATB Abigail Butler NH Bárdos, Lajos Tambur SATB Vijay Singh DE Cantemus! SATB Sarah Graham WA Barnes, Eric Lane Lambscapes; Historical Settings of Mary and Her Lamb TTBB Jonathan Palant AL
Lambscapes; Historical Settings of Mary and Her Lamb TTBB Paul Carey TN
Barnum, Eric William A Red, Red Rose TTBB Lee Nelson MN She Walks In Beauty SATB Rodney Wynkoop NC
CHORAL JOURNAL March 2018 Volume 58 Number 8 51 Barnum, Eric William The Sweetheart of the Sun SATB Daniel Bara AK, AL, VT Barnwell,RRepertoireep eYsayertoire & ResourcesResourSpiritualces SATB Paul Rardin IL Basler, Paul “Alleluia” from Songs of Faith SATB Bradley Almquist AK
“Alleluia” from Songs of Faith SATB Lori Hetzel RI “Alleluia” from Songs of Faith SATB Shannon Jeffreys SC Sing to the Lord TTBB Jonathan Palant AL Beck, John Ness Exhortation SATB Michael Crawford AK Beethoven, Ludwig van “Hallelujah” from Mount of Olives SATB Craig Jessop NE
“Hallelujah” from Mount of Olives SATB Christopher Peterson OR Berkey, Jackson Sacramento Sis Joe SATB Vijay Singh DE Bermel, Derek arr. Kpanlongo SATB Michael Crawford AK
Kplanlongo SATB Daniel Bara VT Bernstein, Leonard/Page, Robert arr. “Best of All Possible Worlds” from The Candide SATB Elena Sharkova TX Betinis, Abbie Cedit, Hyems! SATB Paul Rardin FL
Cedit, Hyems! SSAA Eric Johnson WI Biebl, Franz Ave Maria TTBB Paul Caldwell SC Bingen, Hildegard von/Collins, Drew arr. O Frondens Virga SSAA Sigrid Johnson NC
O Frondens Virga SSAA Lori Hetzel RI Bizet, Georges/Biddlecombe, Tucker arr. Ouvre Ton Coeur SSAA Trey Jacobs WA Bleckner, Andrew Psalm 150: Hallelujah! SATB Bruce Rogers CO Borwick, Susan And Ain’t I A Woman SSAA Andrea Ramsey AK, KY Brahms, Johannes Der Abend SATB Joe Miller TN Brahms, Johannes Der Gang zum Liebchen Drei Quartette Op. 31 SATB Lee Nelson IA Der Gang zum Liebchen Drei Quartette Op. 31 SATB Betsy Cook Weber MO Der Gang zum Liebchen Drei Quartette Op. 31 SATB Jo-Michael Scheibe NV How Lovely Is Thy Dwelling Place SATB Sandra Snow VA Liebeslieder Waltzer #6 SATB Abigail Butler NH The May Night SATB Ron Kean HI O Heiland, reiss die Himmel auf, Op. 74 No. 2 SATB Elena Sharkova TX Wechsellied Zum Tanz SATB Christopher Peterson OR Wie Lieblich sind deine Wohnungen SATB Joshua Habermann CA Brahms, Johannes/ Stroope, Z. Randall arr. Mainacht SSAA Deanna Joseph NJ Brandon, Jenni A Universal Dream SSAA Lori Hetzel RI Brazilian folk tune Muie Rendera SSAA Shannon Chase NH Brinsmead, Daniel Trees SATB Jo-Michael Scheibe MN Britten, Benjamin Ballad of Little Musgrave and The Lady Barnard TTBB Paul Rardin AK
52 CHORAL JOURNAL March 2018 Volume 58 Number 8 Bruckner, Anton Os justi SATB Eph Ehly ID
Os Justi SATB Judy Bowers MI Os justi SATB Andrew Clark PA Brumfi eld, Susan arr. By the Rivers of Babylon SSAA Susan Brumfi eld LA
La Violette SSAA Lynne Gackle MS No Time SSAA Bradley Almquist AK No Time TTBB Z. Randall Stroope CA No Time SSAA Shannon Jeffreys SC No Time SSAA Bobby Ivey TN Brunner, David Brainstrom SATB David Brunner NM Cloth of Glory SATB David Brunner KS I Am in Need of Music SATB Brad Holmes AZ, CT I Am In Need of Music SATB David Brunner NM I Am In Need of Music SATB Sarah Graham WA Burchard, Richard When David Heard SATB Bruce Rogers CO Burleigh, Harry T. My Lord, What a Mornin’ SATB Bruce Rogers CO Busselberg, Paul arr. Skip to My Lou SATB Sandra Snow VA Busto, Javier Ave Maris Stella SATB Vijay Singh DE
Salve Regina SSAA Elena Sharkova AL Byrd, William Ave Verum SATB Edith Copley LA Caldwell, Paul and Ivory, Sean arr. Go Where I Send Thee SSAA Karen Kennedy CA Go Where I Send Thee TTBB Paul Caldwell SC John the Revelator SATB Abigail Butler NH John the Revelator SATB Paul Torkelson SC, WI Rorate Caeli Desuper TTBB Paul Caldwell SC Ain’t No Grave Can Hold My Body Down SATB David Brunner NM Gabriel SATB Pearl Shangkuan IN Joshua SSAA Sigrid Johnson NC Caldwell, Paul arr. Vela Vela TTBB Paul Caldwell SC Carey, Paul Dies Irae TTBB Paul Carey TN
The Night Is Young SATB Sarah Graham WA Carissimi, Giacomo/ Clough-Leighter, Henry arr. Plorate fi lii Israel SATB Sandra Snow VA Carnahan, Craig Everyone Sang SATB Jo-Michael Scheibe MN Carter, Andrew “Gloria” from Missa Brevis SSAA Jeffrey Redding TX Casals, Pablo Nigra Sums SSAA Julie Yu-Oppenheim DE Chatman, Stephen In Flanders Fields TTBB Rosalind Hall CO
CHORAL JOURNAL March 2018 Volume 58 Number 8 53 Cherle,RRepertoiree pXiu-Laner Yangtoire & ResourcesResourTaic Yanges Chiu Lai La SSAA Karen Kennedy CA Childs, David Weep No More SSAA Bradley Almquist AK Weep No More SSAA Shannon Chase NH Christiansen, F. Melius Praise to the Lord Almighty SATB Paul Rardin IL Chydenius, Jussi I Am the Great Sun SATB Sandra Snow VA Clausen, René All that Hath Life and Breath SSAA Bobby Ivey TN Barter SSAA Sigrid Johnson NC Hymn of Praise SATB Jean Applonie UT Prayer SATB Daniel Bara AK Sigh No More Ladies SATB Michael Culloton ND Cochran, Grant arr. Ahrirang SATB Jerry McCoy MA Conte, David The Homecoming SATB Paul Rardin FL Coolen, Michael An Afro-Celtic Diddle SATB Jefferson Johnson MS Copland, Aaron Stomp your Foot SATB Abigail Butler NH Courtney, Craig Be Still My Soul SATB Jean Applonie UT Cox, Michael Praise Him! TTBB Rosalind Hall CO Crutchfi eld, Jonathan arr. O Susannah! SATB Edith Copley LA
Culloton, Matthew arr. To the New Jerusalem SATB Michael Culloton ND
Daley, Eleanor Lake Isle of Innisfree SSAA Judith Willoughby CO
Dalglish, Malcolm “Paradise Song No. 18” from Hymnody of Earth TTBB Geoffrey Boers TX
Reel a Bouche SSAA Shannon Jeffreys SC Davisson, Ananias/Bjella, Richard arr. Idumea TTBB Jonathan Palant AL Davison, Dan Ritmo SATB David Brunner KS Ritmo SATB Ellen Gilson Voth RI Dawson, William arr. Ezekial Saw de Wheel SATB Andrew Clark PA Ezekiel Saw de Wheel SATB John Hurty WV de Beer, Rudolf arr. Trad. Zulu Amavolovolo SATB Sandra Snow VA Debussy, Claude/Raines, Alan, arr. Nuits d’Etoiles SSAA Karen Kennedy CA, NY De Cormier, Robert arr. Rainbow ‘Round My Shoulder TTBB Z. Randall Stroope CA Dello Joio, Norman The Bluebird SATB Jo-Michael Scheibe NV, MN Of Crows and Clusters SATB Julie Yu-Oppenheim LA Dello Joio, Norman/McGill, Stan arr. A Julilant Song TTBB Geoffrey Boers TX Dickau, David i carry your heart with me SATB Jefferson Johnson MS i carry your heart with me SATB Christopher Peterson OR If Music Be the Food of Love SATB Duane Carne MD
54 CHORAL JOURNAL March 2018 Volume 58 Number 8 Diemer, Emma Lou Hope is the Thing SSAA Deanna Joseph NJ If You Were Coming in the Fall SSAA Deanna Joseph NJ Dilworth, Rollo Make A Joyful Noise SSAA Deanna Joseph NJ Take Me to the Water SATB Bruce Rogers CO Dove, Jonathan “Ring Out, Wild Bells” from The Passing of the Year SATB Paul Rardin FL Dunnevant, Patrick Why Learne to Sing? SATB Joe Miller TN Dvoˇrák, Antonin/Slavkovsky, Janacek Three Moravian Duets SATB Betsy Cook Weber MO Elder, Daniel Ballade to the Moon SATB Lee Nelson IA Ballade to the Moon SATB Edith Copley LA Ballade to the Moon SATB Joe Miller NY, TN Elegy SATB Joe Miller GA, MT, NY, TN Lullabye SATB Joe Miller GA, MT Elgar, Edward The Snow SSAA Mariana Farah ID The Snow SSAA Mary Kay Geston ND Elgar, Edward, arr. Giardiniere Agnus Dei (“Nimrod” Variation SATB Paul Rardin FL from Enigma Variations) Enders, Harvey Russian Picnic SATB Patrick Patton WY Engelhardt, Michael arr. Gaudete TTBB Ethan Sperry KY Gaudete SSAA Bradley Almquist AK Erb, James Shennandoah SATB Abigail Butler NH
Shennandoah SATB Andrew Clark PA Fanshawe, David “Kyrie/Call to Prayer” from African Sanctus SATB Patrick Patton WY Farthing, Scott Gospel America SATB Eph Ehly ID Fauré, Gabriel Cantique de Jean Racine SATB John Hurty WV Fauré, Gabriel/Scott, K. Lee arr. Cantique de Jean Racine TTBB Ethan Sperry KY Finzi, Gerald My Spirit Sang All Day SATB Joe Miller GA, MT Forbes, Guy Ave Maria SSAA Hilary Apfelstadt MD Forrest, Dan Lord of the Small SATB André Thomas SD The Music of Living TTBB Jonathan Palant AL The Music of Living SATB Bruce Rogers CO The Music of Living SATB Sandra Snow KY The Music of Living TTBB Geoffrey Boers TX Psalm 8 (Adonai, Adonenu) SSAA Trey Jacobs WA You Are the Music SATB Michael Crawford AK You Are the Music SATB Eph Ehly ID
CHORAL JOURNAL March 2018 Volume 58 Number 8 55 Forrest,RRepertoireep Danertoire & ResourcesResourYouce Ares the Music SATB Joey Martin OK Foss, Chris Fiddle Tune TTBB Geoffrey Boers TX Fritschel, James Qui Sedes SATB Paul Torkelson SC, WI Fry, Gary Heartland SATB Brad Holmes AZ, CT Galian, Oscar Salseo SATB Jerry McCoy MA Galuppi, Baldassare Dixit Dominus SSAA Hilary Apfelstadt MD Garrett, Marques Hold On! SATB Christopher Peterson OR Gavrilin, Valery Chimes: On Reading V. Shukshyn Miracle Play - SATB Elena Sharkova TX Choral Symphony Gawthrop, Daniel Sing Me To Heaven SSAA Bobby Ivey TN Gesualdo, Carlo/Carey, Paul arr. O vos omnes TTBB Paul Carey TN Gibbs, Stacey arr. I Don’t Feel No Ways Tired SATB Paul Rardin IL
Way Over in Beulah Lan’ SATB Lee Nelson IA
I Don’t Feel No Ways Tired SATB David Brunner KS
Great God Almighty SATB Elena Sharkova TX
Great God Almighty SATB Jo-Michael Scheibe NV Witness SATB Joe Miller TN Gjeilo, Ola Northern Lights SATB Jean Applonie UT
Prelude SATB Duane Carne MD Prelude SATB Betsy Cook Weber MO Serenity SATB Christopher Peterson OR Shimmering SSAA Sandra Peter MN Tundra SSAA Lynne Gackle NM Tundra SSAA Bobby Ivey TN Ubi Caritas SATB David Brunner KS, NM Gloria SSAA Deanna Joseph NJ Glick, Srul Irving “Psalm 23” from Psalm Trilogy SSAA Mariana Farah ID Goldstaub, Paul Scherzo SSAA Hilary Apfelstadt MD Gorczycki, Grzegorz In Virtute Tua SATB Michael Culloton ND Green, James Di Profundis SATB André Thomas SD Guastavino, Carlos Se Equivocó la Paloma SATB Joshua Habermann CA Guillaume, Sydney Kalinda SATB Edith Copley LA Gyöngyösi, Levente Gloria Kajoniensis SSAA Karen Kennedy CA Hagen, Joselyn Moon Goddess SSAA Sandra Peter MN Hakenberger, Andreas Exultate Justi in Domino SATB Jo-Michael Scheibe MN
Halley, Paul Untraveled Worlds SSAA Julie Yu-Oppenheim DE
56 CHORAL JOURNAL March 2018 Volume 58 Number 8 Halley, Paul Untraveled Worlds SATB Abigail Butler NH Halmos, László Jubliate Deo SATB Ellen Gilson Voth RI Handel, G. F. Hallelujah, Amen SATB Ron Kean HI Let Their Celestial Concerts All Unite SATB Daniel Bara AK Sing Unto God SATB Peggy Detwiler NJ Zadok the Priest SATB Paul Torkelson SC And the Glory of the Lord SATB Joe Miller NY Hallelujah Chorus SATB Andrew Clark PA Zadok the Priest SATB Paul Torkelson WI How Excellent Thy Name SATB Jefferson Johnson MS Music Spread Thy Wings Around SATB Duane Carne MD Handel, G. F./Thomas, André ed. The King Shall Rejoice SATB Judy Bowers MI The King Shall Rejoice SATB André Thomas SD Handel, G. F./Higgins, G.F. “Hallelujah” from Soulful Celebration SATB Patrick Patton WY Handel, G. F./Ohl, Dorothy & Ferris arr. Swell the Full Chorus TTBB Z. Randall Stroope CA Handel, G.F./arr. Davidson “Hallelujah“ from Judas Maccebeus TTBB Rosalind Hall CO Handel, G.F./Liebergen, Patrick, ed. Sing Unto God SATB Vijay Singh DE Handl, Jacob Canite Tuba in Zion TTBB Lee Nelson MN Hanson, Howard Song of Democracy SATB Judy Bowers MI Harrison, Teddy Kalanda Jambo SSAA Eric Johnson WI Hassler, Hans Leo/Taylor, Scott arr. Cantate Domino TTBB Z. Randall Stroope CA Hatfi eld, Stephen Dubula SSAA Andrea Ramsey KY Jabula Jesu SATB Rodney Wynkoop NC Haydn, Franz Joseph ”Agnus Dei” from Paukenmesse SATB Paul Rardin IL ”Awake the Harp” from Creation SATB Daniel Bara AL “Gloria” from Missa in tempore belli SATB Paul Rardin FL “Gloria” from Harmoniemesse SATB Pearl Shangkuan IN The Heavens are Telling SATB Lee Nelson IA Haydn, Franz Joseph/Barnaby, Joseph arr. Insanae et Vanae Curae SATB Elena Sharkova TX Haydn, Michael Laetatus Sum SATB Peggy Detwiler NJ Hayes, Mark I Am the Man SATB Eph Ehly ID Henderson, Ruth Watson Cantate Domino SSAA Judith Willoughby CO Cantate Domino SSAA Sigrid Johnson NC Three Maritime Folk Songs SSAA Hilary Apfelstadt MD Hensen, Blake R. My Flight for Heaven SATB Paul Torkelson SC, WI Herndon, James/ Holland, Roger M. arr. Sweepin’ Through the City (I Won’t Be Back) SSAA Jeffrey Redding TX
CHORAL JOURNAL March 2018 Volume 58 Number 8 57 Hogan,RRepertoireep Moseser arr.toire & ResourcesResourIc Cane Tells the World SATB Edith Copley LA I Can Tell the World SATB Karen Kennedy OH Plenty Good Room TTBB Pearl Shangkuan IN Music Down In My Soul SATB Daniel Bara AK, AL Music Down In My Soul SSAA Shannon Chase NH Music Down In My Soul SSAA Karen Kennedy NY Music Down In My Soul SATB Daniel Bara VT My Soul’s Been Anchored in the Lord SATB Duane Carne MD The Battle of Jericho SATB Joshua Habermann CA The Battle of Jericho SATB Craig Jessop NE Walk Together Children SATB Michael Culloton ND Hogan, Moses/Eklund, Peter arr. The Battle of Jericho TTBB Paul Carey TN Hogan, Moses arr./Dillworth, Rollo adp. My Soul’s Been Anchored In the Lord SSAA Elena Sharkova AL Holmes, Brad arr./Read, Daniel Windham SATB Brad Holmes AZ, CT Holmes, Brad arr./Smith, Todd Noel SATB Lee Nelson IA Noel SATB Joe Miller NY Noel SATB Karen Kennedy OH Holst, Gustav Nunc Dimitis SATB Joe Miller NY, TN To Agni SSAA Eric Johnson WI Horvit, Michael Even When God Is Silent SATB Rodney Wynkoop NC Houston, Seth Emerald Stream SATB Jo-Michael Scheibe MN A Miner’s life SATB Jo-Michael Scheibe NV Jacobson, Joshua “Mayim Mayim” from Hey Harmonica SATB Ellen Gilson Voth RI Jansson, Lars arr. To the Mothers of Brazil: Salve Regina SATB Betsy Cook Weber MO Jenning, Carolyn Some Glad Morning SSAA Mary Kay Geston ND Jensen, Joni La Maumariee SSAA Susan Brumfi eld LA
El Vito SSAA Jeffrey Redding TX
El Vito SSAA Trey Jacobs WA El Vito SSAA Sandra Peter MN
Johnson, Craig Hella arr. Hard Times Come Again No More SATB Andrew Clark PA Soon Ah Will Be Done/I Wanna Die Easy SATB Paul Rardin FL Until Even the Angels (from Dorothy Poems) SSAA Eric Johnson WI Johnson, Eric Cuncti simus SATB Christopher Peterson OR Johnson, Jefferson arr. Down to the River to Pray SATB Jefferson Johnson MS Johnson, Randall Sanctus SATB Christopher Peterson OR
58 CHORAL JOURNAL March 2018 Volume 58 Number 8 Johnson, Randall Sanctus SATB Jean Applonie UT Jourdan, Cliff A Choral Fanfare SATB Sarah Graham WA Kallman, Daniel Glorifi camus te SATB David Brunner NM Kean, Ron arr. Ise Oluwa SATB Ron Kean HI Keen, Marta/Althouse, Jay arr. Homeward Bound TTBB Rosalind Hall CO
Kemner, Gerald Now Shout! SATB Patrick Patton WY Kern, Philip Kern arr. Great Day SATB Jean Applonie UT Kesselman, Lee Ae Fond Kiss SATB Sarah Graham WA Kesselman, Lee and Alighieri, Dante Ad Amore SSAA Lynne Gackle NM Ad Amore SSAA Jeffrey Redding TX Ad Amore SSAA Eric Johnson WI Kirchner, Shawn arr. Bright Morning Stars SATB Daniel Bara VT Bright Morning Stars SSAA Sandra Peter MN Unclouded Day SATB Joshua Habermann CA Koppin, Connor i carry your heart SATB Lee Nelson IA Jesu dulcis memoria TTBB Lee Nelson MN LaBarr, Susan Forever Gone SATB Jo-Michael Scheibe NV Lakschevitz, Eduardo Sambalelê SSAA Mariana Farah ID Lauridsen, Morten Sure On This Shining Night SATB Karen Kennedy OH Leadbetter, Huddie W./Smiley, Moira arr. Bring Me A Little Water Silvy SSAA Elena Sharkova AL Bring Me A Little Water Silvy SSAA Lori Hetzel RI Leavitt, John, arr. Polly Wolly Doodle TTBB Rosalind Hall CO Lebo, M./Leavitt, John, arr. One by One TTBB Lee Nelson MN Leek, Stephen Ngana SATB Jerry McCoy MA Leisring, Volckmar/Davison, Archibald arr. O Filii et Filiae TTBB Ethan Sperry KY Lennon, John/McCartney, Paul/Ives, Bill arr. Ob-la-di, Od-la-da Life Goes On SATB Betsy Cook Weber MO Levi, Michael arr. The Mermaid TTBB Rosalind Hall CO Lotti, Antonio Crucifi xus SATB Peggy Detwiler NJ Lotti, Antonio/Talmadge, Arthur arr. Kyrie SSAA Shannon Jeffreys SC Matsushita, Ko O lux beata Trinitas SATB Elena Sharkova TX Mathias, William O Aula Nobilis SSAA Susan Brumfi eld LA McCoy, Jason Come Ye Thankful People, Come TTBB Jonathan Palant AL
McDonald, Mary Make Me An Instrument of Thy Peace SATB Craig Jessop NE
McGlynn, Michael Ceann Dubh Dílis TTBB Geoffrey Boers TX Dulamán TTBB Joshua Habermann CA
CHORAL JOURNAL March 2018 Volume 58 Number 8 59 McGlynn,RRepertoireep Michaelertoire & ResourcesResourJerusalemces SSAA Joshua Habermann CA Mead, George arr. Down in the Valley TTBB Ethan Sperry KY Mendelssohn, Felix Ehre sei Gott in der Hohe SATB Peggy Detwiler NJ Frohlocket ihr Volker auf Erden SATB Betsy Cook Weber MO How Lovely Are the Messengers SATB Brad Holmes CT Ich wollt’, meine Lieb’ SSAA Bobby Ivey TN Kyrie SATB Elena Sharkova TX Laudate Pueri SSAA Lynne Gackle NM Psalm 100 SATB Julie Yu-Oppenheim LA Psalm 42 Op.42, No. 7 SATB Sandra Snow KY Richte mich, Gott SATB Edith Copley LA Ruhethal SATB Rodney Wynkoop NC Veni Domine SSAA Lynne Gackle MS Weinachten SATB Karen Kennedy OH Mendelssohn, Felix/Eklund, Peter ed. Laudate Pueri TTBB Jonathan Palant AL Mendelssohn, Felix/Grundahl, Nancy arr. Children Blessed of the Lord SSAA Sigrid Johnson NC Morley, Thomas Sing We and Chant It SATB Rodney Wynkoop NC Morrie, J. David Will the Circle Be Unbroken? SSAA Andrea Ramsey KY Mozart, W. A. Laudate Pueri K. 339 SATB Brad Holmes CT
Veni Sancti Spiritus SATB Joe Miller GA Veni Sancti Spiritus SATB David Brunner KS, NM Lacrymosa from Requiem SATB Joe Miller NY Regina Coeli, K 276 SATB Duane Carne MD Gloria from Coronation Mass K. 317 SATB Joe Miller MT Gloria from Coronation Mass K. 317 SATB Patrick Patton WY Laudate Pueri K. 339 SATB Brad Holmes AZ Mulholland, James Heart, We Will Forget Him SATB Edith Copley LA
Prayers of Teasdale SATB Pearl Shangkuan IN Nystedt, Knut Laudate SATB Jo-Michael Scheibe NV
Offenbach, Jacques Neighbor’s Chorus SATB Michael Crawford AK Omer, Benjamin Shir HaShomer SSAA Eric Johnson WI
Orbán, György Daemon Irrepit Callidus TTBB Z. Randall Stroope CA
Gloria from Mass 6 SSAA Julie Yu-Oppenheim DE Overland, Corin Tantum Ergo SSAA Karen Kennedy CA, NY Palestrina, G. P. Sicut Cervus SATB Sandra Snow KY
60 CHORAL JOURNAL March 2018 Volume 58 Number 8 Parker, Alice arr. Lowlands TTBB Paul Rardin AK
I Got Shoes SATB Paul Rardin FL Pärt, Arvo Bogoroditse Devo SATB Joe Miller MT Passereau, Pierre/arr. Greyson, Norman Il Est Bel et bon/He is Good and Handsome SSAA Bobby Ivey TN Patriquin, Donald arr. Savory, Sage, Rosemary and Thyme SSAA Judith Willoughby CO Patterson, Mark Courage Lives TTBB Paul Caldwell SC Paulus, Stephen Sing Creations Music On from Songs of Eternity SSAA Elena Sharkova AL
The Water Is Wide SATB Sandra Snow KY Pergolesi, Giovanni Battista Stabat Mater - Infl amatus, Amen SSAA Judith Willoughby CO Stabat Mater - Infl amatus, Amen SSAA Mariana Farah ID Persichetti, Vincent “A Clear Midnight” from Celebrations SATB Paul Rardin FL ”Voyage” from Celebrations SATB Paul Rardin FL Peter, Sandra and Williams, Melba arr. Were You There SSAA Sandra Peter MN Pfautsch, Lloyd Consecrate the Place and Day SATB John Hurty WV Musicks Empire SATB Peggy Detwiler NJ Piazzolla, Astor/Escalada, Oscar arr. Libertango SSAA Judith Willoughby CO Libertango SATB Pearl Shangkuan IN Libertango SSAA Elena Sharkova AL Pinkham, Daniel In the beginning of creation SATB Duane Carne MD Pinto Fonseca, C. A. Muie Rendera SSAA Julie Yu-Oppenheim DE Porpora, Nicola Lauda Jerusalem SSAA Trey Jacobs WA Porpora, Nicola/Hunter, Ralph ed. ”Sicut erat:” from Magnifi cat à 4 SSAA Jeffrey Redding TX Pottle, Sam Jabberwocky SATB Rodney Wynkoop NC Poulenc, Francis Ave Verum SSAA Deanna Joseph NJ Powell, Rosephanye Still I Rise SSAA Susan Brumfi eld LA Powell, Rosephanye/Powell, William, arr. Ascribe to the Lord SSAA Lynne Gackle MS
Keep Yo’ Lamps SSAA Mary Kay Geston ND Sicut Cervus SSAA Judith Willoughby CO Sorida SATB Michael Culloton ND Still I Rise SSAA Bobby Ivey TN The Word Was God TTBB Paul Carey TN
The Word Was God TTBB Lee Nelson MN Praetorious, Michael Sing Dem Herrn! TTBB Lee Nelson MN Purcell, Henry Sound the Trumpet SSAA Shannon Chase NH
Quick, Jonathan, arr. Loch Lommond SATB Rodney Wynkoop NC
CHORAL JOURNAL March 2018 Volume 58 Number 8 61 RRepertoireRachmaninoff,eper tSergeioire & ResourcesResourcThee Angels SSAA Elena Sharkova AL Glory Be to God SATB Jean Applonie UT Rachmaninoff, Sergei Slava v vishnuh Bogu (Glory to God in the Highest) SATB Andrew Clark PA Rahman, arr. Sperry Wedding Qawwali TTBB Paul Rardin AK Ramsey, Andrea I See the Heaven’s Glories Shine SATB Sandra Snow KY
I See the Heaven’s Glories Shine SSAA Trey Jacobs WA A Witness to Majesty SSAA Andrea Ramsey KY Rardin, Paul My Spirit Is Uncaged SATB Daniel Bara AK
Back to Ethiopia TTBB Paul Rardin AK Rheinberger, Josef/Carey, Paul arr. Abendlied TTBB Paul Carey TN Robinovitch, Sid Sensemaya SATB Karen Kennedy OH Rogers, Jonathan arr. Poor Wayfaring Stranger SSAA Eric Johnson WI Rossi, Salamone Odecha SATB Betsy Cook Weber MO Rossini, Gioacchino La Danza SSAA Pearl Shangkuan IN Runestad, Jake Alleluia SATB Lee Nelson IA Nyon, Nyon SATB André Thomas SD Sacchini, Antonio/ Banner, Martin ed. Benigne Fac Domine SSAA Andrea Ramsey AK, KY Saindon, Marie-Claire Le Train D’hiver SSAA Andrea Ramsey AK Sametz, Steven Munus (from Amo!) SATB David Brunner KS
Ne Sedi, Djemo! SATB Daniel Bara AL Scheer, Gene/Purifoy, John arr. American Anthem SSAA Trey Jacobs WA Schoenberg, Kretzmer; Boubil, Alain/ ”Bring Him Home” from Les Miserables SATB Craig Jessop NE Leavitt, John arr. Schumann, Robert Zigeunerleben (Gypsy Life) SATB Duane Carne MD Zigeunerleben (Gypsy Life) SATB Joey Martin OK Schütz, Heinrich ”Ehre sei dir, Christe” from St. Matthew Passion SATB Craig Jessop NE Schütz, Heinrich Lift Up Your Heads, O Ye Gates SATB Sarah Graham WA Sells, Robert arr. Joshua SATB Paul Rardin IL Sharkova, Elena arr. Siren Song, from Brother Where Art Thou? SSAA Elena Sharkova AL Sharp, Timothy/Ramsey, Andrea arr. Banjo Pickin’ Girl SSAA Andrea Ramsey AK Shimizu, Osamu arr. Mogami River Boat Song TTBB Paul Rardin AK Silvey, Philip Bloom SSAA Shannon Jeffreys SC Simeone, Harry Anthem for Spring SATB Eph Ehly ID Simpson, Eugene Thamon arr. Hold On! SATB Peggy Detwiler NJ Singh, Vijay Carpenters of God SATB Daniel Bara AL Singh, Vijay Seeking the Way SATB Vijay Singh DE
62 CHORAL JOURNAL March 2018 Volume 58 Number 8 Smith, Byron He’ll Make a Way SATB Ron Kean HI Smith, Gerald T. This is the Day SSAA Shannon Jeffreys SC Sondheim, Stephen/Page, Robert arr. Our Time (Merrily We Roll Along) SATB Andrew Clark PA Sperry, Ethan arr. Desh SATB John Hurty WV
Amazing Grace TTBB Ethan Sperry KY Squatrito, Fred arr. Bright Morning Stars SATB Karen Kennedy OH Stroope, Z. Randall Amor de mi Alma SATB Paul Torkelson WI
The Conversion of Saul SATB Jefferson Johnson MS Danny Boy TTBB Z. Randall Stroope CA Homeland SATB Julie Yu-Oppenheim LA I Will Lift Up Mine Eyes SSAA Hilary Apfelstadt MD Lux Aeterna SSAA Lynne Gackle MS Omnia Sol SSAA Lori Hetzel RI Phoenix Rising SSAA Karen Kennedy CA Psalm 23 SSAA Andrea Ramsey AK, KY Revelation SSAA Karen Kennedy NY Revelation SSAA Bobby Ivey TN
Song to the Moon SATB Judy Bowers MI Song to the Moon SSAA Jeffrey Redding TX Tarantella Jubilate Agno TTBB Z. Randall Stroope CA There is No Rose SSAA Julie Yu-Oppenheim DE Two Strings, But One Voice (O Sweetest of Songs) SSAA Sandra Peter MN Sweelinck, Jan Pieterszoon Hodie Christus Natus est SATB Joey Martin OK
Psalm 96 - Chantez à Dieu SATB Brad Holmes AZ
Psalm 96 - Chantez à Dieu SATB Sarah Graham WA Psalm 96 - Chantez à Dieu SATB Joshua Habermann CA Swingle, Ward arr. Country Dances SATB Paul Rardin FL Szymko, Joan The Beauty of Your Dreams SSAA Mary Kay Geston ND The Peace of Wild Things SSAA Bradley Almquist AK The Peace of Wild Things SSAA Sigrid Johnson NC Takach, Timothy C. Goodbye, Then TTBB Paul Caldwell SC Salve Regina TTBB Geoffrey Boers TX Tallis, Thomas If You Love Me TTBB Geoffrey Boers TX Tanner, Jerre Opae¯ E¯ SATB Ron Kean HI Tebay, John C. Psalm 57 SATB David Brunner KS
CHORAL JOURNAL March 2018 Volume 58 Number 8 63 RRepertoireTemmingh,epe Roelofrtoire & ResourcesResourcHimnees SATB Brad Holmes AZ, CT Thomas, André Beautiful City SATB André Thomas SD Thomas, André Someday Is Today SATB André Thomas SD John Saw Duh Numbuh SSAA Lynne Gackle NM Thomas, Mark Ave Maris Stella SATB Pearl Shangkuan IN Thompson, Randall Alleluia SSAA Shannon Chase NH The Last Words of David SATB Daniel Bara AL, VT Ticheli, Frank There Will Be Rest SATB David Brunner NM Tillen, Paula Foley A Prayer for Peace SSAA Eric Johnson WI Torke, Michael Song of Ezekiel SATB Paul Rardin IL Tormis, Veljo arr. Lauliku lapsepoli SSAA Mary Kay Geston ND Ugalde, Eva Tximeletak SSAA Lynne Gackle NM
Tximeletak SSAA Eric Johnson WI Unterseher, Reginald Sweet Rivers TTBB Paul Carey TN van Dijk, Matthijs Chariots SATB Joey Martin OK
San Gloria SATB Joey Martin OK Verdi, Giuseppi ”Witches’ Chorus” from Macbeth SSAA Karen Kennedy NY
”Zitti Zitti” from Rigoletto TTBB Ethan Sperry KY Viadana, Lodovico Grossi da Exultate Justi In Domino SATB Paul Torkelson WI Victoria, Tomás Luis de O Magnum Mysterium SATB Michael Crawford AK
O Magnum Mysterium SATB Joe Miller GA Vida/Culloton, Michael arr. Famine Song SATB Jerry McCoy MA Villa-Lobos, Heitor Estrella e Lua nova SATB Jerry McCoy MA Voth, Ellen Gilson One Short Sleep Past SATB Ellen Gilson Voth RI Waddles, Brandon arr. Ride the Chariot SATB Joe Miller GA, MT, NY Walker, Gwyneth The Spirit of Women SSAA Hilary Apfelstadt MD
I Thank You God SSAA Jeffrey Redding TX I Will Be Earth SSAA Lynne Gackle MS Laudate for Another Place and Time SSAA Susan Brumfi eld LA Love Is A Rain of Diamonds SSAA Lynne Gackle NM Down to the Sea SATB Bruce Rogers CO Waters, Richard Give Me Your Stars to Hold SATB Michael Culloton ND Whitacre, Eric Kalla Kalla SATB Jerry McCoy MA ”llittle man in a hurry, No. 5” from SATB Elena Sharkova TX The City and the Sea Lux Aurumque SATB Paul Torkelson WI
64 CHORAL JOURNAL March 2018 Volume 58 Number 8 Whitacre, Eric Lux Aurumque SATB Patrick Patton WY Sleep SATB Peggy Detwiler NJ This Marriage SATB Ellen Gilson Voth RI Five Hebrew Love Songs SSAA Deanna Joseph NJ White, B.F./Wilberg, Mac arr. Morning Trumpet TTBB Rosalind Hall CO Wilberg, Mack arr. Bile Them Cabbage Down SATB Sandra Snow VA
Cindy SATB Sandra Snow KY Come, Thou Fount of Every Blessing SATB Craig Jessop NE El Vito SATB Judy Bowers MI I’ll Ay Call in by Yon Town SATB Paul Torkelson SC, WI Wilberg, Mack/Rodde, Jim arr. Cindy TTBB Lee Nelson MN Williams, John Dry Your Tears, Afrika SATB André Thomas SD
Wise, Raymond Daa Naa Se SATB André Thomas SD Woo, Hyo-Won Pal-So-Seong SATB Peggy Detwiler NJ Xiu-Lan, Yang Tai Yang Chu Lai La SSAA Karen Kennedy NY
Table 2. All-State Choral Music 2014 vs. 1995-2000 - Most Selected Composers 1995-2000 2014 avgerage number of times Number of times programmed Composer Composer programmed per year 17 Z. Randall Stroope 19 G. F. Handel 15 G. F. Handel 16 Johannes Brahms 14 Moses Hogan arr. 12 Felix Mendelssohn 14 Felix Mendelssohn 12 James Mulholland 11 Johannes Brahms 11 W.A. Mozart 10 Daniel Elder 11 André Thomas 10 Ola Gjeilo 10 René Clausen 9 Paul Caldwell and Sean Ivory arr. 9 Moses Hogan 9 Dan Forrest 9 Randall Thompson 9 W.A. Mozart 8 Robert Shaw/Alice Parker 8 Rosephanye Powell 8 J. S. Bach 7 Eric Whitacre 8 Franz Joseph Haydn 7 Mack Wilberg arr. 8 Morten Lauridsen 6 Susan Brumfi eld arr. 8 John Rutter
6 David Brunner 8 Mack Wilberg 6 Stacey Gibbs arr. 7 Aaron Copland
CHORAL JOURNAL March 2018 Volume 58 Number 8 65 RRepertoireepertoire & ResourcesRTablees 2.o All-Stateurc Chorales Music 2014 vs. 1995-2000 - Most Selected Composers 6 Franz Joseph Haydn 7 Franz Schubert 5 Gwyneth Walker 7 Donald Patriquin 5 Eric William Barnum 6 Paul Basler 5 René Clausen 5 Eric Whitacre 5 Brad Holmes arr./ Daniel Read 5 Norman Dello Joio
Table 3. All-State 2014 and 1995-2000 Stylistic Genres Genre 2014 1995-2000 20th and 21st Century 42% 45% World Music 10% 12% Folk 10% 7% Renaissance 10% 6% Romantic 10% 6% Spiritual/Gospel 9% 8% Baroque 4.5% 8% Classical 3.4% 4% Pop 1.4% 4%
Table 4. Most Programmed Titles 2014 Title Composer Number of Titles Voicing Music Down In My Soul Moses Hogan arr. 5 SATB/SSAA Ballade to the Moon Daniel Elder 4 SATB Elegy Daniel Elder 4 SATB I Am in Need of Music David Brunner 4 SATB The Music of Living Dan Forrest 4 SATB/TTBB No Time Susan Brumfi eld arr. 4 SSAA/TTBB Ad Amore Lee Kesselman and Dante Alighieri 3 SSAA Alleluia from Songs of Faith Paul Basler 3 SATB Der Gang zum Liebchen Drei Quartette Op. 31 Johannes Brahms 3 SATB El Vito Joni Jensen arr. 3 SSAA John the Revelator Paul Caldwell and Sean Ivory arr. 3 SATB Libertango Astor Piazzolla/Oscar Escalada arr. 3 SSAA/SATB Noel Brad Holmes arr./Todd Smith 3 SATB Os Justi Anton Bruckner 3 SATB Psalm 96 - Chantez à Dieu Jan Pieterszoon Sweelinck 3 SATB
66 CHORAL JOURNAL March 2018 Volume 58 Number 8 Table 4. Most Programmed Titles 2014 Ride the Chariot Brandon Waddles arr. 3 SATB Sweetheart of the Sun, The Eric William Barnum 3 SATB Veni Sancti Spiritus W. A. Mozart 3 SATB You Are the Music Dan Forrest 3 SATB
Table 5. Most Programmed Titles 1995-2000 Title Composer Number of Titles Voicing Dirait-On (Les Chansons des Roses) Morten Laurdisen 20 SATB Battle of Jericho Moses Hogan 18 SATB Missa Kenya (Gloria) Paul Basler 15 SATB The May Night Johannes Brahms/arr. Arthur Frackenpohl 15 SATB Ave Maria Javier Busto 15 SATB The Awakening Joseph M. Martin 15 SATB Salmo 150 Ernani Aguiar 13 SATB Dixit Dominus, K. 339 W.A. Mozart 13 SATB Sicut cervus Giovanni Pierluigi Palestrina 13 SATB Bogoroditsye Devo (Ave Maria) Sergei Rachmaninoff 13 SATB Cloudburst Eric Whitacre 13 SATB Betelehemu Barrington Brooks/Wendell Whalum 12 SATB Zion’s Walls Aaron Copland 12 TTBB If Music be the Food of Love David Dickau 12 SATB Shenandoah James Erb 12 SATB In Virtute Tua Grzegorz Gorczycki 12 SATB Elijah Rock Moses Hogan 12 SATB Ah! si mon moine voulait danser! Donald Patriquin 12 SATB Sing Me to Heaven Daniel E. Gawthrop 11 SATB Sing Unto God (from Judas Maccabaeus) George Frideric Handel 11 SATB Kyrie eleison (from Imperial Mass) Joseph Haydn 11 SATB Heilig Felix Mendelssohn 11 SATB Goin' Up to Glory André Thomas 11 SATB Zadok the Priest George Frideric Handel 10 SATB Alleluia Ralph Manuel arr. 10 SATB Worthy to be Praised B.J. Smith 10 SATB I Hear America Singing André Thomas 10 SATB Water Night Eric Whitacre 10 SATB
CHORAL JOURNAL March 2018 Volume 58 Number 8 67
2017 ICEP OF THE AMERICAS IONAL CO NAT NDU TER C IN TO R S An Interview with Conducting Fellows Peppie Calvar and E RAM XCHANGE PROG Dulce Maria Santos Azurdia by John Warren
ACDA’s International Choral Ex- change Program attempts to foster meaningful international collabora- tion of choral conductors. Reborn in 2012, ICEP provides opportuni- ties for the next generation of cho- ral leaders to represent the United States through exchange of music, ideas, and cultures, as well as invite conductors from varied parts of the world to experience specifi c United States choral environments and to attend an ACDA Conference. In 2012, I helped host Cuban conductor Carmen Collado when Dulce Maria Santos Azurdia conducting the Hendricks Chapel Choir in performance at she visited Westminster Choir Col- Syracuse University. Photo by Peppie Calvar lege, New York City, and Syracuse University, and took her to the East- being part of the 2017 exchange also gave presentations on Guate- ern Region Conference in Provi- hosting Dulce Maria Santos Azur- malan music to our choral literature dence, Rhode Island. In May, I trav- dia, who is originally from Guate- class. She gave a master class with eled to Havana—an experience that mala City, Guatemala. Dulce Ma- the Hendricks Chapel Choir on Mo- still informs my musical, cultural, ria currently lives in San Jose Costa zart’s Regina Coeli and Haydn’s Little and political conscience. Later that Rica and is affi liated with the Con- Organ Mass, and conducted the Hen- year, Dr. Peppie Calvar became my servatory at the National University dricks Chapel Choir at Sung Eve- colleague at Syracuse University, of Costa Rica. ning Prayer. She also gave a master and I immediately encouraged him class with the Syracuse Chorale, a to become involved with ICEP. I am When Dulce Maria was in the community mixed ensemble. She thrilled that he was selected to par- United States, what was she presented a lesson on gesture and ticipate as a conducting fellow in involved in as part of her ex- interpretation at United Church of the 2017 ICEP of the Americas ex- change? Fayetteville. change with Guatemala. As a second Since her fl ight landed in Buff alo, generation Cuban-American, he has Musically, Dulce conducted re- we went to eat at Buff alo Wild Wings a unique perspective on the experi- hearsals and gave presentations on and visted Niagara Falls. Here in ence. Guatemalan music to our University Syracuse, we visited the Cathedral Following is an interview with Concert Choir and our Women’s of the Immaculate Conception and Peppie Calvar about his experience Choir, Elisa Dekaney, director. She a few other beautiful examples of
CHORAL JOURNAL March 2018 Volume 58 Number 8 69 2017 ICEP OF THE AMERICAS
Art Deco architecture we have here sure and an experience I’ll treasure famous “buff alo wings,” even travel- in town. We also visited New York for a lifetime. Her beautiful gesture ing to New York and hearing Eddie City and heard a performance by and excellent communication only Palmieri live and climbing the Em- Eddie Palmieri and his orchestra at made me want to see her conduct pire State Building. However, I must Jazz at Lincoln Center. As it hap- more and sing more. admit that my favorite moments pened, our University Singers were condense themselves exclusively in also on tour in New York, and we Dulce, what was your favorite the musical. In Syracuse it was an were able to enjoy their performance experience in the United States? honor to have had the opportunity to at St. Vincent Ferrer church on the (Translated by Peppie Calvar) hear the diff erent groups and above Lower East Side. While in NYC, all, to have had the privilege to direct we ate sushi, a pastrami sandwich, In general, my whole visit to Syra- one of them, the chapel choir. Their New York-style cheesecake, and one cuse and to Minnesota was marvel- warmth and their musical quality are pretzel from a street vendor. We vis- ous, and I cannot name one sole among my most pleasant memories. ited Times Square, the Empire State favorite experience. The whole trip And to speak of Minnesota [the Building Observation Deck, and we was full of pleasant moments from 2017 National ACDA Conference], enjoyed two Starbucks lattés. getting to know Niagara Falls, seeing what can I say, the convention alone Hosting Dulce Maria was a plea- snow for the fi rst time, or trying the was one of the most incredible and unforgettable experiences of my life, and the fact of hearing so many people united in making choral mu- sic is something that in my country is only a dream. My favorite moment in Minnesota was the closing concert with the children chosen by the con- vention to sing together with the or- chestra. The idea of seeing so many young people singing and enjoying music is the most beautiful thing I re- Berlin International member from the whole convention.
Masterclass for Peppie, what did you gain from Choral Conducting hosting Dulce Maria?
2018 I’m often hesitant about my own Spanish in formal situations. I grew 17 – 24 August 2018 up speaking a great deal of Spanish in Berlin at home, but there’s nothing like an Gijs Leenaars (NL) immersion. Serving as an interpreter Stefan Parkman (SE) for her while she was here and speak- For conductors up ing to her exclusively in Spanish to the age of 35 helped me refresh my handle of the Application deadline: language. Besides gaining a lifelong 1 April 2018 friend and international ally, I also rundfunkchor-berlin.de/masterclass gained a new appreciation for the opportunities living in the United
70 CHORAL JOURNAL March 2018 Volume 58 Number 8 BE ENRICHED. BE ENLIGHTENED. BE HEARD.
Award-winning students. Master teachers and performing/ recording artists. Brilliant guest speakers. Acclaimed ensembles. Study abroad in Vienna. Renowned alumni. A beautiful campus in suburban St. Louis.
That’s the Department of Music at Webster University. estudio coral de Guatemala with Peppie Calvar in the center of the back row. Director Daniel Ovalle pictured beneath. Photo by Ivan Lemos (pictured at far left) Areas of study include: Bachelor of Arts States aff ords me, and the sacrifi ces and Estudio Coral, Daniel Ovalle, Bachelor of Music Education others make in order to fi nd success director. Bachelor of Music (Collaborative as professional musicians, particu- On another occasion, I had the Piano, Composition, Instrumental larly in places where the culture and pleasure of attending a choral fes- Performance, Jazz, Music the political climate does not support tival as an audience member where Direction for Musical Theatre, the arts, artists, or arts education like fi ve choirs appeared, including a Music Technology, Piano we do here. high school choir with about sixty Performance, Songwriting, Vocal Performance) students who sang a fi ne opening Master of Arts What did you do in Gautemala movement to the Vivaldi Gloria, and Master of Music (Church Music, as part of your exchange with some phenomenal choral arrange- Conducting, Performance) Dulce Maria? ments of songs by Juan Luis Guer- ra. Culturally, I got to visit several I conducted fi ve pieces in per- breathtaking Mayan ruins, the beau- formance with a group comprising tiful colonial city of Antigua Guate- members of each of the choirs I vis- mala, and Panahachel and Santiago ited through my time in Guatemala. on Lake Atitlan. Leigh Gerdine They called themselves “Coro Mod- College of Fine Arts elo.” Each morning, I gave a con- How did your Latino heritage DEPARTMENT OF MUSIC ducting symposium for beginners, inform the experience? How 1-800-753-6765 and in the afternoons I gave a sym- did the experience inform your webster.edu/music posium for advanced conductors. heritage? Each evening, I either rehearsed “Coro Modelo” or I presented mas- As I mentioned, my use of Span- ter classes with another choir. Those ish has basically been around fam- choirs were: Coro Victoria: Julio ily and friends in domestic environ- Santos, director; Coro de la Univers- ments. I was afraid that I would not idad Rafael Landivar, Felix Azurdia, possess the vocabulary necessary to director; Coro de la Universidad de communicate eff ectively about mu- San Carlos, Edgar Muñoz, director; sic, particularly theoretical terms
CHORAL JOURNAL March 2018 Volume 58 Number 8 71 2017 ICEP OF THE AMERICAS
and vocal technique. I was person- arrived on time seemed unphased by ing drills and patterns, and on forti- ally very happy with my ability to this. Similarly, singers seemed not fying their literacy using solfege and acquire new vocabulary quickly and to grumble or even notice when re- Takadimi with hand signs, patching, use it eff ectively. hearsals went twenty, thirty, or sixty and patterns. The more experienced My Latino heritage has always minutes later than scheduled. People conductors benefi tted most from kept me hyper-aware of our cultural who needed to come and go early or exposure to literature, particularly propensity for tardiness. The traffi c late simply did. modern American compositions. In in the capitol is truly intense, worse many cases, we discussed ways to than D.C. or LA or any place I’ve What were you able to contrib- communicate more eff ectively us- been in the United States. There are ute to Guatemalan conductors ing gesture without overcommitting no real highway systems. There is or choirs? their bodies. no reliable public transportation sys- tem. Although traffi c in Guatemala The experience with the Guate- What surprised you about Gua- is generally an accepted excuse for malan choirs and conductors was temalan choirs? tardiness, I was amazed at how re- incredibly diverse. The younger hearsals that were supposed to start conductors needed techniques to as- One thing I really appreciated at 7pm didn’t really take off until at sist them with literacy. We spent a about the Guatemalan choirs was least half an hour later, and folks who great deal of time on basic conduct- their dedication to performing Lat- in-American and particularly Cen- tral American music. There are beautiful arrangements of national and regional songs that are worthy of performance by any choir in the world. The Guatemalan’s respect for their teachers and mentors was a de- light to note. It’s clear that Dulce’s father and my host in Guatemala Julio César Santos Campos is a na- tional hero. He has advocated for the development of the choral art form in Guatemala throughout his professional career. Although he is principally a percussionist with the Guatemalan National Symphony, he January/February May/June has toured internationally with his High Temp- 52° F High Temp- 82° F Coro Victoria and conducts several Flight- $1000 Flight- $1500 other choirs in the capitol city area. Central Hotel- $150/nt. Central Hotel- $350/nt. He taught all of the directors with Shorter Lines, Smaller Crowds Long Lines, Large Crowds whom I interfaced in Guatemala at Over $1000 avg. savings per package to travel in January! some point, and they all hold him in highest regard. Definitely worth buying a new coat… Every director with whom I in- terfaced in Guatemala holds several (425) 357-0245 [email protected] positions. I was told that the typical starting teacher’s salary in Guate-
72 CHORAL JOURNAL March 2018 Volume 58 Number 8 mala is $400/month. It is very hard least make myself understood. Would you recommend apply- to make ends meet fi nancially, but ing for ICEP to non-University- even under such stressful conditions, Do you plan to go back to Gua- level choir directors? many are able to be successful and temala? build careers and lives as profession- It seems to me like the experience al musicians. I’m working now on the possibili- of participating in ICEP can be tai- ty of returning to Guatemala twice a lored to each participant based on How will this experience aff ect year to provide professional develop- her strengths and experiences. My your work going forward? ment to their choral conductors. I’m understanding is that interpreters also working to coordinate a trip to are provided (by the hosts) on both I look forward to programming Guatemala for the Hendricks Cha- ends of the experience as needed. some of the arrangements of Latin- pel Choir to sing in one of their in- For the conductor visiting the Unit- American music I was given in Gua- ternational choral festivals. I would ed States from just about anywhere temala with some of my own singers. consider it a privilege to share their else, it would be a great experience Also, I feel confi dent now that I can beautiful country and their beautiful to step into the American classroom be any place in the Spanish-speak- music with my students. and work in tandem with a teacher ing world without a translator and at both with bringing their music and
CHORAL JOURNAL March 2018 Volume 58 Number 8 73 2017 ICEP OF THE AMERICAS culture to our students, and us shar- mismatching of specializations, our • Who has a keen appreciation (not ing ours with them and getting their experience in work and in life should necessarily a thorough scholas- perspectives and feedback on our empower us with the ability to step tic training) for music of the performance. into any environment and contribute exchange region I recall a much shorter experience the best of ourselves with a positive being visited here at Syracuse by outcome. Surely, we can all admit • Who wants to walk in someone Catherine Bolzinger of the Conser- that hearing, “That was beautiful,” else’s shoes for a few days vatoire de Strasbourg in France. We from a complete stranger is among were working on Benjamin Britten’s life’s better affi rmations. • Who wants to fall in love with new Rejoice in the Lamb and she told us, in I’d recommend applying for the music, a new country, and their her heavy French accent, that our ICEP program to anyone: own country once again English wasn’t “English” enough. Of course, she was right, and the • Who isn’t afraid to be immersed choir and I both have benefi tted in a diff erent cultural environ- The 2018 exchange with Kenya is from that comment ever since. ment about to get underway. Kenyan con- I get the feeling that the ICEP ductors will be attending ACDA re- committee makes every eff ort to pair • Who is excited about the possibil- gional conferences. Please consider conductors with other conductors ity of speaking to someone or applying for the 2019 exchange with with whom they can learn and thrive. a group through an interpreter South Africa. If you are interested in So, a children’s choir specialist, for learning more about the Internation- example, could easily be paired with • Who can arrange to show the very al Conductors Exchange Program another children’s choir specialist. best of your part of our great or how to become involved with the The cultural experience might make nation to a stranger conductor exchange in 2018, please some of us feel like fi sh out of water contact Dr. T. J. Harper, Chair of at times, but that’s part of the beauty • Who loves music the ACDA Standing Committee on of the program. Even if there’s a International Activities: harper.tj@ gmail.com. Follow ICEP on Face- book and at ACDA.org for the lat- The ACDA CAREER CENTER est news and information about the acda.careerwebsite.com upcoming exchanges.
Peppie Calvar is assistant professor of music and assistant director of choral activities at Syracuse Univer- sity. He traveled to Guatemala Octo- ber 20-31, 2017, as part of ACDA’s International Conductor Exchange Program.
Interviewed by John Warren, asso- ciate professor of music and director of choral activities at Syracuse Uni- versity. In 2012, he traveled to Cuba as part of the International Conduc- tor Exchange Program.
74 CHORAL JOURNAL March 2018 Volume 58 Number 8 CHORAL JOURNAL March 2018 Volume 58 Number 8 75
Retirement and the Professional Choral Director
Retirement: The Grand Finale (Allegro Giocoso) by Diane M. Clark
My professional life is like a sym- University in Bloomington and em- and Religion.” In addition to my phony in four movements. Have I barked upon a thirty-fi ve-year stint varied teaching, I enjoyed numerous had four careers or just one? I’ll let as a university professor of music. opportunities over the years to per- you decide. For sure, there is a com- At Texas Tech University, I taught form in recital, opera, oratorio, and mon thread, which is my main hat: applied and class voice for three numerous choral ensembles, both as I teach people to sing. It is also true years. At a private liberal arts col- soloist and chorister. that my various careers overlap quite lege, my alma mater Rhodes Col- In between my two college teach- a bit, but they can be loosely cat- lege, I taught for thirty-two years a ing jobs, I had returned briefl y to my egorized into four main areas: the wide array of courses: applied and career in Christian education, serv- Church, the University, the Barber- class voice, choral ensembles, music ing a Memphis church for two years. shop, and Retirement (the Grand theory, music and literature, music While in this position, I attracted my Finale). and wellness, women in music, and fi rst student of public speaking—a After earning my bachelor’s de- public speaking. I also supervised lecturer at the University of Ten- gree in church music and Chris- some student projects in Christian nessee School of Health Sciences, tian education at Rhodes College education for the Religious Studies who thought her droning voice put in Memphis, TN, I entered my fi rst Department and taught ten years her students to sleep. She thought career: the church. For four years I in the course “The Search for Val- a singing teacher might know how served churches in Alabama as a di- ues in the Light of Western History to help her with her speaking voice. rector of Christian education and director of youth and children’s choirs. This rewarding work gave me experience in teaching all ages and also provided fertile ground for mu- sic composing and vocal performing INSPIRE CREATE PERFORM CHANGING LIVES THROUGH THE POWER OF THE ARTS as a soloist with the church choirs. 2017-18 ADMISSION AND SCHOLARSHIP AUDITIONS Having access to a church organ, I November 18, 2017 • February 3, 2018 took organ lessons, and I taught a March 24, 2018 • April 14, 2018 BACHELOR DEGREES OFFERED few children’s piano lessons on the Music Education | Music Performance | Music Therapy side. An All Steinway School 10501 FGCU Boulevard South Wanting more advanced work Fort Myers, FL 33965-6565 (239) 590-7851 • fgcu.edu/cas/music in singing, I earned a master’s de- gree in voice pedagogy at Indiana Generous scholarships and out of state tuition waivers available for talented undergraduates
CHORAL JOURNAL March 2018 Volume 58 Number 8 77 Retirement and the Professional Choral Director
This early eff ort eventually led to my developing a traditional university so I joined the local Memphis City teaching college speech classes and applied voice program that placed Sound Chorus of Sweet Adelines presenting workshops for numerous equal emphasis on the dramatic and International. I found barbershop Memphis businesses in speaking and musical aspects of singing. I earned singing to be both fun and extremely presentation skills. a doctorate in voice pedagogy at the challenging, and my skills became At the age of thirty-seven, I had University of Mississippi in Oxford immediately in demand, both locally what I describe as my “Damascus when I was forty years old. and regionally, as a singing teacher Road experience,” coming under During one of my three stints as and coach of choruses and quar- the tutelage and infl uence of my Rhodes Music Department chair, tets. Eventually I became an inter- most important professional mentor, one of my voice students (a piano national faculty member of Sweet Dr. H. Wesley Balk, who was at that major) founded a men’s double bar- Adelines and taught several years at time the artistic director of the Min- bershop quartet on campus known the International Education Sympo- nesota Opera Company. Wes opened as the Woolsocks. Eventually the sium. As I became more and more up for me the concept that singing group wanted academic credit, involved in the barbershop world, is equally a dramatic and a musical which meant they needed a faculty I observed that this was my “third art, and that this is true of singing supervisor/coach, and I took on the career” emerging concurrently with in all styles, not just opera and music job. After a year, I decided I needed my second. theatre. His work inspired my doc- to know more about barbershop Time marched on, as it has a way toral dissertation, which focused on singing in order to help the Socks, of doing, and I began to approach
FACULTY choral& Jo-Michael Scheibe, chair Nick Strimple Cristian Grases sacred Morten Lauridsen Ladd Thomas Tram Sparks music Mary Mattei Alvin Brightbill at the university of southern california Lisa Sylvester thornton school of music Lynn Helding Suzi Digby James Vail, professor emeritus David Wilson, professor emeritus APPLICATION DEADLINE DECEMBER 1, 2018 for Fall 2019 Admission TAships and scholarships available DEGREES OFFERED Choral Music BA, MM, DMA Sacred Music MM, DMA
Take a glance at the world of choral music today, and you will see the influence of the University of Southern California’s superlative education in choral and sacred music. visit music.usc.edu/choral
78 CHORAL JOURNAL March 2018 Volume 58 Number 8 the age of retirement. Though I had the new So You Want to Sing series tions. I highly recommend everyone served as associate director of the published by the National Associa- live long enough to retire and savor Memphis City Sound Chorus, I had tion of Teachers of Singing. Our the experience! There is a small sign always thought it would be fun to book, So You Want to Sing Barbershop, on my desk that states my motto for have my own chorus where I could was published in July 2017. retirement (and ideally for earlier in do things “my way.” Perusing direc- I am already getting excited about life as well). It reads: “Say NO to tor-search ads in the SAI Pitch Pipe delving more into the area of jazz. I everything that doesn’t make your magazine, I was attracted to answer sang for a year in the NMC Vocal heart sing.” an ad from the Grand Traverse Jazz Ensemble, and now I am about Chorus in Traverse City, Michigan. to begin jazz piano lessons—the fi rst Diane M. Clark lives in Traverse Eventually everything fell into place keyboard study I have done in sev- City, Michigan. She teaches singing for me to retire from Rhodes and eral decades. I am a little nervous, in her home and is adjunct faculty move north to become director of but I always say, “Nothing ventured, for Northwestern Michigan College. the Grand Traverse ladies. nothing gained.” I am certainly en- She sings with the Grand Traverse Learning to live as a northerner joying my retirement years, and I Chorale and the choir of Central was a brand-new adventure for this view them as the time to choose the United Methodist Church. lifelong southerner, and I found it fun things I want to do while being fun and eye-opening. While direct- able to disregard less attractive op- ing the chorus for fi ve years, I estab- lished a small private voice studio in my home and later joined the ad- junct voice faculty at Northwestern Michigan College. I adjudicated for Conductors Workshop ten years in solo and ensemble festi- with Rod Eichenberger vals for the Michigan School Vocal Master Teacher, Conductor, Innovator Music Association, which gave me a Choral Professor Emeritus, Florida State University chance to meet many fi ne Michigan music educators. I taught classes in the Wesley Balk techniques at the Workshop Locations A five-day professional development workshop for choral conductors at all levels Taos Opera Institute (2008 & 2009) Alexandria, Virginia and the Up North Vocal Institute July 9-13, 2018 (2011). I served as vocal director for a double-cast production of Les Mi- Seaside, Oregon sérables at the Old Town Playhouse, July 30- Aug. 3, 2018 and I continue to sing in two choirs: the NMC Grand Traverse Chorale and the chancel choir of Central United Methodist Church. In 2016, For more information, contact: I became director of the Cherry George Fox University’s Capital Men’s Chorus of the Bar- Department of Music bershop Harmony Society, and I still 503-554-2620 continue to teach and coach men’s [email protected] and women’s barbershop ensembles in the United States and Canada. Information is also available at choralconductorsworkshop.com In 2015, I was invited to co-author, 4072 11.17 along with Billy J. Biffl e, a book in
CHORAL JOURNAL March 2018 Volume 58 Number 8 79 PROJECT : ENCORETM NEWS A Catalog of Contemporary Choral Music ProjectEncore.org
QUARTERLY ENDORSEMENTS
DONALD M. SKIRVIN Stars to Hold • SSAATTBB; A, B soloists; a cappella with some divisi; English (Sara Teasdale). • 12' 30". Five-movement cantata on fi ve poems, all referencing celestial bodies in exploring the human condition, especially examining life's many dualities. Excerpts acceptable. Rich texture and metrical challenges. Professional/university level. (ProjectEncore.org/donald-m-skirvin)
JOHN MUEHLEISEN Hope • SSA a cappella; English (Emily Dickinson). • 5' 00”. Written for high school age ensemble on the theme of making the transition into adulthood, empowering young women in particular. Hope portrayed through rising lines; semi-strophic setting. Accessible and inspiring for good treble choirs. (ProjectEncore.org/john-muehleisen)
J. DAVID MOORE A Belén • SSAATTBB, guitar, cello; Spanish (villancico by 17th century Sor Juana Ines de la Cruz). • 7' 45”. Story context is that of Shepherds going to Bethlehem, but metaphysical poetry gives it expansive programmatic use. Stunning neo-Baroque, highly virtuosic style - think late Monteverdi madrigal with Mexican fl avor. Diffi cult and worth the work for pro group. (ProjectEncore.org/j-david-moore)
LAURIE BETTS HUGHES Lights of the Western Sky • SSA; soprano solo; percussion and bluegrass ensemble; English (3 American folk songs). • 8'. Commissioned to celebrate the 2017 solar eclipse. Begins as processional on theme of children singing; culminates in a hoedown! Composer supports use of single movement. Unique instrumental scoring; accessible vocal writing. Good children's/treble choirs. (ProjectEncore.org/laurie-betts-hughes)
RYAN HOMSEY (NEW to PROJECT : ENCORE) Grace • SATB, some divisi; optional piano or organ accompaniment; English (George Herbert). • 5'. Metaphysical poetry begins with the temporal plight of a farmer, extending to cosmic concerns common to all. Chant-like lines punctuated with pregnant pauses, and the refrain of harmonic descent, "Drop from above." Compelling. University/professional. (ProjectEncore.org/ryan-homsey)
PROJECT : ENCORE™ is sponsored by Schola Cantorum on Hudson home of the Ember Ensemble ScholaOnHudson.org PROJECT : ENCORE™ is an online catalog of post-premiere, new choral music, reviewed and endorsed by an international panel of prominent conductors.
Four times each year, P:E adds newly accepted scores to its catalog. Score submission deadlines are the 15th of January, April, July, and October.
JESSICA FRENCH Ave Verum Corpus • SSATBB, soprano solo; a cappella; Latin. • 5' 53". Intensely passionate setting of this traditional liturgical text. While unwaveringly tonal, there are no fewer than eight key changes (beginning and ending in d-minor). A skilled ensemble is necessary. (ProjectEncore.org/julian-david-bryson)
ANTHONY ESLAND (NEW to PROJECT : ENCORE) little tree • SATB with occasional divisi; a cappella; English (e. e. cummings). • 3' 20". A secular Christmas carol, cleverly exploiting e. e. cummings' personifi cation of a tiny tree brought inside for holiday decoration. A delightfully unique addition to the secular holiday repertoire, requiring a professional level of performance expertise. (ProjectEncore.org/anthony-esland)
JULIAN DAVID BRYSON Fire and Ice • SATBB; a cappella; English (Robert Frost). • 2' 15". Imitative musical dialog about the virtues of fi re vs. ice as the catalyst for the destruction of the world; interesting twist on climate volatility! Shifting meters; but manageable by groups capable of a good legato line. (ProjectEncore.org/julian-david-bryson)
SHEILA BRISTOW (NEW to PROJECT : ENCORE) Fair as a dove • SSA a cappella; macaronic (Latin and English) setting of Song of Songs 3:6. • 2' 45”. ABA structure, with outer A sections in English; lyrical, chant-based style. Middle portion in Latin with driving rhythms and shifting asymmetrical meters. Reasonable for good high school ensemble with clean tone and rhythmic precision. (ProjectEncore.org/sheila-bristow)
Always let composers know when you perform their music!
In addition to all that can do for you (discussed in last month’s column), composers' livelihoods depend on it!
DEBORAH SIMPKIN KING, PHD. Conductor P:E Director and Founder DeborahSKing.com Master of Music Choral Conducting
Podium time with all four large ensembles Two candidates accepted each year Highly competitive scholarships and assistantships
Option for summers only (limited enrollment) Craig Aamot, M.M. Senior Lecturer, Choral Music Craig Hella Johnson, D.M.A. Artist-in-Residence Lynn Brinckmeyer, Ph.D. Director of Choral Music Education Joey M. Martin, D.M.A. Director of Choral Activities Jonathan Babcock, D.M.A. Associate Director of Choral Activities
For more information visit choirs.music.txstate.edu
THE TEXAS STATE Friday, February 16, 6:30 p.m. Friday, March 9, 5 p.m. The TMEA Convention The SWACDA Convention CHORALE Grand Hyatt Texas Ballroom, San Antonio Civic Center Music Hall, Oklahoma City
Texas State University, to the extent not in conflict with federal or state law, prohibits discrimination or harassment on the basis of race, color, national origin, age, sex, religion, disability, veterans’ status, sexual orientation, gender identity or expression. If you require accommodations due to a disability in order to participate, please contact 512.245.3830 at least 72 hours in advance of the event. Texas State University is a tobacco-free campus. 17‐501 11‐17 Kevin Dibble, editor [email protected]
Dream Land shortly thereafter, creating a duet. us back to a softer, gentler mood. Kevin A. Memley (b. 1971: 2016) The verse then eases into a four-part The piece ends with the words “for- Text: Christina Rossetti (1830-1894) harmony section before coming to ever more,” sung with three beauti- based on the poem Dream Land a close. A short piano interlude oc- ful chords, leaving the listener with a SATB, piano accompaniment (4:00) curs, followed by the second verse. sense of closure, both harmonically Pavane Publishing, P1535 The men have the melody this time and emotionally. $2.15 with the ladies providing a counter- Dream Land is an accessible piece e-address: melody. At the end of the second for an intermediate choir, appropri- www.PavanePublishing.com verse, the word “rest” is sung several ate for high school, college, or com- times. Another piano interlude takes munity ensembles. The voice parts Connections: place, this time changing to a new are all in a comfortable range, al- https://www.jwpepper.com/ key, with more energy and emotion though there is one low A in the bass with a slight change in tempo and line in the fi nal chord. The melody Performance Demonstration: increased dynamics. Once again, is memorable and is prominent in all https://tinyurl.com/y8lvj5cf at the close of the verse, the choir three verses. This ballad is particu- repeatedly sings the word “rest,” larly suitable as a memorial piece. with diff erent harmony than before. There is an emotional build-up with Emily Gaskill a crescendo, followed by a dramatic Columbia, Tennessee pause. The piano once again brings
The text of this choral composi- tion comes from the poem Dream NORTHWEST MUSIC PUBLISHERS Land by nineteenth-century English P.O.BOX 219204 - Portland, Oregon 97225 writer Christina Rossetti. Composer Music for Women’s Voices (all SSA) Kevin A. Memley eff ectively por- OH MY LOVE . . . . . Folk Song trays the sad, refl ective mood of this COME AWAY SWEET LOVE . . madrigal poem in this four-part choral piece. THE INFANT JESUS (Gesu Bambino) . . Yon The piano accompaniment sets the LULLAY, THOU LITTLE TINY CHILD . . English mood with a slow, soft, contemplative SANCTUS (from Requiem) . . . . Faure melodic introduction. The sopranos SECRET LOVE . . . . . Schubert and altos begin the lyrical melody DU BIST DIE RUH . . . . Schubert in unison, with harmony provided (minimum order 10 copies per title ) by the unison male voices joining in
CHORAL JOURNAL March 2018 Volume 58 Number 8 83 CChoralhoral RReviewseviews
His Voice as the Sound of the David W. Music has arranged melody. The third verse is more Dulcimer Sweet an old American hymn tune, “Sa- subdued, with tenors and basses American Folk Hymn (Samanthra), manthra,” for SATB voices with a carrying the melody or two-part in Supplement to the Kentucky relatively simple yet engaging piano harmony alone while sopranos Harmony, 1825 accompaniment. It is appropriate and altos insert brief answering Text by Joseph Swain, based on especially for church choir, though responses. It fi nishes with a bit of Song of Solomon other choirs that sing sacred music canon followed by a rhythmically Arranged by David W. Music, may choose to perform it. Due to augmented unison, stretching out 2016 SATB and piano the light accompaniment and no di- the peaceful ending. Augsburg Fortress Publishing visi, it can be sung eff ectively by a The arranger has kept the rustic 978-1-5064-1389-1 small group. feel of the piece primarily by leav- www.augsburgfortress.org The song is strophic, with three ing the melody in a natural minor. verses each in AABA form. The Some of the harmonies stray, us- fi rst verse starts with just sopranos ing legitimate dominant chords, on the fi rst phrase, altos joining in and the ending utilizes a redemp- harmony for the second; tenors tive major chord to fi nish. The part likewise add a third harmony part writing displays skillful voice lead- for the third phrase, and basses join ing, and the resulting harmonies are in for the fourth phrase. The second comfortable and intuitive sounding. Performance demonstration: verse is characterized by a less ac- The accompaniment is what https://www.augsburgfortress.org/ tive piano left hand. It is mostly in adds to the original early American store/product/22039/His-Voice- four-voice texture but for a phrase tune in interest and variety. The fi rst As-the-Sound-of-the-Dulcimer- drops to two parts, sopranos in uni- two verses are characterized by run- Sweet son with altos harmonizing to the ning eighth notes in the right hand, tenors and basses in unison on the mostly arpeggio-based, over longer note values in the left hand. The repose of the fi nal verse is mostly ULTURAL OUR ONSULTANTS due to less busy rhythms in the ac- CCULTURAL TTOUR CCONSULTANTS companiment, underscoring the Specialists in InternaƟonal Concert Tours softer dynamics and the lyrical al- lusion to the “dulcimer sweet” as a description of Christ’s voice. This is a well-crafted arrangement that re- tains some of the early nineteenth- century fl avor of the original with a
EUROPE creative accompaniment and easily and learned vocal harmonies. Beyond Russell Thorngate Ashland, WI
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84 CHORAL JOURNAL March 2018 Volume 58 Number 8 She Walks in Beauty motives, and by employing the open- Byron in 1813. Anecdotally written Connor J. Koppin (b. 1991); ing textual phrase as an organizing in response to the poet’s fi rst meeting (© 2016) refrain and concluding coda. Kop- with Anne Beatrix Wilmot, the verse TTBB, piano and oboe (4’ 50”) pin has deliberately called for a high is a meditation on both the inner Walton Music Corporation (A Divi- tessitura when setting particular and outward charms of its subject. sion of GIA Publications, Inc.) phrases of the sensitive text, inviting The lyrical oboe line is initially used Jo-Michael Scheibe Choral Series the male performers of the work to to frame the choral sections, and lat- www.waltonmusic.com explore what he calls “the most vul- er joins the rest of the ensemble for nerable area of the voice.” The vo- the fi nal, impassioned verse. Though Piano and oboe cal writing is beautifully expressive, not overly diffi cult, the part nonethe- Score: https://www.jwpepper.com/ and creates a lush musical fabric less has several high and exposed suitable for advanced high school or passages that require an experienced Performance link: collegiate-level groups. player. Sound Cloud recording at The two most distinctive ele- www.connorjkoppin.com ments of the work are its elevated Michael Rosewall text and the attractive oboe solo. De Pere, WI Text: secular, English; Lord Byron The poem She Walks in Beauty was (1788-1824) written by Lord (George Gordon)
Connor Koppin’s She Walks in Beauty is a stylish and welcome ad- dition to the growing repertoire of distinguished literature written spe- cifi cally for men’s voices. Scored in the darkly dramatic key of G! and featuring an obbligato oboe solo, the work creates a sincere and reveren- tial mood that well suits the nobility of its well-known text. Belonging to Walton Music’s Jo-Michael Scheibe Choral Series, this evocative piece has rapidly become a favorite for di- rectors of all-state and honor choirs around the country. Instead of basing each verse on an unvarying melody, the composer has instead organically unifi ed his vocal lines through the recurring use of rising fi fths and falling scalar
CHORAL JOURNAL March 2018 Volume 58 Number 8 85 CChoralhoral RReviewseviews
The New Colossus Memeley’s version sets the entire tent pianist. Kevin A. Memley Lazarus text and brilliantly refl ects Although not overly taxing, the SATB divisi, piano its varied emotions. piece requires vocal maturity, ap- Text: Emma Lazarus Memley treats the opening of the propriate for college or advanced Pavane Publications P1565, $2.45 fi rst strophe as a dramatic introduc- high school ensembles. Ranges are tion and then segues into a lyrical comfortable with higher-tessitura portrayal of the Statue of Liberty, brilliance often demanded of the “Mother of Exiles.” A sense of mo- sopranos. Memley’s musical con- tion and urgency (led by keyboard struction is exceptional and intel- fi guration) opens the next section, ligent (for example, every high G which focuses upon Lady Lib- required of the tenors is doubled erty’s welcoming of all the world’s by the same pitch in the alto part The year two thousand and sev- citizens. Momentum builds as the or at least elsewhere in the chord). enteen marks the publication of next section contrasts the pomp- The writing is fl uid and does not Kevin Memley’s The New Colossus, ous desires of the world with Lady shy away from many expressive a truly outstanding composition Liberty’s focus upon the world’s details (especially unique are the which has previously been avail- downtrodden. This section, “Give rise and fall dynamic contrasts on able in the treble setting (Pavane me your tired, your poor,” begins sustained pitches, a musical incor- P1560). Based upon the classic text the dynamic and textural build to poration of messa di voce into the of Emma Lazarus (inscribed at the the fi nal section (“I lift my lamp”), musical texture). Melodic structure base of the Statue of Liberty), this which portrays Lady Liberty in all is varied as it matches the text with piece is surely destined to become of her majesty. It is important to support from strikingly eff ective an American classic. Most are fa- note that the colorful piano accom- harmonic language, all of which is miliar with the Irving Berlin set- paniment equally refl ects the text’s couched in the varied musical tex- ting Give Me Your Tired, Your Poor, but emotion and will require a compe- tures which assist in bringing the story to life. Suffi ce to say, Memley’s emo- tional setting of this classic text MusicQuotables.com expresses a fundamental Ameri- can belief system and should soon for Choir Directors & Musicians Enjoy fun, clever choral apparel & gift items! appear on All-State and Hon- ors Choir programs nationwide. Memley’s music is expertly wedded to the powerful text and will pro- vide a highly satisfying experience for conductor, chorister, and audi- ence member alike.
Dale Rieth Ft. Pierce, FL
Multiple Colors, All Sizes and Many Fun Messages for CHOIR! See them all online at: MusicQuotables.com
86 CHORAL JOURNAL March 2018 Volume 58 Number 8 CHORAL JOURNAL March 2018 Volume 58 Number 8 87 Column Contact Information
ACDA members wishing to submit a review or column article should contact the following column editor:
Book Reviews Gregory Pysh [email protected]
Choral Reviews Kevin Dibble [email protected]
ChorTeach (online) Terry Barham [email protected]
Hallelujah! Richard Stanislaw [email protected]
On the Voice Duane Cottrell [email protected]
Recorded Sound Reviews David Puderbaugh [email protected]
New Voices in Research Magen Solomon [email protected]
Student Times Jason Paulk [email protected]
Technology and the Choral Director Philip Copeland [email protected]
For feature article submissions, contact the editor, Amanda Bumgarner, at
Book and music publishers should send books, octavos, and discs for review to: Choral Journal, Attn: Amanda Bumgarner, 545 Couch Drive, Oklahoma City, Oklahoma 73102 For advertising rates and exhibit information, contact Sindy Hail, National Advertising & Exhibits Manager, at
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