Official Publication of the American Choral Directors Association US ISSN 0009-5028 APRIL 1994 JOIN US IN 1994
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For a brochure write: For more information call Directed and Founded by Showchoir Camps of America, Inc. (708) 968-0500 Dwight Jordan & Susan Moninger P.O. Box 396, Downers Grove, II 60515 (DSh(lwchi'lir('amp,~ of Anll'11l:l. Inc 194~ Graduate credit availahle Official Publication of the American Choral Directors Association Volume Thirty-four Number Nine
APRIL 1994 CHORALJO John Silantien Barton L.Tyner Jr. EDITOR MANAGING EDITOR
COLUMNS ARTICLES The Information Highway: From the Executive Director 2 Computer Networking From the President.. 3 for Choral Musicians 9 by James D. Feiszli, Patrick M O'Shea, From the Editor 4 Larry W Peterson, and David B. Topping, with contributions by CliffGanus Literature Forum 39 A CulturaUy Pmneabk Choral Curriculum: Programmingftr the Twenty-jir:rt Century by Gary D. Funk The Bethlehem Bach Choir
Compact Disc Reviews 43 Approaches Its Centennial ... 13 Richard J. Bloesch, editor by Perry Jones
Book Reviews 45 Stephen Town, editor The Musical Depiction Choral Reviews 49 of Drama in Judith Lang Conan Castle, editor Zaimont's Parable: A Tale ofAbram and Isaac 19 National Convention 42 by Sara Lynn Baird Advertisers Index 64 The Choir as Farnil)T, Pan II ... 25 Cover art by Ann Pressly. The music used in the cover aft is from Belshazzars FeaJt, by Sir by Mary Alice Stolfdk, Gary E. Stolfdk, William Walton, and is reproduced by permission Steven Meyers, andMatthewJ Stolfdk of Oxford University Press. Arrwork for Baird article by JoAnn Rice and for Srollak article by Paul Bufton. RE H EARSAL BREAKS A Conversation with Frieder Bernius, Founder and Director ofthe Kammerchor Stuttgart .... 31 by Constance DeFotis
APRI L 1994 PAGE 1 FROM THE EXECUTIVE DIRECTOR AFFILIATED ORGANIZATIONS The Research andPublications Committee INDIANA AM PLEASED to announce that Joan Catoni Conlon has been appointed Chair CHORAL DIRECTORS ASSOCIATION President - Barbara]. Waite of ACDA's Research and Publications Committee. We are extremely fortunate 554 South Ruston Avenue I to have Joan serve ACDA in this capacity, as she brings impeccable credentials to Evansville, Indiana 47714 this most important committee. Treasurer - Paula]. Alles I471 AI rmeyer Road Currently a Professor of Music at the University of Washington, in Seattle, Joan Jasper, Indiana 47546 teaches courses related to choral repertoire, conducting, score preparation, methods, IOWA and materials. She also conducts the University Chorus, the University Madrigal CHORAL DIRECTORS ASSOCIATION Singers, and the Pacific Northwest Chamber Chorus (a civic chorus in Seattle). She President - Robert G. Youngquist 831 South Thitreemh Avenue holds degrees in piano and music history, as well as a doctorate in conducting. Washington, Iowa 52353 Joan's own research and publications in the choral field have been quite substantial, Secretary/Treasurer - Bruce A. Norris and she has traveled extensively to further her scholarly interests. While in Frankfurt, 420 Maple Srreer Mondamin, Iowa 51557 Brussels, and London, she researched the choral cantatas of Georg Philipp Telemann. She subsequently edited and performed some of these cantatas, which have not been MINNESOTA CHORAL DIRECTORS ASSOCIATION heard since the eighteenth century. Her editions have been published by Augsburg President - Michael Smith Publishing House, Lawson-Gould, and Southern Music. In addition to this work, Joan Brainerd High School. 702 Sourh Fifrh Srreer is currently busy preparing a performance guide for the music ofClaudio Monteverdi. Brainerd, Minnesora 56401 Treasurer - Richard Edstrom In addition to her European travels, Joan has spent two sabbatical leaves in India, 2305 Winfield Avenue, Norrh where she studied Hindustani classical vocal music. Her interest in multicultural Golden Valley, Minnesora 55422 choral music was further demonstrated in the publication of her article "Explore the MONTANA World in Song," which appeared in the May 1992 issue ofthe Music EducatorsJournal. CHORAL DIRECTORS ASSOCIATION At the same time I welcome Joan to her new position, I want to thank Ray President - Norbert Rossi Posr Office Box 1884 Robinson for his many years of service as Chair of the Research and Publications Columbia Falls, Momana 59912 Committee. We deeply appreciate his devotion to the choral art and ACDA, and for Treasurer -] ohn Haughey giving so freely of his time to the Committee. We will always be indebted to Ray for 2126 Norrhridge Citcle Billings, Momana 59102 his scholarly contributions. Finally, I welcome two new Research and Publications Committee members re NEBRASKA CHORAL DIRECTORS ASSOCIATION cently appointed by Joan Conlon: Hilary Apfelstadt, at Ohio State University, in President - Richard Palmer Columbus, Ohio, and Joan Whittemore, at Regis University, in Denver, Colorado. Dana College Music Deparcmenr Both of these choral scholars promise to bring exciting contributions to ACDA's vital 2900 College Drive Research and Publications Committee. Blaire, Nebtaska 68008 Treasurer - Clark Roush York College Gene Brooks York, Nebraska 68467
OHIO CHORAL DIRECTORS ASSOCIATION President - James S. Gallagher School of Music, Ohio Srare Universiry 1866 College Road Columbus, Ohio 43210 STATEMENT OF MEMBERSHIP Treasurer - Herb Henke The American Choral Directors Association is a nonprofit professional organization of choral directors Oberlin Conservatory from schools, colleges, and universities; community, church, and professional choral ensembles; and Oberlin, Ohio 44074 industry and institutional organizations. Choral Journal circulation: 16,000. Annual dues (includes subscription to the Choral Journal): Active $45, Industry $100, Institutional $75, Retired $10, and Student TEXAS $10. One-year membership begins on date of dues acceptance. Library annual subscription rates: U.S. $25;bCanada $35; Foreign Surface $38; Foreign Air $75. Single Copy $3; Back Issues $4. CHORAL DIRECTORS ASSOCIATION ACDA is a founding member of the International Federation for Choral Music. President - Debbie Helm ACDA supports and endorses the goals and purposes of Chorus America 601 Shady Creek Trail in promoting the excellence of choral music throughout the world. Mesquire, Texas 75150 ACDA reserves the right to approve any applications for appearance and to edit all materials proposed for distribution. Secretary/Treasurer - Marsha Carlisle Permission is granted to all ACDA members to reproduce articles from the Choral Journal for noncommercial, educational 1308 Norrhpoim Drive, South purposes only. Nonmembers Wishing to reproduce articles may request permission by writing to ACDA. San Marcos, Texas 78666 The Choral Journal is supported in part by a grant from the National Endowment for the Arts. a federal agency. WISCONSIN Recognizing its position of leadership, ACDA complies with the copyright laws of the United States. Compliance With these laws is CHORAL DIRECTORS ASSOCIATION a condition of participation by clinicians and performing groups at ACDA meetings and conventions. President - Gregory R. Carpenter © 1994 by the American Choral Directors Association, 502 SW Thirty-eighth Street, Lawton, Oklahoma 73505. Telephone: 1604 Corronwood Drive 4051355-8161. IIJI rights reserved. The Choral Journal (US ISSN 0009-5028) ls lssued monthfy, exoept for June and Jufy. Printed in the Waukesha, Wisconsin 53186 United States of America. Secretary/Treasurer - William Ross ~ Appleati::n to mail at sexffi-dass postage ls PENDING at Lawton, 0kIahJma, and addilicrol mailirg office. FDSTMASTER: 814 Wesr Larabee Srreer ~ Serd adJressch3rgesto OuaI.bJrnal, Post ()ffre Box 6310, Lawton, 0kIahcma 738:B{)310. Porr Washingron, Wisconsin 53074
Volume Thirty-four Number Nine
PAGE 2 CHORAL JOURNAL FROM ACDA THE PRESIDENT OFFICERS
PRESIDENT The Technology Train: "Get on BoardLi'l Children" John Haberlen o SOME OF US in the mid-stages of a choral career, the word technology School of Music, Georgia State University University Plaza is frightening. Although I am acquainted with basic word processing, the Arlanta, Georgia 30303 T more advanced uses of computers leave me feeling inadequate. In recent VICE-PRESIDENT years exhibitors have extolled the virtues ofcom William B. Hatcher School of Music, University ofIowa puter software programs that print music, help Iowa City, Iowa 52242 with grading and attendance, and catalog music PRESIDENT-ELECT libraries on databases. Rather than ignore this Lynn Whitten progress, we should decide now to jump on College of Music, University ofColorado Bouldet, Colotado 80309 board the technology train before it is too far TREASURER down the tracks. Elaine McNamara The Information Highway is here. After read \340 South Ocean Boulevard, #402 ing the lead article in this issue, I subscribed to Pompano Beach, Florida 33062 Choralist, and through MENC I have joined the EXECUTIVE DIRECTOR Gene Brooks Pepper National Music Network. I hope that in Post Office Box 63\0, Lawron, Oklahoma 73506 the near future each ACDA division and state 405/355-8\6\ • Fax: 405/248-1465 president and all R&S chairs will be networked CENTRAL DIVISION PRESIDENT Terry Lehman together. That would make it possible for the 1509 Pleasant Drive National President or Executive Director to e Kokomo, Indiana 46902 mail a message to everyone simultaneously. No EASTERN DIVISION PRESIDENT more postage, stuffing envelopes, etc. Likewise, any ACDA member would be able to James W. Hudson 243 East Pulteney Sueet communicate in this manner to the ACDA national office or a specific officer. Some Corning, N ew York 14830 members of the executive committee and national board are already doing this. NORTH CENTRAL DIVISION PRESIDENT Gary R. Schwartzhoff Beyond Video Games School of Music, University ofWisconsin-Eau Claite Eau Claire, Wisconsin 54702 Given the newest video technologies, we will soon have interactive choral conferences NORTHWESTERN DIVISION PRESIDENT and workshops across the country, via satellite. A recent conference ftom Washington, William F. Maydin D.C., was presented by Georgia State University as an interactive video on a large-screen 520 NWThird Pendleton, Oregon 9780 I TV. This conference brought together national political figures, business leaders, politi SOUTHERN DIVISION PRESIDENT cal scientists, and educators to discuss a particular minority issue. I envision a choral Milburn Price conference where lectures and demonstrations by guest conductors and researchers will School of Music, Samford University be transmitted live, simultaneously, to choral classrooms at selected colleges around the Birmingham, Alabama 35229 United States. Interactive discussions would occur between the clinicians and partici SOUTHWESTERN DIVISION PRESIDENT Rod Walker pants at the centers. In the future, select portions of ACDA conventions could be Department of Music, Kansas State University broadcast to a remote center far from the convention site. Manhattan, Kansas 66506 WESTERN DIVISION PRESIDENT Mary C. Breden The Future: Your Exclusive Conducting Masterclass Depattment of Music, Loyola Matymount University On a more personal level, laser and digital technologies will make it possible to Los Angeles, California 90045 have a master teacher comment on your conducting technique by submitting your INDUSTRY ASSOCIATE REPRESENTATIVE concert performance on CD-ROM for evaluation. The master teacher could send Robert Schuneman ECS Publishing comments via e-mail to your personal computer mailbox. These types of interactive \38 Ipswich Street learning are being developed at a rapid pace and are affecting the education process. Boston, Massachusetts 02215 Although technology will never replace live music-making, it can support and aug ment basic pedagogy. We must not shut our eyes to future uses of technology, but, PAST PRESIDENTS COUNCIL rather, we should select those technological advances that will continue to nourish our Diana J. Leland study of the choral art. Valley View Middle School 6750 Valley View Road Edina, Minnesota 55435 A Major Donation to the ACDA Endowment Trust Fund Maurice Casey Elwood J. Keister It is with great joy that I announce that a generous $10,000 donation has been Walter S. Collins Colleen J. Kirk Harold A. Decker Theron Kirk made to the ACDA Endowment Trust for the Raymond W. Brock Memorial Fund by Morris D. Hayes Russell Marhis our Executive Director, Gene Brooks. It is my hope that at the appropriate time in our Chatles C. Hirt H. Royce Saltzman lives each of us will consider making a significant gift to the Endowment Trust. Warner Imig Hugh Sandets David Thotsen John Haberlen
APRI L J994 PAGE 3 FROM THE EDITOR EDITORIAL BOARD A New Column on Technology EDITOR John SHan tien HE LEAD article in this month's Journal was put together by four authors Division of Music living in states as far apart as Arizona, Arkansas, South Dakota, and Dela University of Texas at San Anwnio San Amonio, Texas 78249 T ware, and communicating via a computer network. As the technological revo 2101691-5680 lution changes the way we do things, it is imperative that educators become aware of ASSOCIATE EDITOR developments affecting the way we transmit and process information. Changes that Sandra Chapman Fort Madison Junior High School we cannot even envision today will transform our society as profoundly as the ma 18th S"eet and Avenue G chines of the Industrial Revolution impacted eighteenth-century life. Fort Madison, Iowa 52627 319/372-1778 The hardware and software which has made desktop publishing possible was largely MANAGING EDITOR responsible for the new look of the ChoralJournal during the past two volume years. Barton L. Tyner Jr. Since October 1993, musical examples appearing in articles have been pro POS( Office Box 6310 Journal Lawwn, Oklahoma 73506 duced using a music notation program called Score, resulting in an improved 405/355-8161· Fax: 405/248-1465 uniformity and neater appearance. EDITORIAL ASSISTANT Jennifer E. Dlelmann This fall the Choral Journal will initiate a new column devoted to technological DiviSIon of Music developments that relate to choral musicians and educators. If you would like to University of Texas at San An[Qnio San Anwnio, Texas 78249 contribute to such a column, please send me a resume, citing particularly your back 210/691-5680 ground in music technology, and share with me your ideas about the kinds of items EDITORIAL BOARD MEMBERS that should be addressed in this monthly feature. Chester Alwes School of Music University of Illinois John Silantien 1114 West Nevada Urbana. Illinois 61801 Richard J. Bloesch School of Music University of Iowa Iowa Ciry, Iowa 52242 Conan Castle Burnwood Estates 245 NE 71 ---21995-&-- Warrensburg, Missouri 64093 Kenneth Fulton School of Music Louisiana State University NORTH AMERICAN Bawn Rouge, Louisiana 70803 Nina Gilbert Wabash College MUSIC FESTIVALS Crawfordsville, Indiana 47933 Mitzi Groom & CUSTOM TOURS Depanmenr of Music and Fine Arts Tennessee Technological University Box 5045 Cookeville, Tennessee 38505 Frank Pooler 2801 Engel Drive Los Alamitos, California 90720 Timothy W. Sharp 302 Third Avenue, South Franklin, Tennessee 37064 Harriet Simons Music Depanment, Baird Hall University at Buffalo Toronto Atlanta Buffalo, New York 14260 Virginia Beach Myrtle Beach Stephen Town Department of Music Hersheypark VVash./Balt. Northwest Missouri State University Boston Nashville Maryville, Missouri 64468 Jerry Warren San Antonio Los Angeles* Office of Academic Affairs Belmont University St. Louis* NeW' Orleans* Nashville, Tennessee 37212 Las Vegas* NeW' York City* COORDINATOR OF STATE NEWSLETTERS Richard Kegerreis One Craig Drive *These are pOSSible new sites. Call with your vote! Huntington Station, New York 11746 516/222-7447 Please Call 1-800-533-6263 for FREE information
PAGE 4 CHORAL JOURNAL Indiana Choral Directors Association NATIONAL SUMMER CONFERENCE R&S CHAIRS Eph Ehly Dale Warland David Cherwein Mon Choeur - Paul Krasnovsky, Conductor NATIONAL CHAIR Sister Sharon Breden Pilgrim Lutheran Choir - Chris Cherwein, Conductor 5880 Taormino Avenue San Jose, California 95123 July 24-26,1994 BOYCHOIR University of Indianapolis Gary W. Patterson For further information, write Sue Hartin, Mark Foster Music Company Post Office Box 4012 3848 Devonshire Ln, Bloomington, IN 47408 Champaign, Illinois 61824 CHILDREN'S CHOIRS Barbara Tagg 215 Crouse College, Syracuse Universiry Syracuse, New York 13244 COLLEGE AND UNIVERSITY CHOIRS Richard J. B10esch School ofMusic, Universiry ofIowa Iowa Ciry, Iowa 52242 NOIODYDOES COMMUNITY CHOIRS Bill Diekhoff 1639 C. A. Becker Drive Racine, Wisconsin 53406 ITIEnER! ETHNIC AND MULTICULTURAL PERSPECTIVES •• •THAN NATIONAL EVENTS Marvin V. Curtis Virginia Union Universiry 1500 North Lombardy Street The Standard of Excellence in Music Festivals &Special Events Richmond, Virginia 23220 JAZZ AND SHOW CHOIRS April 8-11 April 29 - May 2 Dan Schwartz MORE Bahamas Cruise Bahamas Cruise 13-01 Ivy Lane (Dolphin Line) (Premier Line) Fair Lawn, New Jersey 07410 IN '941 Dallas, TX Boston, MA Spring 1994 Myrtle Beach, SC Chicago,IL JUNIOR HIGH/MIDDLE SCHOOL CHOIRS New Orleans, LA Anaheim,CA Mexico City Kathy Anderson Washington, D.C. Mexican Cruise (NCL) 1551 Parkview Avenue March4-7 Nashville, TN San Jose, California 95130 Bahamas Cruise April 15 -18 New York City, NY Atlanta, GA MALE CHOIRS (Dolphin Line) San Antonio, TX Bahamas Cruise St. Louis, MO Carl L. Starn March 11 - 14 (Premier Line) Chapel Hill Bible Church Toronto, Canada Bahamas Cruise Mexican Cruise (NCL) 1200 Mason Farm Road (Dolphin Line) New Orleans, LA May6-9 Chapel Hill, North Carolina 27514 San Francisco, CA Bahamas Cruise MUSIC AND WORSHIP March 18 - 21 Williamsburg, VA (Dolphin Line) David Davidson Bahamas Cruise Chicago,IL Highland Presbyterian Church (Dolphin Line) April 22-25 Gatlinburg, TN Bahamas Cruise 3821 Universiry Boulevard March 25 -28 Las Vegas, NV Dallas, Texas 75205 (Dolphin Line) Minneapolis, MN Bahamas Cruise Bahamas Cruise (Dolphin Line) St. Louis, MO SENIOR HIGH SCHOOL CHOIRS (Premier Line) Toronto, Canada Allen Chapman San Diego, CA Anaheim,CA Vancouver, Canada 1209 Avenue C Nashville, TN Fort Madison, Iowa 52627 April 1-4 Rapid City, SD May 13-16 Bahamas Cruise Toronto Canada Bahamas Cruise TWO-YEAR COLLEGE CHOIRS (Dolphin Line) (International (Premier Line) Thomas E. Miller Orchestra Festival) Branson,MO 15816 Mandan Road April 4 - 8 Apple Valley, California 92307 Bahamas Cruise Denver, CO (Dolphin Line) Seattle, WA WOMEN'S CHOIRS ANNOUNCING Williamsburg, VA Leslie Guelker-Cone ADriI5.:-12 h\us\,fest or\O""O Department ofMusic Hawau May 20-23 2380 Keats Avenue lo,h wee\le,," Bahamas Cruise California State Universiry at Fresno (ThllfSdllYS - SUlldt1Ys) (Dolphin Line) MllTCh 17 thTlI JII1Ie 12 Fresno, California 93740 Call National YOUTH AND STUDENT ACTIVITIES GuyB. Webb Events Toll Free Department ofMusic Southwest Missouri State Universiry Springfield, Missouri 65804 1·800·333·4700 NATIONAL EVEJVT§
APRIL 1994 PAGE 5
ANNOUNCING THE EIGHTH ANNUAL MasteR 5cbola
From August 9 to 15, a select group of America1s best choirmasters and organists will have a rare opportunity to improve their skills in seminars and critiqued workshops, under the guidance of international masters of the church musician1s art.
Miss Ma12ga12e-t Hillis Director of the Chicago Symphony Chorus. Course: Messiah: Technique, Analysis and History in Performance.
Msgr.l. Clement MOr.lln Faculty of Music, University of Montreal. Course: The Spirituality of Gregorian Chant.
M12. John Weaue12 Head of the Organ Department, Curtis Institute and the Juilliard School. Course: Oratorio in the Accompanist's Art.
P120{. D0120-thiY Richa120S0n Formerly of the Guildhall SchooL London, presently of Cambridge, England; professional voice teacher and coach. Course: The Joy of Singing.
Two concertsopen tothe public: Miss Hillis will conductHandel'sMessiahSunday, August 14, 4:30 pm. Mr. Weaver will perform a recital Tuesday, August 9, 8 pm. Please call for tickets. Situated on Cape Cod Bay, Master Schola is hosted bythe ecumenical Community ofJesus. Make your reservations soon, as registration is limited. For more information aboutthe 1994 Master Schola or future MasterSchola's, fill outand return the form beloworcall Mrs. Barbara Coleatl-800-252-7729or 508-255 6204. All inclusive registration fee is $695. ------~-- Information Request Form:
Name ______Phone _
Address
send form to: The Community of Jesus, Moster Scholo, c/o Mrs. Barbara Cole, 5 Bayview Drive, Orleans, MA 02653 or call 1-800-252-7729 or 508-255-6204. ~" .Jt,;It ~p
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Give ChoralAmerica une or July, and we'll give yo something very few music ORRY-FREE Aug ••• We'll do most of your ChoralAmerica is a four-day workshop where you not you and your students also learn rehearsal techniques an movemen selections come alive! Our nationally known f will help make Se you'll look forward to. Your only ing to do before school starts!
Clinicians This Sally Albrecht Jay Althouse June 20-23 Ron Burrichter June 26-30 Michael Cesario July 5-9 Dave Riley July 24-27 Russ Robinson July 26-29 Rick Weymuth July 30-Aug. 2
EDUCATIONAL CALL TODAY for Further
PROGRAMSt1 Vision, Commitment, Action The Information Highway: Computer Networking for Choral Musicians
by James D. Feiszli, Patrick M. O'Shea, Larry W Peterson, and David B. Topping, with contributions by CliffGanus
Jane Doe, a high school choral director, needs one more Some of the areas in which computer networking can aid number for the spring concert, preferably a nineteenth-century choral musicians are: 1) finding choral literature, 2) obtaining work with a good soprano solo. For that same concert she advice from or communicating with other choral directors, and wants to program a lovely Hungarian folk song, but the only 3) utilizing reference sources other than those available locally. edition available to her provides a poor English translation. This article discusses how computer networking can assist Meanwhile, Jane's principal wants to hear a compelling reason choral musicians in these and other areas. why next year's college-preparatory English class should not be scheduled at the same time as her concert choir-an elective Computer Networks course. To top it off, the long-planned concert tour to a neigh You are already part of one of the most powerful electronic boring state is in jeopardy because two of the planned perfor networks in existence, one in which you take an active role mance contacts just backed our. every day, namely, the telephone system. The connections which Instead of climbing on top of the old, battered upright in transmit telephone calls can also move electronic data from her classroom and diving off, Jane goes home that evening and computer to computer. To join this network, all an individual turns on her computer. She types a few commands and is needs, besides a computer is a device called a modem and its linked to a computer network through which she gains access accompanying sofrware. to what is known as the "information highway." Posting elec Many ACDA members already have access to computer tronic messages in a few strategic places, Jane goes to bed and networking, either through electronic mail (e-mail) systems sleeps peacefully. Prior to leaving for work the next morning, or commercial bulletin boards, such as CompuServe, America she has two ofher four problems solved and has a good start on Online, and others, which provide various levels of network solving the other two. access to their subscribers. If you use a computer that is Many musicians have already discovered the usefulness of connected to a local-area network (LAN), such as an e-mail computer technology for such chores as writing correspondence, system, then a computer dedicated to an outside connection filing data, or creating mailing labels. Others have searched (called a "gateway") may be part of that system. A computer their local or college libraries on computer. Still others use that is not already part of a network can connect to another computer technology in the practice room for ear-training and computer from any telephone jack using a modem, which note-learning, or to create analyses for music literature courses. converts computer signals to telephone signals. There are
James D. Feiszli is Director of Music Activities at the South Dakota School of Mines and Technology, Rapid City, South Dakota. Patrick M. O'Shea is a doctoral candidate in choral music at Ariwna State University, Tempe, Arizona. Larty W. Peterson is Associate Professor ofMusic at the University of Delaware, Newark, Delaware, and editor of MusDisc News, an international newsletter devoted to multimedia and music instruction. David Topping is a doctoral candidate in choral music at Arizona State University and Director of Music at Los Arcos United Methodist Church, Scottsdale, Ariwna. Cliff'Ganus is Professor ofMusic and a choral director at Harding University, Searcy, Arkansas.
APRIL 1994 PAGE 9 computer nerwork. Within MUSICA one can search for choral literature by using one or more of fifty categories (composer, solos, accompaniment, voic ing, etc.). Although not part of the Internet, Minitel can be accessed via long-distance phone lines. IFCM is seek ing U.S. sponsors of MUSICA to in crease its accessibiliry for musicians in this country. E-mail and discussion groups are among the most useful features of the Internet. Many colleges in the country either have or are getting Internet gate ways so that faculry and students can communicate via e-mail. Often e-mail topics. users wish to interact with others in a Local-area network casual manner to locate certain items, within a geograp ask how other professionals treat issues, or solve certain problems. Joining an Internet discussion news-group provides access to a host of persons with similar interests from whom information can be obtained. Internet discussion groups are quickly becoming a new tool for research pro jects. For example, members of the AMSlist have used the nerwork in sev eral ways: 1) to list homes to sublet in other countries; 2) to share newly dis covered research items, including a de scription, location information, and contact; and 3) to communicate quickly with other members of a research team. The creation of this article serves as an example of the last item. Although the writers reside in Arizona, Arkansas, Dela many new connection points springing Telnet research allows an isolated ware, and South Dakota, by sharing copy up all over the world, some of which e-mail user to stay at home or the office and editing suggestions across the offer complete nerworking services and gain access to the catalogs of hun Internet, the collaborative effort became for nominal fees-to anyone with a dreds of libraries worldwide. For ex a relatively easy task. computer-modem combination. ample, suppose you are performing an on-line search of the Hong Kong Uni Choralist The Internet versiry card catalog. After finding the In March 1992, Walter Collins (a Past A variery ofcomputer nerworks exists: sources you need for your research, you President of ACDA), Mark Gresham Internet, Bitnet, Usenet, and Freenet. Dif can then copy the data from the catalog (Editor-in-Chief of Chorus! magazine), ferences among nerworks are rapidly dis directly to your computer. With that in and James Feiszli (Director of Music at appearing as smaller ones are becoming formation, a good interlibrary loan de the South Dakota School of Mines and absorbed by the largest of these, the partment can then order that material Technology) began an e-mail correspon Internet, which is actually a large, multi for your research. dence regarding on-line access for U.S. level system of nerworks, combined in FTP (File Transfer Protocol) sites de choral musicians to the IFCM MUSICA order to expand the smaller nerworks' re voted strictly to music already exist. For databank. They also discussed the possi sources, capabilities, and users. Members example, MUSICA, the choral music bilities ofe-mail access for the headquar include universities, research institutions, database of the International Federa ters of both ACDA and IFCM. With government facilities, corporations, and tion for Choral Music (IFCM), con the addition of ACDA President-Elect individuals. A number of Internet fea tains more than 45,000 titles and is Lynn Whitten to the group, the discus tures are ofspecific interest to musicians. on-line through the French Minitel sions narrowed to the possible benefits
PAGE 10 CHORAL JOURNAL A Sampling ofInternet Groups Dedicated to Music AMSlist. For American Musicological Society members (Send message to lisrserv@charles. of e-mail technology for ACDA mem ucdavis.edu with the message subscribe amslist
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EUROPEAN INCOMING SERVICES PHONE: (617) 647-0830 666 Moody Street • TOLL FREE: 1-800-443·1644 Waltham, MA 02154 U FAX: (617) 647·9163 The Bethlehem Bach Choir Approaches Its Centennial by Perry Jones
Bethlehem Bach Choir, 1903
A dusty, bottle-green hillside rising from a riverfront made The great American writer Henry L. Mencken wrote four harsh and hideous by long lines ofblast furnaces; the sunshine articles concerning the Bethlehem Bach Festival. The above blazing down through a haze shot through with wisps ofgolden quote is from the first ofthe series published May 30, 1923, after orange smoke. Thick woods all the way to the top ... one ofhis many visits to the festival. When Mencken wrote this, the Bethlehem Bach Choir had existed for twenty-five years. It is here that the Bach Choir, for years past, has been lifting Today the choir is approaching its one-hundredth-anniversary its hosannas to old Johann Sebastian-a curious scene, in more year (1998) and is the oldest Bach Choir in the world dedicated ways than one, for so solemn and ecstatic a ceremonial. ... exclusively to the performance ofthe music ofBach (the London Bach Choir, founded in 1876, is the oldest Bach Choir, but it What indeed, is most astonishing about the whole festival does not limit its repertoire to only Bach's works). is not that it is given in a Pennsylvania steel town, with snorting of switching-engines breaking in upon Bach's colossal Gloria, but that ir is still after all these years ... so Bethlehem Collegium Musicum full ofhomeliness and rusticity.... There is no affectation (1744-1820) about it whatever, not even the affectation of solemn The choral tradition in Bethlehem can be traced to the religious purpose. Bach is sung in that smoky valley because Collegium Musicum founded in 1744. The hand-written rhe people like to sing him, and for no other reason at all. pages of the Bethlehem Diary of June 1742 refer to a The singers are businessmen and their stenographers, Singstunde, a service combining music and devotion. On schoolmasters and housewives, men who work in the steel Christmas Eve 1741, Count Zinzendorfcalled the small group mills and girls waiting to be married. If not a soul came in ofMoravian and Bohemian settlers to the first log house built from outside to hear the music, they would keep on making there. He led the singing of the Epiphany hymn, which it just the same. included the words:
I can imagine no great public ceremonial with less fuss to Not Jerusalem, it. ... The conductor slips into his place unnoticed; when Rather Bethlehem, a session is over he slips out the same way. It is indeed not Gave us that which a public performance ar all, in rhe customary sense; it is Maketh life rich simply the last of this year's rehearsals and as soon as it is Not Jerusalem. 2 over next year's begin.] By general consent of the settlers, the name Bethlehem, the ancient town of David, was adopted for their settlement. PerryJones is Professor ofMusic at the University ofNevada, Reno. On Christmas Day 1743 instruments arrived from Europe and were played for the first time in the church service. They
APRIL 1994 PAGE 13 included violin, viola da braccio, viola da away into the woods "in dread of some gamba, flutes, French horns, and a spinet The settlers unearthly power guarding Bethlehem.".3 piano. This led to the organization of the The settlers of Bethlehem were "men Bethlehem Collegium Musicum in 1744 who, on the way to the harvest fields, for the performance ofsacred instrumen ofBethlehem were along with their sickles and scythes, car tal and choral works. The group was led "men who, on the way ried flutes, French horns, and cymbals."4 first by the missionary J. C. Pyrlaeus and All members of this exclusive church later byJ. E. Westmann. These Moravians settlement took part in music through transplanted their highly developed Eu to the harvestfields, the singing at Singstunden, or regular ser ropean musical culture to America. vices, or by playing instruments, a prac The Bethlehem Diary of September along with their sickles tice forbidden by the Puritans and many 1745 recorded that the tune In dulcijubilo other religious seers. With Moravians, mu was performed at a wedding feast in thir and scythes, carried sic was an institution of the church as teen languages by scholars, missionaries, well as a sanerioned form of recreation. and converts. The languages included Bo flutes, French horns, They believed that there was no sin in hemian, Dutch, English, French, German, music as long as it was good music. With Greek, Irish, Latin, Mohawk, Mohican, and cymbals. " this attitude the community ofBethlehem Swedish, Welsh, andWendish (also present became a musical leader in eighteenth were a Dane, a Pole, and a Hungarian, but century America. Records exist of early they did not sing). role in the festive days of Moravian life. Bethlehem performances attended by such In 1751 the Old Chapel was built, Bishop Levering wrote of Christmas Day notables as Benjamin Franklin, Samuel and a large organ was installed. In 1754 1755 that hostile Indians, planning a mur Adams, and George Washington. trombones were sent from Europe, and derous raid, were averted by the sound of Some of the chamber music and sym the tradition of their use at the Easter the trombone choir. Upon hearing this phonies of Haydn and Mozart were per sunrise service was begun. To this day the group playa Christmas chorale from the formed in Bethlehem within a few years trombone choir has played a prominent roofofthe Brethren's House, they slipped of their composition. Haydn's The Cre ation and The Seasons received their first American performances in Bethlehem. The Creation was performed in 1811, just thirteen years after it was completed. This performance and the 1770 presentations acfea of Handel's Messiah in New York are the Tour Consultants first-known complete oratorio perfor Performing Arts Tours Since 1955 mances in America.
Bethlehem Philharmonic CHINA Society/Choral Union (1820-1893) A World of Touring Opportunities In 1820 the Collegium Musicum was reorganized into the Bethlehem Philhar in One Country monic Society, which gave the first Ameri • Excellent concert halls can performances of The Seasons. They • Informed and eager audiences performed "Spring" and "Summer" in • Opportunities to meet local groups informally 1834 and "Autumn" and "Winter" in • World-class sightseeing, including the Great 1835. This group of singers and players Wall and the 'Forbidden City' stayed in existence for nearly seventy years. First-class accommodation at bargain prices Directors serving the group included C. • F. Beckel, William T. Roepper, and T. Easily combined with Hong Kong or Japan • Windelkilde. In 1869, William K. Graber was chosen conductor, a position he held For more infonnation, please contact: for twenty years. In addition to Haydn oratorios, works performed by the Phil harmonic Society included Beethoven's 120 Second Ave S Edmonds, WA 98020 800886-3355 206 776-3273 Mass in C, Mendelssohn's Hymn ofPraise, US offices: San Francisco. Seattle. New York, Denver, Chicago, Atlanta Rossini's Stabat Mater, Schumann's Para dise and the Peri, and Saint-Saens's NoeL
PAGE 14 CHORAL IOURNAL In the early 1880s, the Philharmonic On December 5, 1898, with Wolle's Bethlehem Bach Festivals Society disbanded, due to decreasing Moravian church choir as a nucleus, a and Other Performances membership, although the orchestra con choir ofapproximately eighty singers was Annual Bach Festivals followed and, in tinued for a few more years. This dissolu formed for the purpose of performing addition to the Mass, included perfor tion led to the organization of the Bach's B-Minor Mass. This marked the mances ofthe St. Matthew Passion and the Bethlehem Choral Union in 1882, by founding ofthe Bach Choir ofBethlehem, Christmas Graton·o. These early festivals, J. Fred Wolle, then a young organ stu born from the rich cultural heritage of one of which featured six concerts, came dent of nineteen. The first concert ofthe the Moravian townspeople whose musi to an end in 1905, when Wolle left to head Choral Union included the first two parts cal pioneer spirit had been inspired by the new music department at the Univer of Haydn's The Creation. In 1884, Wolle Wolle's determination and enthusiasm. sity of California in Berkeley, California. went to Munich, Germany, to study or After fourteen months of unrelenting The Bach Choir was not reorganized until gan with Joseph Rheinberger, and it was rehearsals, a performance date was set. 1911, when, at the encouragement offin there that he was first introduced seri On March 27, 1900, trombones played a ancier Charles M. Schwab, Wolle returned ously to the music of Johann Sebastian prelude in the belfry of the Moravian from Berkeley to continue the festival in Bach. Upon hearing the St. John Passion Church, heralding the Bach Choir of association with Lehigh University. With at Munich in 1885, he became dedicated Bethlehem in their first concert featuring the generous support of Schwab and his to Bach's works. Bach's Mass in B Minor. This was the first guarantors, the Bach Festivals continued The honor of introducing Bach's cho performance ofthe work in America, and under Wolle until 1932, featuring Ameri ral works to the American public did not it inaugurated the first Bethlehem Bach can premieres of Bach works and always belong to the Moravians but rather to the Festival. Arthur Beresford, the bass solo concluding with the Mass in B Minor. Handel and Haydn Society ofBoston. In ist, wrote: The reputation ofthe Bach Choir soon 1879 this group gave the first complete spread, and in 1917 and 1918 an invita performance of the St. Matthew Passion There is no exaggeration in saying sel tion from the New York Philharmonic in this country. Shortly after Wolle's re dom has any chorus shown such Society led to a performance in Carnegie turn to Bethlehem in 1888, however, he splendid enthusiasm and willingness Hall. The 1918 performance featured presented the first American performance to work as did these people, handi the Bethlehem trombone choir playing a ofthe St. John Passion, followed by the St. capped as they undoubtedly were.... chorale in the distance as a prelude. In Matthew Passion in 1892. The singers in every part devoted three 1920 and 1921 the choir participated in After the performance ofthe St. Mat evenings each week ... and formed a five-day Festival ofMusic with the New thew Passion, Wolle presented the singers classes, meeting at various houses York Symphony Orchestra. with the challenge of the Mass in B Mi during the day.... A large number of In 1933 the Bach Festival featured only nor. The Mass seemed unduly difficult the chorus ... evidently were singing the Mass in B Minor, conducted by Bruce to them, and they requested easier mu the difficult music from memory.6 Carey, a former Canadian, who was a sic. Wolle was adamant and insisted they sing the Mass or nothing. Faced with this alternative, the Choral Union qui etly disbanded, and the future of Bach's music in Bethlehem appeared to be com ing to an early end.
The Bethlehem Bach Choir International Festivals Custom Concert Tours (1898- ) • Tallinn International • Quality concertizing first priority In the fall of1898, a group ofMoravian Choral Arts Festival • Worldwideper[onnancecontacts citizens, led by Ruth Porter Doster, orga Dale Warland • Custom itinerary design nized club meetings in private homes to Dale Warland Singers • Appropriate concertsites sing and study the works of Bach. They MasterClinician/Conductor • Full promotion asked Wolle to teach and direct them and June 19-24, 1995 to reconsider plans for a performance of • Europe. Great Britain. Russia the forbidding Mass in B Minor. To this • Tuscany International Down Under • China • Domestic Children's Chorus Festival he agreed, but only on the condition that 1991~ no performance date be set without his Jean Ashworth Bartle 1 800 947 approval. He wrote a public letter in which Toronto Children's Chorus Muska Mundi, Inc. '-=1:0...... 111 Main Strcet, SuiIe 2 he stated the demands to be made ofthe MasterClinician-Conductor Los AIII,,;, CA 94022 chorus. The Mass, he said, "will yield to July 10-16,1995 Phone415 9491991 Fax4159491626 nothing short of complete surrender of Headliner: Toronto Children's Chorus AT&T Maillmusicamundl the singer's time, industry, and patience."s
APRIL ]994 PAGE 15 member of the music faculty at Girard London, a former Professor at Rutgers Uni among the younger generation and ac College in Philadelphia. The performance versity, and an outstanding organist. He cepted many young singers into the choir. was a memorial tribute to the choir's opened a new era for the choir and re The little-known cantatas ofBach pro founder, J. Fred Wolle, who had died mained as conductor for thirty years? vided a new and profitable area ofinvesti earlier the same year. Carey insured the During his tenure Jones led the group gation, and Jones performed more than choir's tradition after Wolle's death by into many new endeavors, including 140 of them. Thirty of these perfor continuing as director for six years. Saturday morning instrumental and mances were American premieres. He In 1939 the directorship of the choir recital programs, along with expansion also produced a series ofeditions ofBach's was assumed by Ifor Jones, a graduate and of the festival to include a second week cantatas that were published by G. Schir Fellow of the Royal Academy of Music, ead. He encouraged interest in Bach mer. One of his striking contributions to the festival was the use of the original German language to replace the more of CHORAL CONDUCfING WORKSHOP ten employed English translations. An other ofJones's innovations was the use of August 1-5, 1994- 8 Cannon Beach, Oregon harpsichord rather than piano. Under Jones the choir performed at the Academy ofMusic in Philadelphia in 1948, Internationally renowned Rodney Eichenberger 1955, 1961, 1962, and 1964; Carnegie leads this intensive workshop that explores the relationship Hall in 1946 and 1956; the Cathedral of of conducting technique to rehearsing efficiency and St. John the Divine, New York, in 1965; performance artistry. and in Baltimore with the Baltimore Sym phony in 1966. In 1966 the choir also performed at Symphony Hall in Boston as the representative of the United States at the international celebration ofthe Handel and Haydn Society's 150th anniversary. 9 In 1962 the choir recorded the B-Minor Mass for the Classics Record Library ofthe IO A program ofthe School ofExtended Studies Book ofthe Month Club. at Portland State University Alfred Mann became the fourth con ductor ofthe Bach Choir in 1969. A Pro College credit is available. For infonnation, please call t-800-S47-8887 ext 8S00. fessor of Music at Rutgers University and editor of the American Choral Review, he studied at the State Academy in Berlin, the Royal Conservatory in Milan, the Curtis Massachusetts ACDA Institute, and Columbia University. Mann's Summer Choral Conference first festival program included the entire 18 through 20 July 1994 series of Bach's known motets, performed in accordance with Bach's original practice Come enjoy several days in the beauty of Western Massachusetts. Explore colonial of doubling the voice parts with strings Deerfield. Renew your love of choral music. Revel in the companionship of col and wind instruments. Following festival leagues. Learn and have fun! Massachusetts ACDA presents a summer conference programs included music for the Christ aimed at all people involved in choral music: educators of all age levels, church mas service, the four short masses, the ora musicians, community and children's choirs and singers. torios, the ceremonial cantatas, the psalm cantatas, the chorale cantatas, and works Featured Clinicians Include: written on psalm and Protestant hymn Barry Green: "The Inner Game of Music as applied to the Choral Art" texts and melodies. In these festivals the Lorna Cooke deVaron: "Who's afraid of modern music?" recorder, viola d'amore, and viola da gamba Horace Boyer: "Gospel Singing for every choir" were utilized for the first time. Daniel Pinkham: "Composers Forum" The 1972 festival featured the one hundredth performance of the Mass in There will be reading sessions, a gospel choir performance, opportunities for collegial B Minor and was televised by National exchange, and more. Housing and meals will be on the campus of Deerfield Academy, Educational Television. This marked the Deerfield, MA. Tuition, room & board $150; Registration $25. Graduate credit available. first nationwide broadcast of a complete Bach work by the network, and telecasts Inquiries should be sent to: Sheila Heffernon, Box CC, Mount Hermon, MA 01354 were repeated at Christmas and Easter in Phone: 413-498-2860, Fax: 413-498-3FAJ( following years.
PAGE 16 CHORAL JOURNAL The festival was expanded in 1973 to include concerts during the Christmas sea son. The singing tradition of"The Christ mas City" thereby came full circle, as the festival became part of the special Christ mas tradition started by the early settlers singing the Epiphany hymn on Christ mas Eve 1741. The Bach Choir toured Germany in August 1976 to perform at the International Bach Festival. The choir's performance at the five-day festival was held in Berlin's Philharmonic Hall and featured the Mass in B Minor. The choir then traveled to Leipzig and sang the Bach motets Singet dem Herrn and Der Geist hilft unser Schwachheit auffor the tradi tional Vesper service at St. Thomas's, the church for which Bach composed much of his music and where he is buried. 11 In 1981, William Reese succeeded Alfred Mann as conductor of the Bach Choir. Reese had served as associate di rector under Mann and had been active in conducting the Saturday morning fes Nowyou canget the improved sound qualityand volume you've been tival concerts, developing them into im looking for. In a completelyportable acoustical system. portant events. He was Professor ofMusic With Sico's new1hl-SoundAcoustical Shell Panels, you can blend, focus at Haverford College in Haverford, Penn and project the true sound ofyour choral group orconcert band. Adjustable"sound wings" at the top ofeach panel tilt downward to help sylvania, and a choral conductor in Phila control the sound. delphia. Reese made few changes in the Each panel rolls in for use, and backout again for storage. No mechanical activities of the choir. 12 disassembly is reqUired. Units simplylock and unlockwith Velcro edging, and can be moved easilythrough standard doorways. In 1983, Greg Funfgeld became the Wings can remain adjusted dUring storage, in either a horizontal or sixth conductor of the Bach Choir. vertical nesting arrangement. Funfgeld, a graduate ofWestminster Choir Just add an easy-handling HarmonyChoral Riser. College, had served as associate conductor 1hl-Sound Panels mate perfectlywith Sico's HarmonyChoral Risers to under Reese. The previous five years he form the complete performance package. These mobile, folding risers come in 3- and 4-tier options, transportand had been Director of Music at the First store quickly. and feature a permanentsecurity rail. Presbyterian Church in Bethlehem. Funf And you don't need tools. geld instituted auditions every three years Alreadyfully assembled, individual riser units are drawn into place and locked securelywith cam and limited the choir to 130 singers. In connectors. addition to the festival, he expanded the Exclusive decklocks allowyou to make activities ofthe choir to include two Christ configuration changes in seconds. SICO INCORPORATEO Both deck locks and connectors work in curved, mas concerts, a Lenten performance of straight and combination curved-straight 7525 Cahill Road, PO. Box 1169 either the St. Matthew Passion or St. john arrangements. Minneapolis, MN 55440 USA Passion, summer festival performances at For more information, call 800-742-6462. Fax 612-941-6737. Musikfest, and run-out concerts. In addi tion, he led the choir in two recordings on the Dorian label: Christmas in Leipzig (988) and WIlchetAuf(989). Under Funfgeld's leadership the festival has avoided the use ofperiod instruments or any attempt to reproduce the tone and timbre of the music as it was performed in Leipzig during Bach's time. Other Ba roque performance practices are observed, however, by singers and instrumentalists. For example, in the repeated sections of the arias, Baroque ornamentation is
APRIL 1994 PAGE 17 often incorporated, and soloists are rela In 1991, Mann and Reese returned to boasted of being able to find illegal beer tively free to add their own ideas. 13 share the podium with Funfgeld for a during Prohibition years within ten min One of Funfgeld's important innova special performance of the Mass, pre utes of his arrival in town. On one occa tions is his "Bach to School" program, a sented by the combined voices of past sion, in 1931, he suffered from thirst for curriculum developed to promote aware and present choir members. The Bach a whole day and a half without finding ness of Bach's music and the activities of alumni concert was held in celebration of his beloved brew. A taxi driver overhear the Bach Choir in the elementary, middle, Bethlehem's 250th anniversary. ing his complaint took Mencken and and high schools ofthe Bethlehem School Knopf to an innocent-looking building. District. The goal is to develop future A Century-Long Tradition He rang the bell, and when the door singers and audiences for the choir. Although many of the soloists, choral opened a crack, he asked, "Can you do In 1985, David Wilcocks, Music Di singers, and orchestra members are young, anything for two poor, thirsty musicians?" rector ofthe London Bach Choir, and, at the festival audience tends to be elderly, The doorkeeper, looking at the scores of the time, Director ofthe Royal College of and many of the traditions that concert the Mass in B Minor that they both duti Music in London, came to Bethlehem. goers have come to expect through the fully carried, let them in and told them to He was featured as guest conductor ofthe years are still the same. The festival, per turn left. At the end of the hall, they annual performance of the Mass in formed since 1911 at Packer Memorial found a bar serving good beer and thick B Minor. This marked the first collabora Chapel on the campus ofLehigh Univer sandwiches "at ridiculously low prices." tion between the two oldest Bach choirs sity, still includes only Bach's music and Knopfwrote years later, "Henry was en in the world. features a brass choir in the belfry. It con chanted."14 May the many enchantments cludes with the Mass in B Minor, as each of the Bethlehem Bach Festival continue festival has since 1900. Elizabeth Daniel for another one hundred years! Solo & Ensemble Scheduling has attended the festival for fifty-seven Let us schedule your Solo & Ensemble years and remembers when the DuPonts NOTES Festival for only 94: per student. Complete and Roosevelts brought picnic baskets and I H. L. Mencken, ed., A Mencken Chrestomathy schedules to your specifications. sat on blankets on the grass, a practice (NewYork:A1fredA Knopf, 1949),543-44. Call Barken, Inc.n.. for free information. continued by some today. Her son, John 2 Raymond Walrers, The Bach Choir of 1-800-266-0580 Daniel, the present floor manager, at Bethlehem (New York: Houghton and tended his first festival in 1936 sitting in Mifflin, 1918, 1923; facsimile reprint, New a baby buggy under a tree. A commercial York: AMS Press, 1971),5. New Publications stand in front ofthe chapel still sells Bach 3 M. A. DeWolfe Howe, "Venite in Beth for a cappella SATB Choir scores and related materials, and many in lehem," Music Quarterly 28 (April 1942): by Steven Curtis Lance the audience refer to their scores during 178-79. Open '.J{pw%y (jates of'Beauty performances. When one lady with a score 4 Walters, 10. 'Ieadi Me %y Patience was asked by the author if she were a s Howe, 182. rrfl,ose UW Ylre U1:se m{[Sfiine musician, she said, "No, it helps me keep 6 Walters, 51. Ask About our Spiritual Arrangements from getting lost. I'm going to be a musi 7 Paul A. Willistein, Jr., Bethlehem Pilgrimage: To receive approval copies or catalog: cian in my next life." The Bach Choir Past and Present (Beth 1-800-645-7022 H. L. Mencken relished his periodic lehem, PA: The Moravian Book Shop, Latham Music Enterprises visits to the Bach Festival with Alfred 1979), 17. 1209 Gregory Street Greensboro, NC 27403 Knopf, his publisher. Believing Bach's 8 Ibid. music to be "not for teetotallers," he 9 The 75th Anniversary of the Bach Choir of Bethlehem (unpublished document in the ZAl\lIR CHORAL FOUNDAnON l\IATTHEW LAZAR, Four-mER archives ofthe Bethlehem Bach Choir), 11. 10 Joan Campion, "The Bach Choir: A Unique fiFTH A'JNU;\L Institution, a Growing Presence," Arts NORTH AMERICAN JEWISH CHORAL FESTIVAL Alive 39 (November 1989): 6. July 24 - 28, 1994 11 Willistein, 23-65. Concord Resort Hotel, Kiamesha Lake, New York 12 Rosemary Jones, "Bach to the Future," Morning Call, Allentown, PA, April 21, Singers and conductors at all levels are invited to experience: 1991, p. E-2. Workshops in music for Chanukkah and other Jewish holidays 13 Daniel Webster, "A Festival Paying Homage . "Instant Choir" performances in a gala closing concert to Bach's Music," Philadelphia Inquirer, Multi-level workshops in repertoire, history and Jewish music skills May 13,1991, p. D-4. Daily "community sings" and evening concerts 14 Marian Elizabeth Rodgers, ed., Mencken and Gradute and undergraduate credit available through Gratz College Sara: A Life in Letters (New York: McGraw FOR INFORMATION CONTACT ZAMIR CHORAL FOUNDATION Hill),455-56. P.O.B. 109 Planetarium Station/N.Y., NY 10024 Phone/Fax (212)362-3335 -CJ-
PAGE 18 CHORAL JOURNAL The Musical Depiction ofDrama in Judith Lang Zaimont's Parable: A Tale ofAbram and Isaac by Sara Lynn Baird
Judith Lang Zaimont
Judith Lang Zaimont (b. 1945) is one of the foremost Compositional Style composers active on the American music scene. This versatile Diane Jezic has referred to Zaimont as a "first-class crafts woman has had significant success not only as a composer, but woman and an inspired melodist, with a natural flare for also as a pianist, editor, author, and teacher.! Among her awards dramatic and emotional impact."3 Biographer Jane Weiner for composition are fellowships from the Woodrow Wilson LePage also stresses the balance between technique and expres Foundation (1967), the Alliance Fran<;:aise (1972), and the sion in Zaimont's music: National League ofAmerican Pen Women (1988); grants from the National Endowment for the Arts (1982) and the Presser [Her writing is] controlled and passionate at the same time, Foundation (1984); and a Guggenheim Fellowship (1983-84). reflecting both her temperament and her intellect. She Zaimont's recent awards include a grant from the National thrives on having great technical limitations imposed on Endowment for the Humanities for the 1991 publication of her, compositionally speaking, and is stimulated at the volume three of The Musicall,Voman: An International Perspec thought of extrapolating a good-sized musical work from tive (1986-1990), which also received the 1993 International [wo or three bits of material.4 Pauline Alderman Prize for research in women's studies; the Paul Revere Prize from the Music Publishers Association for her Her harmonic sryle is generally tonal, although often highly choral work The Chase (1987); first prize in the National Com modulatory. In the vocal music, meter fluctuates frequently as petition for Chamber Orchestra for her composition Chroma dictated by the text. (1989); and first prize in the Friends and Enemies ofNew Music Text expression is extremely important to Zaimont and Competition for her piece DancelInner Dance (1990). results in frequent textural changes and dramatic effects. Vari As a performer she toured the United States from 1960 to ous techniques call attention to particular words or phrases; 1967 with her sister, Doris Lang Kosloff, in a duo-piano team. complete text phrases do not always appear in a single voice Her publication credentials include coediting five books on part but require the combination ofvoices; repetition ofphrases women in music, essays on twentieth-century piano repertoire, and text fragments brings key words to the listener's attention. and an analysis of contemporary music. 2 She has taught at the Peabody Conservatory ofMusic, in Baltimore, Maryland, and at Parable-Musical Depiction ofDrama Queens College, Hunter College, and Adelphi Universiry, in One of the attractive features of Zaimont's choral music, New York. She currently teaches at the Universiry ofMinnesota. especially the more recent compositions, is its dramatic and emotional appeal. Parable: A Ttde ofAbram and Isaac, com Sara Lynn Baird is Assistant Professor of Choral Music pleted in 1985, demonstrates the composer's dramatic sryle. Education at Louisiana State University, Baton Rouge, The work was commissioned by the F10rilegium Chamber Louisiana, and Director of Music at First United Methodist Choir (JoAnn Rice, conductor) and is scored for mixed chorus Church in Baton Rouge. (SATB divisi); soprano, tenor, and baritone soli; and organ (or string quintet and harpsichord).5 The text combines Wilfred
APRIL 1994 PAGE 19 m Molto Moderato J ~ 92 J ~ 84 Owen's poem The Parable ofthe OldMan Sop. f' Solo I and the roungwith Abraham and Isaac, a ~ medieval mystery play, and concludes A bram, A bram, _ with the Mourner's Kaddish, a Hebrew and Aramaic prayer. The Owen poem, the primary text source, is included in Organ its entirety. Zaimont explains how the texts were selected and how they relate to each other: "!!, I don't know how many poems we t t ~J ~ looked at, but both JoAnn Rice and o '______0 ~Q~- I did a big search for this piece. In the Owen poem, nobody speaks but Isaac. There was not enough there, but the image was really gripping; the idea is horrifYing. The inter esting thing is, I think I've seen at least one printed copy ofthe Owen where "man" [ofthe tide] is spelled "men," because what he's really talking about is the loss of the population of men in Europe in World War I. It was the horror of war that he was talking about, the 5 concept ofsacrifice-the sacrifice of 4 a whole generation.
Likewise, Abraham is sacrifIcing. Figure 1. Abram and Isaac, half-step motive Old Testament figures are supposed to be single-minded, intransigent, and stubborn. They're like the Old --===-l11r-----_ Testament Jehovah. And so here ~.l'1 Abraham is also stubborn. Once the ----_I r; message that he will sacrifice his son for to take saae, _ thy young son that thou loy est best is given to him, it's like he's pro A ~~ ~ ~ I ~_)1-i'~.l' li,J ~~ ,nl~ grammed. You can't get him away n 'J IIbJ for to take I- saae, _ thy young son that 1hou lov est best from that, and he will not be sidetracked. T ~~ ~ .l' JjJ I n=!-i'~~~ li'&~ ~JbJI~ ~+==----=J+ "+ ~I for to _ take I thy young son that thou loy est best Bringing in the Brome mystery play :>:~ ~ ~~j ~ _)1-i'~~ ~F ~ ~Q I~ ~f=----=:J personalizes things. By enmeshing the B p J I Ii u= Owen in the medieval play, which for to _ take r saae, _ thy young son thai thou loy est best gives voice to many characters, the ~~ ~U n n 6- it~ ~J':~~ ~,,¥: piece is made larger and more human. This is very carefully selected text :>:~ ~~~ ~ ~ ~~ ~ ~ ~, ~~~i~6¥ ~'b.Q"~ from a very, very long play. -J~'~Jr,,, i'i ~3 6 --J iLT 3> J ' ~ -== To conclude [the piece] you have ~ i~JJt ~~~__ to mourn Isaac because he's dead r in this telling, and yet he's asking for mercy at the end. Therefore the Figure 2. Abram and Isaac, lyrical motive mourner's Kaddish is said for Isaac. 6 command, a lyrical progression associ primary motives of the piece. Zaimont Motivic development is important ated with Abram's love for Isaac, and the allows textual themes to inspire musical because it unifies the composition. A melodic contour of the text phrase, "the unity yet creates music which unfolds rising and falling halfstep in the Angel's Lord commandeth thee," function as the spontaneously.
PAGE 20 CHORAL JOURNAL In the Angel's first statement, deliv ered by a soprano solo, a rising and then falling half step appears, suggesting Abram's uncertainty regarding the deci sion he faces (Figure 1). The return of this phrase several times during the piece Figure 3. Abram and Isaac, third motive and at the end helps to suggest ambiguity. ------Would Abram make the same decision if faced with identical choices again? J ~ 92 ill] dimimJcndo !Sirtgle:s~ _ Zaimont reinforces this question by con 1-2 soli ___ J. .... mp solo willi dwir cluding the work on C, dominant of the ~t-~ T~~ I P 1 i I i .f~7i F which opens the piece. sa· cd - fice, _ _ helli' dim. A lyrical progression communicates P Abram's love for his son. It first appears ~t r 1Alf=WIWl.} f U Iff f f --l f sa - crJ,sa - cfi,sa ui,sa - erL S
APRIL 1994 PAGE 21 rhythmic motive on the word (and parts of the word) "sacrifice." The effect re sembles ritualistic chanting. This motive is also characterized by prevalent half
fire,_ firr _ and a Knife! steps. Dotted figures in the instrumental score reinforce the chantlike result. Figure 5. Abram andIsaac, musical depiction of "fire" In a subsequent section, the choir is given the phrase "so Abram rose, and m1l clave the wood and went," reaching a ml;~Tlti~ climax with the phrase "and took with I;;~~~ ~i (j"~.j'7 1 1 I- 71 "Mer.cY'~_3~ Mer~cy Fa _ lherl him the fire and a knife." Ascending musical lines and virtuosic scalar pas ~,;~~:>ll 7VILr~il~ I'r I'r "-'~7 I I;r' Ah, Is~aac sweel_ ~\ln, peace, pea~, pea~·t ,IUlrofJ! ~ . sages in the soprano and alto parts de pict the fire graphically (Figure 5). When S ~i ~ -I~-I~ Btl r(fL~-~~~~~:::t~~~";';'>1
sll ~I the words "and a knife" recur, alto I and wtlofp .._-. .----- "_ ~ 'liC'Ilc ~~ ~~~ I~ ~i~l~~'~~::I~~~ tenor I speak with strong accents and , e1 l' 'I first sopranos shriek, while the remain ~l ~I wttofp _ ._ . ::::;::::=-'-'1il'llll' ing voices sing written pitches. 7 T ~i ~ -I~-I~ ~ 1~i~J~ ~~~~~~,~ 1 1 Sixteenth-note patterns depicting the ~h 8h fire are taken up by the instruments as the J:~ 11-11~ ~::tM~'~", choir continues the narrative. Isaac, the B :>:;''t-'jn-,lei 8h ~. sh _ solo tenor, expresses his uneasiness in an arioso-like section, under which the rep Figure 6. Abram andIsaac, choral sound effects resentation of the fire continues. Abram's love for Isaac is expressed in [ill] a lyrical arioso. The melody is tender and sorrowful, with sparse chordal ac i. 5 > T. ~J 8 ~ companiment. This is the most melodic deh heth. deh hcth, heth, section of the composition, and it incor . ~ porates the lyrical progression associated B 9· ~ g with Isaac. Sixteenth-note patterns and deh a trill in the accompaniment anticipate Abram's agitation, which is communi cated with a faster, more angular me lodic contour. As Isaac screams for "mercy," the choir sustains a "sh" sound for eight measures. This sound effect is uttered twice by the choir with an ac cented attack. As Isaac pleads for "mercy" Figure 7. Abram and Isaac, chanting of "death" and Abram sings, "Peace, peace!," the hissing sound crescendos and then dies away (Figure 6). Finally, in a brief unac [ill] companied section, the choir echoes Isaac ~ as he comforts his grieving father. i.l~ I~ j 0 l~ T 0 o· An eerily ascending cadenza, played A bram. will thou ""rest by the violin in the string quintet version, 3 12 I~ leads to a new section featuring the choir v'yisnassey v'y{s - haddar, v'yis - alleh v'yis - hal"i1 d'Kudsh6h; h'reech - hu with forceful vocal lines, culminating in the choir's expression ofthe word "death" on a C-minor chord. The tenors and basses are then given eighth notes on the word "death," which is divided into two syllables ("deh-heth") and repeated by the men with pizzicato accompaniment (Fig I ~ ure 7). Rapid chromatic passages in the o~.o upper instrumental registers recall the earlier depiction of fire and add to the Figure 8. Abram andIsaac, combination ofspeaking and singing voices
PAGE 22 CHORAL JOURNAL ritual-like aura suggested by the chanting of the men's voices...... 'LV...... \X/nrlcc: ofJudith Lang Zaimont A dramatic point in the piece occurs at :d c:hnall()logicall)r with the following information: title, date ofcompo the announcement that the ram has been publisher, commissioner, forces, length, and delivered for sacrifice. The choir sings, "Behold, a ram, caught in a thicket by its horns; offer the ram of pride instead of unpublished manuscript, MPL Productions; him," with lush harmonies and a full tex ,mixed chorus (SATB), flute; 3:30 ture providing a majestic representation of an angelic host. This contrasts with :ry 1~19168); Jewish High Holy-da:y Pray'er Book; unpublished manusctipt, guttural, recitative-like phrases that ex degree at Columbia University; orchestra; 20:00 press the action of Abram in the narra tive. The piece reaches its climax as the (Sh.ak,~spt~arc~), "Slow, Slow, Fresh Fount" (Ben choir proclaims, "but the old man would Bf()thers; commissioned by the Great not so, but slew his son and half the seed conductor; mixed chorus; 6:00; Golden of Europe one by one." Choir and solo ists sing "one by one" repeatedly, accom panied first by short, accented chords and on the Greek mythological character Atalanta; Galaxy; Choral Society (New York), George Rose, conductor; then by descending chords as the tempo 6:00 slows and the texture thins. Zaimont de picts the soldiers of World War I dying (1974); "A Question Unanswered" (Shakespeare), "one by one" with sections of the choir No More, Ladies" (Shakespeare), "Come Away successively fading away until only one Oohn Gay and Robert Herrick); Walton; . . vOIce remams. George Rose, conducror; mixed chorus, with A moving conclusion is achieved as 1 the basses speak the Hebrew words of (1975); Union Prayer Book for Jewish Worship; the Mourner's Kaddish beneath the up Bicentennial by the Great Neck Choral Society (New per voices of the choir, which ask again, chorus (divisi), mezzo-soprano or barirone solo, "Abram, wilt thou rest?," recalling the uncertainty expressed by the rising and falling half-step motive at the beginning llnkn()\,IJ:l; New York Tetra Music; 3-parr of the piece (Figure 8). Isaac responds with his plea for mercy in descending (revised 1980); "Psalm 97: The Lord half steps. The work concludes with the against Brother?," "Thou Shalt spoken words accompanied by sustained instrumental tones that conclude with octaves on C. (1980); anonymous Old English ballad; unpublished Parable provides vocal and musical chorus (divisi), choral soli, piano; 8:00 challenges for an advanced choir and additions by Zaimont; unpublished manuscript, virtuosic sections for the soloists. The Wind Vocal Ensemble; SSATTB; 9:00; striking representation ofthe biblical story of Abraham and Isaac, with its added commentary on the catastrophe ofwar, is estament; unpublished manuscript, MPL Productions; an excellent addition to the twentieth th Singers, Philadelphia Singers, Dale Warland Singers, century choral repertory. Like much of choral soli, piano, glockenspiels, finger cymbals, timpani; Zaimont's choral output, Parable captures the listener and performer with the dra Abraham and Isaac (a medieval mystery play), matic expression ofa poignant text. y Wilfred Owen, Mourner's Kaddish (Hebrew Musical examples used by permission of the hed in fall 1994 by Hildegard Press; commissioned by ber Choir, JoAnn Rice, conducror; mixed chorus (divisi), soprano, composet and MPL Productions, Inc. organ (or string quintet and harpsichord); 16:00; Leonarda CD GREGORIAN CHANT INSTITUTE June 20-25, 1994 texts from Isaia1:l and Martin Luther King; unpublished Instructor: 11. Clement Morin, 1O.5.S. All Da.y: $182 (2 Unite), Eves. only: S91 (l tynit) issioned by the American Guild of Organists; double Rooms: $S9? (DIS occupJ includes $182 course fee For infonnation contact: Dr. Robert Fowells, Mus Dept California State University, Los Angeles (213) 343-4067 FAX: (213) 343-4954
APRI L 1994 PAGE 23 NOTES I Biographical information is compiled from Judith Lang Zaimont, Jane Gottlieb, PRESENTS Diane Peacock Jezic, Women Composers: Joanne Polk, and Michael J. Rogan, eds., The Lost Tradition Found (New York: The Musical Woman: An International Feminist Press, 1988), 211-22; Jane Perspective, Volume III, 1986-1990 AUPIOCASSETIESofthechorusand Weiner LePage, Women Composers. (Westport, CT: Greenwood Press, 1991); sound that pioneered, inspired and set the standards for popular choral sing Conductors, andMusicians ofthe Twentieth and Judith Lang Zaimont, "Twentieth ing in America. Century: Selected Biographies, vol. 2 Century Music: An Analysis and (Metuchen, NJ: Scarecrow Press), 322 Appreciation," and "Twentieth-Century VIDEO CASSETrESofand about Fred 39; Judith Lang Zaimont, professional Music for the Developing Pianist: A Waring and the Pennsylvanians and resume, distributed by MPL Productions; Graded Annotated List," in Teaching Fred Waring's U.S. CHORUS and Judith Lang Zaimont, interview with Piano: A Comprehensive Guide and author, North New Hyde Park, New Reference Book for the Instructor, ed. Denes RESEARCH OPPORTUNmES. Vast York, January 3, 1991. Agay (New York: Yorktown Music Press, amounts of material including scrap 2 Judith Lang Zaimont and Karen Famera, 1981),489-548 and 389--435. books, photographs, business records, music and recordings for those inter eds., Contemporary Concert Music by 3 Jezic, 216. ested in American popular music and Women: A Directory ofthe Composers and 4 LePage, 333-34. culture. Their Works (Westport, CT: Greenwood 5 Judith Lang Zaimont, Parable: A Tale of Press, 1981); Judith Lang Zaimont, Abram and Isaac, will be published by For information contad: Catherine Overhauser, and Jane Gottlieb, Hildegard Press in fall 1994. It has been eds. The Musical Woman: An International recorded by the Florilegium Chamber Fred Waring's America Perspective, 1983 (Westport, CT: Green Choir, JoAnn Rice conducting, (compact A Project of American Studies Program wood Press, 1984); Judith Lang Zaimont, disc, Leonarda LE 328). The Pennsylvania State University Catherine Overhauser, and Jane Gottlieb, G Zaimont, Parable, CD program notes. 220 Special Services Building University Park, PA 16802 eds., The Musical Woman: An Inter (814) 863-2911 national Perspective, Volume II, 1984-85 -CJ- (Westport, CT: Greenwood Press, 1987);
------
M.M. IN CHORAL CONDUCTING
Applications are now being accepted for the Master ofMusic in Choral Conducting Boston University School for the Arts
A limited number ofassistantships are available to qualified applicants. An audition is required. Priority application deadline is February 1, 1994.
A full range of graduate programs are available at Boston University in performance, music education, composition, conducting, historical performance, and musicology. The School of Theology offers degrees in sacred music in collaboration with the School for the Arts.
For more infi1rmation and an application, please write or call: Ann HowardJones Director ofChoral Activities Alan Weiss Boston University School for the Arts Director ofAdmissions 855 Commonwealth Avenue Music Division Boston, MA 02215 ------BOSTON School for the Arts 617/353-6887 UNIVERSITY 800/643-4796 Atl equal opportlmity institutiot!
PAGE 24 CHORAL JOURNAL The Choir as Family; Part II
by Mary Alice Stollak, Gary E. Stollak, Steven Meyers, andMatthew j. Stollak DODD
Choirs, like families, have tasks and responsibilities and through comparison to a sibling, to improve grades. Might not must work together to perform as efficiently and effectively as the selection ofa particular soloist or section leader negatively possible. Choir is not just a team activity where winning is affect choir activities and cause one or more members to reduce most important; it represents an opportunity to be part of a their commitment or even quit? Are we ready to accept the large and intimate family with many "siblings" and a "parent" costs of ignoring this and other "family" issues? at its head. The director and members of a choir, like the The choir might be considered as a family with its own parents and children in a family, may experience various de unique rules and tasks. An understanding offamily function grees of satisfaction with their activities and in their roles. ing can help directors to understand the functioning ofchoirs When family life is most satisfying, much of the work is done and satisfaction with choral activities. For example, consider with the knowledge that all contributions, however small, are able theory and research has focused on the interaction pro important to the family's functioning and growth. cesses that discriminate more successful from less successful For a family to be most successful, not only must the family functioning. Sociologist David H. Olson and his col household be run efficiently, bur each family member must leagues at the University of Minnesota reviewed concepts also understand the others' needs and experiences. Similarly, to from family therapy literature and other social science fields, make the best music possible, especially over time, conductors and concluded that the terms cohesion and adaptability best must respond both to the technical aspects of the rehearsal describe two essential processes that characterize all family process and to the needs and experiences of choir members, functioning and relate to variations in family styles.! They individually and collectively. For example, conductors might define family cohesion "as the emotional bonding that family not be aware of"sibling rivalry" when choosing section leaders members have toward one another." They define family adapt or soloists. The director's only interest might be to improve the ability "as the ability of a marital or family system to change quality ofthe choir or to enhance the performance ofa particu its power structure, role relationships, and relationship rules lar piece, just as a parent might attempt to motivate a child, in response to situation and developmental stress." Would choir directors and choir members who perceive their choirs Mary Alice Stollak is an Assistant Professor in the Department as highly cohesive and adaptable be more satisfied with their of Music at the University of Michigan-Flint. Gary E. Stollak is choirs, and would their choirs perform at higher skill levels a Professor in the Department of Psychology at Michigan State than less cohesive and adaptable choirs? University, East Lansing, Michigan. Steven Meyers is a doctoral In one ofthe few studies ofchoir directors' personal charac candidate in the Department of Psychology at Michigan State teristics, Joyce Slack examined the values and personalities of University. Matthew]. Stollak is a doctoral candidate in the high school choral directors. She concluded that choral direc School of Labor and Industrial Relations at the University of tors were idealistic, sensitive, and intense.2 However, no at Illinois, Champaign, Illinois. tempt was made to relate those variables with perceptions of choir satisfaction and performance characteristics. Would these
APRI L 1994 PAGE 25 POSITION AVAILABLE or other personal variables contribute to a Method ofPresent Study Full-time, tenure-track position in choir director's satisfaction with choir per The present study focused on the per choral activities. Conduct major ensembles, teach choral conducting. formances and with his or her career? ceptions of choir directors rather than Master's degree required, doctorate Understanding how directors' personali those of choir members. Items of the preferred. Send vita, video tape, and ties and perceptions of their choir affect CACES were rewritten so that a choir three letters of recommendation to: choir activities would help in the training director, rather than a choir member, was Dr. James D. Cook, Chair ofchoir directors and in increasing choir able to complete it. Since many of the Department of Music directors' and choir members' satisfaction directors surveyed conducted multiple Boise State University with choral experiences. choirs, they were asked to complete this 1910 University Drive questionnaire with reference to their "most Boise, ID 83725 Previous Research Findings important" choir.5 Olson and his colleagues developed a It was expected that choir directors' scale, the Family Adaptability and Cohe personalities would relate to their percep sion Evaluation Scales III (FACES III), tions of choir cohesion and choir adapt 17th Annual Conference that individual family members com ability, and various measures ofsatisfaction pleted. 3 To assess perceptions of directors with their choirs and career. Specifically, of and choir members of the interaction in it was hypothesized that those choir di their choirs andwhether choir cohesiveness rectors who perceived themselves as pos CHORUS AMERICA and choir adaptability relate to levels of sessing optimal characteristics on the choir performance, a revision ofthe FACES dimensions of personal competence and III was developed that substituted the word psychological distress, which have been ~~w ~f)VI\ CIIT "choir" and "choir member" for the words found to relate to personal and family JIU~~ "family" and "family member" respectively. functioning, would perceive their choirs 1 .. 4.. lCJCJ4. Few ofthe items needed any other change most optim~lly and experience most sat Ttil: StiI:V~T()~ ~I:W .,.,()VI\ to make them applicable to choirs. isfaction with the functioning of their ti()TI:L Nll/() T()Wl:VS The first study using this instrumem,4 choirs and their careers. Statements re called the Choir Cohesion and Adaptabil garding these dimensions were taken from hosted by: ity Scale (CACES), found that members prior research that assessed these personal Ascension Music Choms & Orchestra ofhigh school choirs attending state festi characteristics.6 Statements referring to Musica Sacra vals that received "first division" ratings, personal characteristics were included in Gregg Smith Singers as compared to those in choirs receiving a second questionnaire completed by the "third division" ratings (by four indepen choir directors, the Perception ofPersonal This extraordinary event dent judges), were significantly more likely Characteristics (PPC) scale. will feature THREE (based on statistical comparisons) to "ask The final questionnaire that directors each other for help," to "feel closer to completed asked for information con scheduling tracks for: each other than to people outside the cerning their age, gender, size of choirs, . CONDUCTORS and SINGERS choir," to "like to spend free time with and several other demographic charac • BOARD and STAFF MEMBERS each other," to "feel very close to each teristics. To preserve confidentiality, di • FUNDAMENTALS of other," and to do "things together outside rectors were not asked for their names or ofclass." They also were significantly more other personal identification. CHORUS MANAGEMENT likely to perceive that "choir members PLUS help make the decisions in choir," that Subjects concerts by the exceptional "the choir director and choir members From the lists ofmiddle or junior high discuss problems together," that choir school, high school, college (four-year or hosting choruses members "go along with what the choir junior/community), church, and commu attendees have said: director decides to do," that "if problems nity choir directors belonging to ACDA's arise" compromise is reached, and that Central Division (which includes the states "I've attellded mall)' cOllferellcesfor "rules change in choir" less frequently. ofIllinois, Indiana, Michigan, and Ohio), other orgallizations alldfOlllul the These results indicated that there was a approximately 150 choir directors in each materialsfor this cOllference the best stronger feeling ofcohesion and together of the 5 groups were chosen at random, orgallized ofall)' I've seell. " ness in the most successful choirs and totaling approximately 750 directors. Each that, when there were stresses, choir mem received a letter asking for his or her par for complete schedule and registration bers in successful choirs more often saw ticipation by completing the enclosed ques materials, contact CHORUS AMERICA 2111 Sansom St. themselves as part ofthe decision-making tionnaires. The questionnaires were Philadelphia, PA 19103 process (i.e., their opinions were asked returned by 232 directors (approximately (215) 563-2430 for, their suggestions were heard, and com 31 percent, which is typical for this kind fax (215) 563-2431 promises were valued and reached). ofresearch). Ofthe respondents, 115 were
PAGE 26 CHORAL JOURNAL male and 112 were female (five question Directors who rated their choirs as Directors who reported high levels ofchoir naires were missing this information); they most cohesive were significantly more cohesion were more likely to report greater ranged in age from 24 to 75, with a mean likely to state that their choir functioned career satisfaction (e.g., "I love being a age of 43; they were conducting choirs well together and believed that their choir director, and I am very happy with for a mean of 19 years (with a range of 1 choirs provided them with an "aestheti my choir activities") and higher levels of to 50); the mean number of singers in cally pleasing experience." Moreover, lev personal competence on the PPC ques their "most important" choir was 47 (with els of choir cohesion were related to the tionnaire (e.g., "I am vital, energetic, a range of 6 to 350); 95 of them con personal functioning of choir directors. lively"). Figure 1 summarizes these results. ducted choirs in middle or junior high school, 106 in high schools, 47 in col leges or universities, 12 in junior or com munity colleges, 131 in churches, and 134 in their communities (40 child, 72 mixed, 12 adult male and 10 adult fe male). Choir directors were asked to indi cate all the choirs they conducted. Results On the basis of responses to the CACES questionnaire, levels ofperceived choir cohesion were categorized as "low" (i.e., greater than one standard deviation below the average cohesion score) in the case of47 choir directors, "medium" (i.e., within one standard deviation of the av erage cohesion score) for 137 directors, and as "high" (i.e., greater than one stan dard deviation above the average cohe sion rating) for 45 directors. The same method was used to categorize choir di rectors' perceptions of choir adaptability Southern Music Company into groupings of"low" (n=33), "medium" (n=144), and "high" (n=50). Due to in Serving Music Educators Since 1937 complete answers to the questionnaires, three choral directors were unable to be classified in terms ofcohesion categories, and five directors were unable to be clas Choral Publications of Interest sified in terms ofadaptability categories. Tried and Proven Choral Warm-ups, various To determine the salience and predic tive utility of perceptions of choir cohe Rhythmic Diction, Henson sion and choir adaptability, group scores Vocal Connections, Whitlock were compared for measures ofchoir func Songs for Sight Singing, Henry/Jones tioning and choir directors' personal func tioning. These analyses indicate the Songs for Sight Singing Book 2 (in preparation) presence ofa statistical main effect for each index of personal and choir functioning (i.e., whether the differences between mean The Nation's Largest Inventory ofChoral Music scores of the three groups [high, medium, low] on each item/scale were likely due to Southern Music Company SMC ofHouston chance). When a statistically significant dif ference among the three groups on an item 1100 Broadway 9189 Winkler, Suite E or scale was found, further tests were con P.O. Box 329 P.O. Box 12687 ducted to determine which of the differ San Antonio, Texas 78292 Houston,Texas 77217 ences between any two groups (e.g., low 210-226-8167 713-941-5500 cohesion versus high cohesion, medium adaptability versus high adaptability) were Toll-Free 800-284-5443 Toll-Free 800-283-8298 likely due to chance. Fax 210-223-4537 Fax 713-941-0903
APRIL 1994 PAGE 27 5.00 U6 4». 4.S6 M 4.50 E 4.00 A N 3.50 Similar relationships were found for 3.00 V levels of choir adaptability. Those direc A 2.50 L 2.00 tors who perceived their choirs as most U E 1.50 adaptable were significantly more likely 1.00 to rate both the general functioning of 0.50 their choirs and the degree to which their 0.00 Choir Functioning AesthetiCally Job Satisfaction Personal Personal Disue~s choirs provide them with an aesthetically Pleasing Competence pleasing musical experience favorably. o Low Cohesion CMedium CohesIon _High Cohesion Higher levels ofadaptability were further Figure 1. Levels ofchoir cohesion and choir directors' appraisals associated with significantly greater amounts of career satisfaction and lower amounts of reported psychological dis tress on the PPC questionnaire. Figure 2 5.00
M 4.50 represents a summary of these results. E 4.00 A final series ofstatistical analyses de A N 3.50 termined the relative importance ofchoir 3.00 V cohesion, choir adaptability, personal 2.50 A competence, and psychological distress L 2.00 U E 1.50 in the prediction of choir directors' ex 1.00 periences. Perceptions of choir cohesion 0.50 emerged as the most salient variable in 0.00 Choir Functioning Aesthetically Job Satisfaction Personal Personal Distress accounting for differences in choir di Pleasmg Competence rectors' perceptions of their choirs' gen o low Adaptability ErJMedlum Ad~tabjllty • High Ad~tability eral functioning, their choirs' providing Figure 2. Levels of choir adaptability and choir directors' appraisals an aesthetically pleasing experience, and their own career satisfaction. Their levels of psychological distress negatively pre dicted both perceptions of choir func tioning and levels of career satisfaction CHORAL JOLRNAL (i.e., greater levels of psychological dis tress correlated with perceptions of poorer choir functioning and less career This index will be updaled in the sununer to include the present volume year. Orders received after June 15 satisfaction). The index ofpersonal com will be held andfilled with the revised version as soon as itis available. Ifyourword-processing programis not petence appeared only to predict career among thoseli,ted below, check its documentdtion to seewhetherit will openandread anyofthelistedformats. A hard disk is required for all versions. satisfaction. Perceptions of choir adapt ability did not emerge as a significant
Versions Available for IBM-Compatible Computers predictor in any of these analyses. • Word for DOS (all versions) • Word for Windows (version 1.0 and later) Implications for • XY Write III Choir Directors • WordStar (version 5..5 and later) • Interchange Format (RTF) The data from choir directors in this IBM-compatible versions are supplied on UD 3.5" diskettes. study are consistent with those obtained Versions Available for Macintosh from high school students in choirs; per • Microsoft Word (version 3.0 and later) ceptions ofgreater choir cohesiveness and • WriteNow (version 1.0 and later) adaptability are related to more positive • MacWrite II (version 1.0 and later) outcomes. In this study, the higher the • Interchange Format (RTF) Macintosh versions are supplied on 800K 3.5" diskettes. perceived levels of choir cohesion and adaptability the higher were directors' per All versions are $18, including shipping and handling. ceptions of satisfaction with their choirs Name: _ and careers. As expected, personal char Street Address: acteristics were also found to be related City: State: ____ Zip: Type of computer: Version desired: _ to aspects of directors' perceptions of Quantity: Enelosed P~yment: $ their choral performances and career sat Complete this conpon and send with prepayment* to: isfaction. All these findings are similar to those found with families; significant Choral JOItrnal Software Index / American Choral Directors Association P.O. Box 6310 / L~WlOU, OK 73506 relationships are found frequently be *Make l~heeks payahl(~ to ACDA. tween perceptions offamily cohesion and
PAGE2S CHORAL JOURNAL adaptability and family members' percep initial meetings ofthe choir as it begins to several questionnaires (with no expecta tions offamily and personal functioning. learn its music to several days after a per tion ofpayment) may be, as a group, more Because this study assessed choir di formance. An audience might also provide satisfied with their choirs and careers than rectors' career satisfaction, enjoyment of useful information about the aesthetic qual their choirs, perceptions oftheir personal ity ofa choir's performance. characteristics (i.e., personal competence Although the questionnaires were com Computer Music Engraving We transform your manuscript into finished, and distress), and perceptions of their pleted and returned by more than 200 ready-to-print pages. choirs all at one point in time, it is not directors, their answers may not be rep possible to determine paths of cause and resentative of choir directors in general. !~ ?4-.w.M....il: {}'upfiiC6 i effect. In order to determine the order of Those directors who were willing to spend 108 E. South St. Lamoni, IA 50140 I influence, a longitudinal studywould have almost an hour of their time completing (515) 784-6836 to be conducted in which one set ofvari ables is assessed at an early point, and a second set is measured at a later point in time. Results from the present study, for instance, support the model that those choir directors who have low self-esteem (i.e., low personal competence and high SACRED CHORAL personal distress) experience great diffi culties in providing guidance to their choirs REPERTOIRE and inducing a collaborative spirit (i.e., low adaptability and low cohesion). These July 18-23,1994 perceptions may in turn lead the choir director to feel that his or her choir func an intensive week exploring music for chorus covering the church year - 2 credits tions poorly together and is unable to pro vide an aesthetically pleasing musical with PHILIP BRUNELLE, outstanding experience. However, a second pathway nationally-known conductor, innovative may exist. Choir directors who feel "burnt musician, music director, founder of the out," that is, who report low career satis Plymouth Music Series of Minnesota, choral faction, may be unable to provide the opti clinician, author of the monthly column on mal choir guidance that facilitates the choral repertoire for The American Organist, bonding of choir members, which may Organist-Choirmaster at Plymouth lead to the poor general functioning ofthe Congregational Church, Minneapolis, choir. Only more sophisticated research Minnesota, and member of the National strategies will enable investigators to disen Council on the Arts. tangle the possible pathways that lead to The workshop will include sacred choral successful choir performance and career literature, NOT DUPLICATED IN satisfaction ofchoir directors. PREVIOUS WORKSHOPS, from all periods of music, covering the church year In this study only the choir directors from Advent to Pentecost, as well as festive occasions such as Thanksgiving. provided perceptions ofchoir cohesion and adaptability (as well as all other variables). Additional sessions by: Members of choirs might have different Rene Clausen and Robert Wetzler, Meet the Composers and Their Choral Music perceptions of the personal characteristics Sigrid Johnson, Achieving a Choral Blend of their directors and may have different Weston Noble, Favorite Anthems for Church or School perceptions ofthe cohesion and adaptabil Richard Westenburg, Sacred Music of America ity of their choirs. It is possible that con The workshops will introduce participants to a great deal ofunfamiliar old and gruence of a director's perceptions and new music of outstanding quality, and music will be provided by various those ofchoir members is related to higher publishers and local libraries. quality performances and perceptions of For information, contact Professional Development and Conference Services, 221 greater satisfaction. If a choir director per Nolte Center, 315 Pillsbury Drive S.E., Minneapolis, MN 55455, (612) 625-6358 ceives high levels of cohesion and adapt ability but choir members do not, would The University ofMinnesota is an efJual oportunity educator and employer. These workshops arc facililatf'd hy there be less satisfaction with choir activi Professional Development and Conference Senicr", Continuing Education and Extension, University of Minnesota, and sponsored in part, by Booscy & Hawkes. Inc. ties and performance? An ideal methodol ogy would include information provided by a choir's director and its members over UNIVERSITY OF MINNESOTA several points in time, for example, from
APRIL 1994 PAGE 29 those who chose not to respond. If addi in rehearsals, and just before, during, variations in perceptions of cohesion, tional data were collected from those more and after public performances, which adaptability, and their own levels of satis unhappy with their choirs and careers, the provides differing levels of satisfaction faction? Finally, in what ways do personal results of this study would probably pro for all those involved? What do choir characteristics of choir members contrib duce more and higher levels of statistically directors do that contributes to varia ute to choir performances and satisfaction? significant findings. tions in choir members' perceptions of These questions are not only of theo Many important questions remain un choir cohesion and adaptability? retical interest. A choir director's immedi answered. What do choir directors do in What do choir mem~bers do, collectively ate focus should always be on maintaining meetings with individual choir members, and as individuals, that contributes to high performance standards, but long
------, term goals can never be forgotten. All directors are involved in an educational process: to increase their own, their choir M®..AANCH members', and their audience's under P' •I II TTl l I ,,'" Of". l ... '" ~ II ... II ... ~ I 1 MUSIC & WORSHIP CONFERENCE standing and appreciation of quality mu JULY 4 - 9, 1994 sic; to learn that hard work can yield great rewards and moments ofgreat joy; and to CUNICIANS _ learn the benefits of making a lifelong commitment to beauty and quality in • Weston Noble, Adult Clinician • Michael Burkhanlr, Conference Organist music through listening to and partici • Bill Marhis, Sr. High Clinician • Brenr [vey, Handbell Oinician • Rebecca Gruber, Mid-High Clinician • DiDnne Schayor, Liturgical Dance Clinician pating in quality music-making. When a • Randal McChesney, Upper Elementary • Jay Dunnahoo, Orebestra Oinician choir director can provide uplifting expe • Nancy Ross, Lower Elementary • W. Srewart MacCol/, Worship Leader riences and help others experience beauty For brochure or information write to: in their lives, personal and community Mo-Ranch life is enhanced. One goal ofresearch is to HCl, Box 158 • Hunt, TX 78024-9711 (210) 238-4455 • Fax (210) 238-4202 provide the information to help accom plish these goals.
NOTES V ': I David H. Olson, Candyce S. Russell, and The Conductor's Institute Douglas H. Sprenkle, "Circumplex Model of VI: Theoretical Update," Family Process 22 (1983): 69-83. Southwestern University 2 Joyce Slack, "Values and Personalities ofSelected Georgetown, Texas High School Choral Music Educators," Journal of Research in Music Education 25 (1977): 243-55. July 10-15, 1994 3 David H. Olson, "Circumplex Model VII: One week ofintensive choral/orchestral studies in conducting with .. , Validation Studies and FACES III," Family B.R. Henson Process25 (1986): 337-51. 4 Gary E. Stollak, Mary Alice Stollak, and Professional orchestra in residence. Guenther H. Wasner, "The Choir as Conductors get ample podium time because oflimited enrollment Family," ChoraiJournal32 (1991): 25-29. Principal Works: 5 Copies ofthe CACES and other question-naires described in this article can be obtained from Mass in B-minor - J,S. Bach Mary Alice Stollak, Department of Music, Missa brevis in D, K. 194 - W.A. Mozart University of Michigan-Flint, Flint, Michigan 48502. Fee: $200 ifpaid by June 1, 1994 6 Gary E. Stollak, John Lorass, Joel Aronoff, Room and Board available on campus Barbara A. Woike, Lawrence A. Messe, and Steven Meyers, "Boundary conditions in Personal and Interpersonal Systems," For more information, write or call: paper presented at the meeting of the Kenneth Sheppard, Director· The Conductor's Institute ofSouthwestern University Georgetown, TX 78626 • (512) 863-1358 Midwestern Psychological Association, Chicago, Illinois, 1991. This institute is made possible in part through funding by the Rita Guy Christian Music Ministry, Inc., a California non-profit, tax-exempt corporation whose primary goal is tu support Christian endeavor through music and performing arts. ~ A -CJ-
PAGE 30 CHORAL JOURNAL REHEARSAL BREAKS
A Conversation with Frieder Bernius, Founder and Director ofthe Kammerchor Stuttgart
by Constance DeFotis
ERMAN conductor Frieder the 1989 ACDA National Convention, as I do with Romantic music, I do not Bernius was born in 1947 in Louisville, Kentucky. know. I always say that Romantic music GLudwigshafen am Rhein. He As the Kammerchor Stuttgart devel is my mother tongue, but I do feel com studied choral conducting and musicol oped, it first focused on sacred and secu fortable conducting othet sryles. ogy in Stuttgart and Tiibingen, and, lar unaccompanied choral music, par CD.: Did the long and significant from 1973 to 1979, taught choral music ticularly from the Romantic era. The en choral music tradition in Stuttgart have at the conservatories in Stuttgart and semble acquired its name in 1975 dur an influence on your work and reper Trossingen. Bernius's reputation has ing its first commercial recording of toire selections? been established primarily through his re lesser-known works ofMax Reger. It usu EB.: I have been in Stuttgart since my corded interpretations ofeighteenth- and ally numbers between sixteen and forry student days. During that time I became nineteenth-century German choral mu members, depending on the repertoire acquainted with everything that Stuttgart sic. He possesses an uncanny abiliry to being performed. had to offer. Pethaps at first I did not imagine and elicit microscopically spe The repertoire in the second period, want to do what had already been done. I cific vocal timbres in that repertory, and beginning in 1974, has been primarily am doing that now because I know that I his recordings have won numerous inter continuo-accompanied choral works from can do it diffetently [than my predeces national awards. the Baroque era, a Monteverdi cycle sors]. Earlier I did not know that [about More recently, Bernius has combined (1975-1979), and secular choral music by myself]. After seven years of work in performance with scholarly research and early twentieth-century composers, e.g., Stuttgart, I conducted a Monteverdi cycle; given premieres or performances ofsev Debussy, Schoenberg, Webern, and Reger. that had not yet been done in Stuttgart. I eral neglected eighteenth-century op Premieres of twentieth-century works by really wanted to do something new. I gave eras, e.g., Jomelli's II Vologeso, Hasse's Johann N. David, Arthur Dangel, Heimo up voicing my opinions about Bach, Artemisia and L'Olimpiade, and Joseph Erbse, Karl Michael Komma, and others Haydn, and the oratorios that are per Myslivecek's Armida. have figured prominently in the Kammer formed so much here. However, once I Bernius's Kammerchor Stuttgart began chor's repertoire. had tried new music in Stuttgart (and in 1968 by singing spirituals such as Down The following interview with Frieder Monteverdi was new music for Stuttgart) by the Riverside andJoshua Fit the Battle of Bernius was conducted on February 18, and improved myself, then I could con Jericho. A few years later, the choir began 1993, in Stuttgart. centrate on the music that I already had winning first prizes in significant interna conducted. A critic could say to me, "The tional choral competitions: Middles Constance DeFotis: You have con only teason you conduct Bach differently brough, England, 1970; Den Haag, ducted everything from spirituals to pre [than other more traditional conductors Holland, 1971; Tours, France, 1973; mieres of contemporary music. What in Stuttgart] is because Bach is performed Spittal/Drau, Austria, 1976; Cork, Ire gives you the greatest pleasure in your in a way in Stuttgart to which you seek a land, 1979; and Kaln, Germany, 1982. work, and is there a specific repertoire in contrast." Perhaps one could say that, but As a result, the choir was invited to simi which you feel most at home? it helped me to find the Bach that was lar international competitions and festi Frieder Bernius: The greatest pleasure right for me. vals to give special concerts: Festival Estival in my work is to become acquainted with CD.: How do you justifY the aesthetic de Paris in 1975, 1977, 1979, 1982, and a score that I do not yet know. The reper worth of the repertoire you select given 1985; Incontro internazionale polifonico toire in which I feel most comfortable is the current cultural conditions and influ Fano, 1976; Haarlemse Orgelmaand, naturally that with which I was raised ences in Germany? 1979; Festival van Vlaanderen, 1980; and middle-European, nineteenth-century EB.: What do you mean by cultural music. I received the standard bourgeois situation in Germany? If that means why Constance DeFotis is Assistant Professor music education. On the other hand, I do I not conduct more new music, ... I of Music at Wellesley College, Wellesley, was raised in church circles with another do not subscribe to what others would Massachusetts, and Eastern Division R&S repertoire that was nurtured in the fifties, like to hear from me. [Rather,] I look for Chair for Women's Choirs. as well as a lot of Schiitz and Bach. what honestly gives me pleasure. For Whether or not I feel as at home with this twenry-five years I have conducted a great
APRIL 1994 PAGE 31 deal ofa cappella music. I am ofthe opin operas ofMozart, and to work exclusively EB.: Does that mean the purely tech ion that it was indeed very important to with my Baroque orchestra without cho nical handwork side ofthe preparation or perform this music, because there is still, rus is something new for me. This is of the total spiritual preparation for a new just as ten or twenty years ago, hardly a equal interest to me. A cappella music, work or composition? Let's take the ex public for it, and the quality of profes well, I can do that. I want to do things ample of Jomelli, because I will be con sional choral performances of a cappella that I cannot do so well, therefore, new ducting this in three months. Currently I music is not great. So it was vety impor scores, new forms. am reading a book by Hermann Abert, a tant, but it is not a life-work for me; it is C.D.: What methods have you de nineteenth-century composer from Stutt very wearing on the nerves. I would like to veloped in order to make your score gart, who wrote about the operas by learn new scores, not only twentieth-cen preparation as thorough and efficient Jomelli. Being very interested in the mu tury music, but rather scores I do not know. as possible? Would you discuss your pro sic history of Stuttgart [where Jomelli Currently, I like very much to conduct cedure and philosophy? spent part of his life], I feel Jomelli will playa greater role in this area in the fu ture. I am certain ofthat. Music history is not justified in finding Jomelli's work un important. Abert wrote this book, from Yale Institute of Sacred Musicl which I try to transfer his unadulterated ideas about Jomelli into [my knowledge of] eighteenth-century Stuttgart. Worship and the Arts Since I conduct a good bit of early music on old instruments, I have a special ------~·cF·~------partiality for the eighteenth century. I al ways say that music from this time must Marguerite L. Brooks Choral Conducting be performed just as we restore our frame work houses: not painted over with ideas David Connell Choral Conducting from our time, but rather with the aim to produce the beauty of the pieces and the Yale Camerata Yale Glee Club subject from its time. To transport myself t into the conditions and the contemporary Marquand Choir University Choir situation which surrounded earlier music Freshman Chorus is a great interest of mine. These condi tions are incorporated into the understand ings gained before I look at a score, or, in -~- the best scenario, parallel with them. As to concrete aspects of score prepa The Institute is a graduate degree program offering ration, naturally I have my own score Master's and Doctoral Degrees in marking system for the things I wish to bring out that do not appear in the score. Music, Worship and the Related Arts at Above all, in eighteenth-century music, it Yale University. is well known that very few interpretive markings appear in the score, because of ten these pieces were only performed once and only by their composers or the musi Full tuition cians for whom the compositions were scholarships are available. written. One did not have to write every thing one desired in the score; rather, For admissions and financial aid there were many well-known, unspoken infonnation contact: verbal traditions. Now, when we no longer Ruth Lackstrom know exactly how the music was per Yale Institute Marguerite L. Brooks, formed, we first must try to understand of Sacred Music Associate Professor the implications of what was written 409 Prospect Street of Choral Conducting J through contemporary sources. In this re New Haven, CT 06511 Director of (203) 432-5180 Choral Activities gard I have my own score markings in order to indicate stressed parts of mea sures and stressed syllables, unaccented parts of measures and unaccented syl lables, or dynamics with specific criteria.
PAGE 32 CHORAL JOURNAL In the case ofjomelli's II Vologeso, I have become acquainted with the perfect situa tion in which I have first transcribed the score from the manuscript. No one knows the autograph except me. I can truly say I "The bestworkshopI've everattended!" could not know more about the work, "It's atremendous way to immerse yourself in the style and literature. I'll be using because I have transcribed it from the au the skills and sharing the excitement of barbershop harmony with my junior and tograph, and nothing more than that ex senior high men's choruses this year."-Libby Metz, Harmony College '93 ists. It is important in every kind ofmusic Centaurus High School, Louisville, Colorado to study the autograph, if it is available. No modern edition, no print can precisely A special track for music educators... characterize what the autograph can. After • Rehearsal techniques • Vocal production • Sight-singing having finished this part of the work, I • Choral directing • Quartet coaching • Performance mark the orchestra's parts with the same • Stylistic interpretation • More than 50 additional electives method used in marking the full score i.e., very exact markings of accented and The premier a capella workshop for unaccented parts of measures, dynamics, ~~~mlnljfnc more {/ian 25 years... articulation, etc., so that my interpretation ~~2 O&~ bringing together 500 students and faculty annually for a is actually readable in the score before I ~ ~ week of close-harmony singing, education and fellowship. raise my hands to conduct. • Accredited continuing education available through Missouri Western State College. CD.: Do you employ a standard pro CEU credits cedure when you invite someone to audi tion for your chorus? What are the most Presented by SPEBSQSA, a leader. .. in close-harmony singing and adult education. For more information, contact Bill important qualities for which you listen? Rashleigh, Youth Outreach Coordinator, at the Society for the Preservation and EB.: There is no standard procedure. I Encouragement of Barber Shop Quartet Singing in America, Inc. (800) 876-SING. say to singers, "Bring what you are working on in your lessons with you." That means that I want the singer to feel very comfort able with the literature he or she is perform ing, and that is enough for me to observe. For me, two to three minutes are adequate. Then I actually know enough. I usually do not do any sight-reading. I hear the voice and determine ifit has consistent intonation. For me sight-reading is naturally important for new music, but I never conduct new music with people I do not know very well. I do not invite people who audition for Specializing in custom-designed tours for peiforming groups me the first time to participate in a cappella projects. I first invite them to an oratorio project. Then I coach them alone and in UNITED STATES • CANADA • EUROPE vite them to two sectional rehearsals. They prepare the music, and I say exactly how I SCANDINAVIA· GREAT BRITAIN interpret the music. For me, it is impor tant that the singer is handled as a soloist and an individual and not as an anony 3250 - 28th Street, S.E. mous entity. Therein lies my concept of J'. Grand Rapids, MI 49512 i timbre: that it stems from the solo voice. That is why vocal training is naturally a (616) 957-8113 or (800) 253-0210 prerequisite for an audition. J. CD.: What is the rehearsal and per formance schedule of the Kammerchor Wherever you journey, let us be your guide. Stuttgart? EB.: The number ofrehearsals depends on the difficulty of the work or whether or not the ensemble has already performed the work. For an oratorio ofaverage length,
APRIL 1994 PAGE 33 I would say that we have, at most, two or rehearsals were more regular than they One does not immediately find replace double rehearsals-Friday, 5:00-10:00 now are? Or has the choir always been ments for such people without having had P.M., and Saturday, 10:00 A.M.-2:00 P.M. assembled for specific projects? a precursor for a long time. This means For an a cappella project, I require at least EB.: No. We always had people who that when someone leaves, the next singer three to four ofthese double rehearsals. In came from ourside Stuttgart, so that we must already have worked with me for a the case ofa very well-known work, there could never have a rehearsal every Tues few years in order to replace someone else. may be only one double rehearsal. day or every Friday. There were phases I must always start again from the bottom The amount of rehearsals also depends during which the core of the choir was with people who audition for me, people on which orchestra is playing. My Baroque more consistent, bur these were times in who I believe could someday, perhaps in orchestra always works one week longer by which the people wanted to see each other three or four years, become very important themselves, because Baroque instruments for nonmusical reasons. In such times it singers. It takes at least a year or two until need longer to develop an ensemble. I then is easier to keep the core members longer, someone really understands the realm ofa build the work with chorus and soloists but that also had disadvantages. It is ideal cappella music, apropos intonation or together. The Classical Philharmonic comes when people come for artistic reasons. timbral flexibility. Other kinds of music about three days before a performance, The most important thing is that I are not as fussy or sensitive. and on the second day they anxiously await already have a so-called continuum of CD.: Have you ever traveled to study working with the choir and soloists. people. Usually it is musicians who sing and observe other musicians or conductors? I have approximately thirty concerts a with me during their music studies. At EB.: Yes, I have, but after I already had year, and normally I make two to three some point they depart, because they go a teaching position in choral conducting, a CDs annually. Perhaps halfthe projects are into the music profession as members ofa field in which I really have only had the invitations, but that has the disadvantage professional chorus, radio choir, opera influence ofStuttgart and its surrounding ofbeing bound to specific repertoire. How choir, or as soloists. It is important that I area. I noticed that I needed to improve ever, in the other halfwe perform concerts anticipate when someone must make this technical aspects of my conducting in or in festivals or concert series, wherein I can leap, so that in the course of time the der to work with an orchestra. Over four influence the content ofthe program. people who have developed into impor years, each summer I participated in a con CD.: Were there times when the en tant singers are sent onward and are able ducting course with Otmar Suitner, Sergiu semble membership was more constant to play their new roles withour difficulty. Celibidache, Witold Rowicki, or Edward Downes. I learned so much. It was cer tainly awful, because if you have worked with singers your entire life, it is a terrible adjustment to suddenly be measured against people who have always worked with instrumentalists. However, I consider this especially important. I hate these solely choral conductors and their gestures. I naturally had problems there, too, bur I have always tried to achieve a certain stan dard in which no one could say to me that I was a typical choral conductor. I also do not want anyone to say to me that I am a typical orchestral conductor; rather I would prefer that my gestures correspond to the music being conducted and not to any music stylization or characterization. It is much more difficult to conduct singers than to conduct a timpanist. That's easy. We'll Help CD.: Which soloists or conductors You Get Started. have had the greatest influence on your attitudes abour music? Our Suzuki ToneGhime method book EB.: I can name two principal influ series makes it easy, even if you've never taught or played ToneGhimes before. Gall ences that affected me more through re us Toll Free, your music class will be cordings than through my traveling to glad you did! observe someone. During my studies the thing that most influenced me was the recordings of Eric Ericson. I can still re !JJ~ Ii R~AIi f!JK • 1 • • •. c 0 R P 0 T ION member when the Europdische Chormusik 181. . 8541594. P.O. Box 261030, San Diego, CA 92196 recordings were marketed in the early
PAGE 34 CHORAL JOURNAL seventies. That was a sound from a new educated, but rather that one must also working at this, and in the meantime, I world. It was something that professional have the ability to adapt one's voice to think that we have succeeded in raising choirs in Germany had not demon others. The model for this was created our standards to match those of England strated, namely a homogeneity and an by Eric Ericson, not by me. and Holland, which can be observed ifone intonation which suddenly transformed The second influence on my develop compares recordings. I have also founded a a choir into an instrument; that was com ment was the early music scene as it exists festival for early music here in Stuttgart, in pletely unfamiliar to me. In Stuttgart in England or Holland. Just as I aspired in order not only to bring the best interpreters there was a professional choir, and there the seventies to achieve the closest possible from outside Germany to Stuttgart, but were colleagues, a generation older than performance standard to the Swedish also to learn from them. The festival I, who performed the service of elevat model within Germany, I had the idea to [Internationale Festtage Alter Musik] has ing amateur choruses to a higher level. perfect early music performance, so that already been presented seven times. They employed trained singers in the one could say that Germany had the same CD.: What do you consider a suc amateur choir and have [these singers] niveau as England and Holland, which cessful rehearsal? How would you describe to thank for their reputations. Our gen were much further developed than Ger the prerequisites ofyour rehearsal work as eration tried to make clear to trained many, especially in relation to the techni a pedagogue? Could you perhaps say what singers that it is not enough simply to be cal mastery ofold instruments. We are still you find most difficult to convey to your
Western Wind ACappella Through the Ages
Join The Western Wind for a workshop of Summer Workshops a cappella vocal music through the ages medieval, Renaissance (including lots of Lassus in celebration of the 500th in Ensemble anniversary of his death), early Baroque love songs, motets and masses; early American anthems and ballads; jazz, Singing doo-wop, rounds and more!
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APRIL 1994 PAGE 35 singers-for example, phrasing, tempo, stirring. At the beginning [of a rehearsal], instrumentalists, the ensemble must sound or timbre? every ensemble is numb and immovable. as clean as a very well-tuned instrument. I P.B.: I cannot answer in general, The conductor is disappointed and ner have often characterized a cappella singing because one does [continue to] develop one vous, because the choir does not sing as he as an instrumental ensemble ofvoices. Be self In part, I define a success as the feeling I had imagined the work in his inner ear at fore you can make music, an instrument have during a rehearsal that something is home. The function of the rehearsal is ful must be in tune, and so an ensemble must filled if, by the end of a rehearsal, one's be in tune before one attempts to make FULL-TIME POSITION initial conception is achieved. music. I cannot make very good music on I have had the experience that phrasing an out-of-tune piano. That also applies to CONDUCTOR I EXECUTIVE DIRECTOR PEORIA AREA CIVIC CHORALE, Peoria, is the single most important thing. Oddly, timbre. If a piano is not well adjusted in it is the thing that from the beginning is the sense ofits balance, ifone key is louder, 85-voice organization seeks a mulit talented individual to lead one of the most least present-the will to congeal different or the bass sounds entirely different [from successful and visible choruses in the Midwest parts [into a phrase]. One has the feeling the treble], it is not possible to make mu
• duties include administration, promotion & marketing that many musicians only mark time. In sic. It must have a balanced sound and ... perform quality music of many different styles early music one says that you spell-i.e., pure intonation; then the music begins. If< administration of four other performing groups ... salary competitive every syllable is stressed-or that you are C.O.: Currently, not only in Stuttgart, not capable ofthinking further than a mea critics are praising the Kammerchor Resumes by May 1st to: Lynn Grandon, 5042 N. Prospect, Peoria Heights, IL 61614 sure ahead. So the linear scale in the music Stuttgart's differentiated dynamics, clean 309/688-8292 is most important, that which for an actor intonation, and the stirring homogeneity
-----_._------(and I often compare music interpretation of each section in your choir-in short, with the expression ofan actor) goes with your perfectionism. What values do you out saying, in that he tries to bring several try to communicate to performers which TITLESfrom words into one expressive context. might transcend their specific niveau and SCARECROW In relation to early music, there was a performance traditions? I period in which everyrhing was performed P.B.: That is difficult to answer; one too fast, perhaps because one feared that should ask the singers. Well, I think that New! the tension would decrease. Then one they can attest universally to my strength SING THEM IN had to return [to earlier opinions about of will in the realization of a conception ENGLISH! tempo]. At this time, I find myself in a [of a composition], regardless of the type FredericJCirchberger phase in which I have the feeling, ofmusic with which I am working. Con "Mensch, take more time. The tension ductors without determination do not VOL. I will be sustained nonetheless." Earlier in need to become conductors; that makes Nine Great German Song Cycles my violin lessons, I also [played too fast], no sense. Naturally, in the course of from Beethoven to Mahler in and my instructor said, "That's too fast!" twenty-five years, I have acquired more New Singable English I said, "Yes, but I fear that the tension will knowledge and more possibilities for [sty Translations not continue if! do not play fast." Then listic] differentiation. Earlier, one sang Volume I ISBN 0-8108·2715-8 $49.50 he said to me, "No matter what you do, it Monteverdi as one sang Brahms and VOL. II is always exciting." That was beautiful. Mendelssohn. Now one distinguishes One Hundred Selected Songs by This feeling and confidence are neces [styles] more. Franz Schubert, Johannes sary; then you can find the right tempo. Another active force through these Brahms, and Hugo Wolf in New In terms of musicianship or interpre twenty-five years has been the awareness Singable English Translations tation in the rehearsal, not too much is that I enjoy music and that I should con Volume II ISBN 0-8108-2745-X $49.50 discussed. The conductor must first show vey that enjoyment-especially when I 2-volume set-ISBN 0-8108-2746·8 $85.00 these things and not describe them; how notice that people will let themselves be ever, much is said about technical things. impressed, in the good sense ofthat word, THE CHORUS IN OPERA Phrasing requires more than conducting or when singers somehow notice that I A Guide to the Repertory the phrase. One must also grasp it intel take them seriously and expect something David P. DeVenney & lectually; e.g., its punctuation, ifyou com from them. I find what a singer brings [to Craig R. Johnson pare it with language. Where does a making music] important, even if! some 220 pp. 1992 #2620·8 $29.50 sentence begin? Where does it end? Where times handle them in an unpedagogical WEDDING MUSIC is the period? Where is the dash? Where is manner, because I am moody and only An Index to Collections the climax ofthe sentence? You must ana human. Nonetheless, only a few have with WilliamD. Goodfellow lyze this. However, musical interpretation drawn due to this. Rather, the majority 205 pp. 1992 #2575·9 $25.00 in itself-e.g., a question of tempo-is understand, because they know they will Formore music titles call or write not discussed; rather, it is shown. receive something [in working together]. SCARECROW PRESS Intonation is often addressed [in re With the feeling of gaining something, 1-8()()'537-7I07,908-548-86OO PO BOX 4167, METIJCHEN, NJ 08840 hearsals]. Whether you conduct singers or one can also then give something [back].
PAGE 36 CHORAL JOURNAL This is a central theme; one can generally tension; e.g., the difference between a dis true thar I am inclined to prescribe some achieve something through give and take. sonance and its resolution or between a thing specific [apropos interpretation] and In relation to performance practices, triad and a tetrachord. These differences then to summon this in concert, but that there is music with an interrupted tradi are significant in every style. I cannot have by itselfwould be boring. [However], that tion and music with a continuous tradi weight in part ofa measure on a chord ifa is a prerequisite for me. Similarly an ar tion of performance. In middle Europe dissonance has preceded that chord, nor chitect builds a house expecting that it we were the students ofteachers who were can I provide a [harmonic] resolution in a will then stand as he had designed it. the grandstudents of Liszt, Reger, or heavy part ofa measure. Resolutions must How I sense this "house" within the mu Brahms. These performance traditions always relax. The process ofharmonic ten sical spirit is the question of immediacy were uninterrupted. In this case we could sion plays a major role; i.e., since the rime in the performance. say, more or less, that we create [music] offunctional harmony, the resolution ofa For me, a recording is as important as a out of the emotions with which we sense harmony requires a musically lighter part concert. In a rehearsal I can interrupt and each day [of our middle-European lives, ofthe measure than a dissonance. request a repetition, and in concert I can which are full oftraditions]. That is some C.O.: As interpretive and creative ar only hope that the rehearsal work will be thing one cannot say about intertupted biter, a conductor must operate in two rescued and transferred in the best possible performance traditions, such as eigh directions: to inspire the public with his way. In a recording, I have both. There I teenth-century music. They performed on artistry and, above all, to convince the can repeat, and before every repetition I other insttuments, there was another po orchestra or chorus ofhis ideals and mo can reiterate what is especially important lirical system, and after that there was a tivare them to perform at the highest pos verbalize it. I can also conduct long sec break in the performance tradition. It is sible level. How do you view these tasks? tions wirhout wanting to pause. Naturally, importanr that we study how music was Do you value sponraneity with a chorus it is only possible to develop a musical interpreted in contemporary treatises, or orchestra as well as with the public in a atmosphere over a long period ofrime. and that is exactly how I must proceed performance? The gesrural communication that is only as an interpreter. If! am conducring early EB.: There are critics that reproach me possible in concerr is certainly something music, I must seek advice [far in advance for my performances, saying that they are that one can perfect, though conductors of rehearsals] from objective sources and too studied and not spontaneous enough, handle it quite differently, but this is not bring this knowledge to the awareness of but that is their expectation. It is certainly everything. I do not think that one can [my] performers. If! am conducting some thing from the twentieth century, I can proceed from the premise that the per formers know the historical sources, so to speak, because the practices are derived from the performers' own experience. C.O.: Would you describe your highly developed technique for the realization of stylisric differences in Baroque and Ro mantic choral music? EB.: I prefer to see it interpretatively as if Baroque music follows its rhetoric; i.e., that it only sounds as ifspoken. The language is, in rerms of sonority, quite short. One speaks and the sound is gone. Whereas Baroque music follows the spo ken language, in contrast, Romantic mu sic lengthens the vowels. These basic differences are a very important compo nent ofan interpretation. In the Roman tic period one hardly ever sings as ifone is speaking, and in Baroque music one would rarely sing in the way one sings Romantic music. This is an essential at tribute of the diction of the music. Generally, to me rubato is not unim portant in Baroque music, but it naturally does not play [a leading] role. A more important aspect [ofinterpretation], which is true for all styles [ofmusic], is harmonic
APRlL 1994 PAGE 37 achieve everything through gestures and cha through a newspaper review. It is legiti to the latter [group of people] and have risma, especially not with distant musical mate, and thus I consider what I can do tried to improve this through t'ai chi. For styles; i.e., the more interrupted the perfor to change it. There is no criticism that three years I have practiced t'ai chi, and it is mance tradition ofthe music, the more it is does not contain a kernel of validity in work that helps me personally very much; necessary to verbalize [interpretive ideas]. some way. I can recommend this to every colleague. I Conversely, the more continuous the tradi I was a person who wanted to express work continuously on myself to improve tion ofthe music, the more one can achieve more than my technique could produce. my skills in order to more easily obtain a through gestures and charisma. I find that terrible, especially in choral greater musical performance or to improve So I hope that in thirty years I am conductors. There are so many colleagues the level ofintensity [in a performance]. I three times better than I am now. That like that. One should educate singers so know that I will conduct better in ten has been the most important thing for that there is a standard between gesture years, and I know that today I conduct me: that I perfect my skills as much as and musical effect. It does not make sense better than I did ten years ago. possible. I am very sensitive to the feeling that one works effectively only with sing C.D.: Given the current cult of the that I am responsible for something not ers who the conductor knows for a few artistic persona and the overestimation of functioning well [in rehearsal or perfor years, and that when he works with other the status of orchestra conductors, are mance]. It is so difficult when a conduc singers or instrumentalists, suddenly he you of the opinion that the public today tor experiences this, perhaps through the must explain or work again for two years would rather hear a virtuoso performance criticism of an ensemble member or before the concert. There must be a cer than take pleasure or have interest in the tain norm that is understandable for ev music performed? Are the new develop eryone, and for that we have conducting ments in your repertoire and work as a
, 9~ C~l~O 95 '·OOO_OAT·lAPE_'JSA S OAT.,20 techniques and models. Then the subjec conductor in part intended to satisfy 999 QCTAvt lARGEST D.I.'·1AP! SUPPLIER MXS ~O 339 H_'J_1n ~~ Joe OAT·'lO 61l'! XU,S_,OO '~9 >E·"·,,, ~9 DEIiONDaT·~O 5!1\1 'Ul~-'Q '3~ tive work begins. today's audience? T_';,?\) ~ ::t\~;,W D~"ON rQ IWIIl H! I have tried to perfect this as much as EB.: The unknown operas are certainly ~ limI!ilJ 0 ~~~;1t~~~~ 1:~ 2.69 50"V lDK.AoI'''''D1SC_ 74 ~1J!/II. "'~T MASTER ~"iI". ~"~ 11~ I1l,W possible, but why one person's nature is not [selected for that purpose]; naturally,
CRED"AHf,UlETOPUBllCINSTITUllONS more relaxed or more tense than another they do not have a mass public, but the TAP€ WORLD no 5PR,..GST ,BOXJ61 6UTlER PA '0003_0361 FREECATAl[){, [)[NONJVCELECTIlONICSCALl person's is [a further] question. I belonged number of people who are not content ------with the smash-hit repertoire is increas ing. They are specialists or very special, Join Theodore Presser Company's intellectually engaged people; this audi ence increasingly interests me. On the other Choral Subscription Plan Today! hand, naturally I hate the public who al and Theodore Presser Co. and its affiliates will send you a FREE reference copy ready gives sustained applause to a con of Haydn's Missa "Sunt Bona Mixta Malis" Hob. XXII:2 for SATB, organ, ductor at the beginning ofa concert simply optional cello and contrabass ($2.50 value). because he is well known. Every conductor or musician must first turn out his perfor Stin only $15.95! mance, and then receive applause, and not be honored through advance praise be •Your 2-YEAR SUBSCRIPTION costs just $15.95! cause he once conducted a good concert. That is not fair to people who are just •Quarterly mailings feature reference copies of all new sacred and beginning [their careers]. There naturally secular octavos published by Presser and its affiliates, including Coronet, are also people who always find music [per Roberton, Thorpe and others! formances] that they already know better [than new ones], whether the interpreta •Holiday pieces are sent a season ahead, to arrive in time for advance tion is good or not. planning! I hope that throughout my life I can Please enroll me in the Choral Subscription Plan for 2 years for $15.95 (PA residents add repel extramusical influences-which sales tax. Canada residents add $2.50). And send me a FREE copy of Haydn's Missa "Sunt might improve my popularity or lighten Bona Mixta Malis" Hob. XXlI:2. my finances-and that I only try to win Name _ public approval through musical means. Institution _ While I know that there always will be Address _ only a minority [interest] there, I should City, State, Zip _ not let myself be spoiled and employ Visa/Mastercard/Discover/Am.Ex. card no. Exp. _ Fax us (24 hrs.) at 215·527·7841; or mail with payment to the address below. means other than the music itselfto reach the [interests ofthe] majority. That sounds THEODORE PRESSER CO. Dept. 4CJ wonderful, but until now it truly has suc 1 Presser Place· Bryn Mawr, PA· 19010-3490 ceeded for me. -CJ-
PAGE 38 CHORAL JOURNAL LITERATURE FORUM A Culturally Permeable Choral Curriculum: Programming for the Twenty-first Century by Gary D. Funk
E ARE in search of a new A nearly exclusive choral curriculum musical experiences. We wanted to coordi identity as a nation, trying has developed, for the most part, not so nate the music studied by our performing W to discover our place in what much out of the rejection of other cul groups during a year or semester so that has been called the "new world order." tures' aesthetic values, but perhaps due to music rehearsed in concert choir was re We have been taught in the past that lack of knowledge about what is valued lated to music studied in wind ensemble the Western way of thinking and creat by other cultures-exclusion through ig and private studios. We eventually adopted ing is the main tiver of culture on this norance. As choral conductors become a performance curriculum which was struc planer. But as the "new world ordet" be more aware ofeducating multiculturally, tured around the study of vocal and in comes more defined, our society must they may adopt one of three curricular strumental music composed or arranged grapple with the idea that our culture is approaches: 1) ignore multicultural mu in various regions of the world. We estab only one tributary among many that sic and continue with the Euro-Ameri lished an eight-semester schedule which eventually converge. can "great music" choral curriculum, 2) originally involved only music from Eu A newly invented curriculum must adopt a choral curriculum which is in rope and North America (Figure 2). teach what is important for us to know in clusive of several major United States Most of the music selected for our the twenty-first century. If our students cultures (e.g., Afro-, Native-, Asian-, and major ensembles was linked to the geo need to deal with the complexities of the Latin-American), or 3) create a cultur graphical semester focus ofeach (e.g., folk world, and ifthey ate going to be exposed ally permeated choral curriculum which music, composer's nationality, language). to othet cultutes more and mote in daily includes world cultural literacy as one of When possible, small ensembles and pri life, they should know about the similari its main goals. vate studios also adopted the approach. ties and differences among cultures. As the curriculum evolved over the Through a multicultural approach, we A Model for Change four years, we asked ourselves, "Why are may encourage the development of cul When the Director ofInstrumental Ac we limiting our students to Euro-Ameri tural respect. tivities at Mount Union College and I can music? Why not venture away from Too often, choral directors have built explored ways to improve the existing that tradition and include music ofother their choral curriculum as a one-lane high philosophical approach to performing en cultures?" As this tangent developed, we way labeled "monocultural boulevard." sembles in the music department, we dis attempted to strike some sort of balance. We have taught our students what we covered that connection and synthesis were A second plan was drafted that provided were taught. Our intent has been to share missing. We needed to find a way to link students with a musical global tour in what we knew to be true, valuable, and our ensembles-instrumental and vocal eight semesters (Figure 3). important about our subject. On many so that our singers and players might have The choral program at Mount Union college and university campuses in the a better chance of synthesizing various typically involves two concerts per semester. 1990s, choral professors are still teaching about that same "important music," which is almost solely Euro-American. This is demonstrated by the relatively low percentage of choral music from non Euro-American cultures on choral pro grams in the United States. Ifwe assume that ACDA convention programs repre (;J , 987, San Antonio sent the ideal in choral programming, it ~ , 989, Louisville can be shown that approximately 85 per IllI 1992, Boston cent of choral programming in school, .. 1993, San Antonio Q." church, and community choruses in the ;,0 UJ ~ United States is dedicated to Euro-Ameri E V> "«=" ~ c '" c can music (Figure 1).1 V> £;" '" '"...J :J W'" '" 0 'c" ';;; U1 " 'in =' V> :J Gary D. Funk is Director of Choral c: Activities at Mount Union College, Alliance, Ohio. Figure 1. Percentage ofchoral music representing general geographic locations performed by U.S. choirs at four ACDA conventions.
APRIL 1994 PAGE 39 Fall Semester Spring Semester Great Day Year 1 England United States art. Brazeal Dennard Year 2 Canada Germany!Austria SATB, Shawnee, A-1895 Year 3 United States Italy!France Year 4 Scandinavia Russia/Northern Europe Three aboutJesus arr. 1. 1. Fleming Figure 2. Euro-American curriculum SATB, Augsburg "Everytime I Think about Jesus" 11-0539 Fall Semester Spring Semester "Give Me Jesus" 11-0540 Year 1 United States Mrica "Ride On, King Jesus" 11-0541 Year 2 Germany!Austria Italy Year 3 Latin America Jewish A Choral Concert Year 4 Great Britain Pacific Rim ofScandanavian Music
Figure 3. Multicultural curriculum Domaredansen art. Bengt Hallberg The first concert consists ofoctavo litera A Choral Concert ofMrican SATB, Walton, SK-I02 ture from the region being studied. The and Afro-American Music second concert usually involves a large Aftonen choral work with orchestra. The music is Hugo AlfVen Hombe (Kenyan folk song) most often performed in its original lan SATB, Walton, W2705 arr. Laz Ekwueme guage. The following programs represent SATB, Lawson-Gould, 51807 a sample of the concerts presented in our o crux multicultural curriculum. Knut Nystedt Wah gee tee bee (Liberian dance song) SATB (div.), Hinshaw, HMC-286 arr. Agnes Nebo SATB, Lawson-Gould, 51509 ~1R§ Conversation Piece :l\JT[QUJ\> Georg Riedel Ye ke omo mi (Nigerian lullaby) Speaking chorus, Walton, SK-l0 1 CflORJ\LIS SERIES arr. Leonard DePaur SATB, Lawson-Gould, 51213 Saul odern performance editions Egil Hovland Umu uwa golibe SATB, Walton, M-126 of choral masterworks from LazEkwueme the 15th to 18th centuries, SA, Lawson-Gould, 51806 Mespecially suited for today's Spring church choir. Edvard Grieg Welcome (Igboan Mrican carol) ~._ ""IIIIO'~"""'~ "~,.... -,,.,,~ .. ,,", '" Over 150 art. Paul Christiansen CP: arr. Laz Ekwueme Almighty and titles by Bach, SATB (div.), Neil A. Kjos, Ed. 55 :J Everlasting God Batten, Byrd, SATB, Lawson-Gould, 51824 ~ SATl\VolU. Boyce, Dufay, 0 Spring Fjord :t ORLANOOGJBBONS Gibbons, o sifuni mungu Edi,edb."RJIOr-JP..,ula Daniel Bell U Goudimel, PAGE 40 CHORAL JOURNAL Three Choral Ballads Pasaje Ki elshomrenu Wilhelm Stenhammar Vinicio Adames Hugo Weisgall "September" Manuscript SATB, Theodore Presser, 312-40515 "The Garden ofSeraglio" "If! Had" SATB, Walton, W-2720 A Choral Concert of NOTES Music by Jewish Composers 1 The total number of pieces performed by U.S. choirs at each convention was A Choral Concert Hava neytzey b'machol counted and categorized by geographical ofLatin American Music arr. Maurice Goldman location. North America included rhe SATB, Lawson-Gould, 51615 United States and Canada. Europe Gloria from Misa Criolla included Spain, Portugal, France, Italy, Ariel Ramirez "Prayer before Sleep" (Baruch arah Germany, Austria, Norway, Sweden, arr. Padre Jesus Gabriel Segade Adonai) from Talmud Suite Finland, Denmark, Switzerland, Britain, SATB, Lawson-Gould, 51596 Sid Robinovitch the Netherlands, Belgium, and Greenland. SATB, Gordon V. Thompson, EI 1091 Russia/Eastern Europe included Estonia, o vos omnes Latvia, Lithuania, Poland, Czechoslovakia, Pablo Casals Hasydic Song Hungary, Romania, Yugoslavia, Bulgaria, SATB, Alexander Broude, AB 128 Alexander S. Vujic Greece, Albania, and all republics of the SATB, Mark Foster, MF 2055 former U.S.S.R. Latin America included El Posito Mexico, Central America, the Caribbean, Brent Pierce Hava nageela and South America. The Middle East SATB, Plymouth, BP-135 arr. Maurice Goldman included Afghanistan, Pakistan, Turkey, SATB, Lawson-Gould, 51270 Syria, Lebanon, Israel, Jordan, Oman, "0 vos omnes," from Lamentations of Iraq, Iran, Yemen, Saudi Arabia, Kuwait, Jeremiah Suite, Based on Jewish Folk Sources Qatar, and the United Arab Emirates. Alberto Ginastera Samuel Adler South and East Asia included Cambodia, SATB, Theodore Presser, 352-00103 No.5, "Some Laughter, Some Tears" Vietnam, Sumatra, Malaysia, Brunei, the SSA, Oxford, 95.411 Phillipines, Indonesia, India, Mongolia, Tutu Marambti China, Nepal, Bhutan, Bangladesh, arr. Donald Erb Atsay zaytim omdim Burma, Sri Lanka, Laos, Thailand, North SSA, Lawson-Gould, 637 Samuel Adler and South Korea, Japan, and Taiwan. SSM, Lawson-Gould, 52563 Africa included the entire continent. Nigra sum Australia included both Australia and Pablo Casals Northern Sketches New Zealand. Ifgeographical orientation SSA, Alexander Broude, AB 120-8 Srul Irving Glick could not be determined by composer, "Northern Sketches" title, language, or location of publishing Marianne SATB, Gordon V. Thompson, house, the piece was categorized as arr. Wilbur E. Funk VEJ. 1119 "unidentified." Manuscript "Butterflies" SATB, Gordon V. Thompson, Marry a Woman Uglier Than You VE.!. 1121 -CJ- arr. Leonard DePaur TTBB, Lawson-Gould, 543 From Candide Leonard Bernstein Elpaisanito "The Best ofAll Possible Worlds" arr. Ward Swingle SATB, Boosey & Hawkes, SATB, Swingle Music, SF-3 OCTB6242 "Make Our Garden Grow" For all musicians Milonga del angel SATB, Boosey & Hawkes, -.,z:,,,,,. -For the conductor, composer, teacher, student. Astor Piazzolla OCTB6222 - Exact tempo as it happens in rehearsal, in recording. arr. Felipe Izcaray - Precise timing of beats per Manuscript Zum Gali minute. - Fully guaranteed. Comes with arr. Maurice Goldman protective carrying case. Duerme negrito SATB, Lawson-Gould, 52026 $110 includes postage in U.S. arr. Robert DeCormier MaSIC PRINT COMPANY, INC. P.O. BOX 17608 • BOULDER, CO 80308 SATB, Lawson-Gould, 52571 303-499·2552 APRIL 1994 PAGE 41 NATIONAL CONVENTION Washington, D.C.- perfect backdrop for our national con Potomac River, the Metro will provide A Hint at What's to Come vention this coming March. convenient access to hotels and conven in '95 Because of the overwhelming num tions sites throughout the District. URNATION'S CAPITAL will ber of things to do in D.C., ACDA is currently negotiating with airlines and Convention Sites play host to the next ACDA hotels so that conventioneers will have O National Convention, to be Because we anticipate record attendance affordable rates, making it possible to at this national convention, each concert held Wednesday, March 8, through Sat arrive early and leave late, if desired. will occur twice (perhaps even three times!). urday, March 11, 1995. Although we Unlike at the San Antonio convention, might generally think of Washington, The Metro- though, each conventioneer will hear the D.C., as a politics-only city, it is also home Easy Access around D.C. same concerts performed in the same ven to a vast array of cultural activities. Scores One of the features making Washing ues-the John Kennedy Center for the of historical landmarks, monuments, mu F. ton a safe and convenient city in which to Performing Arts, Constitution Hall, and seums, outstanding performing-arts travel is the Metrorail-D.C.'s subway the Washington National Cathedral. venues, art galleries, fine restaurants, and system. A quiet and clean (smoke-free) Designed to be the national cultural cen specialty shops make Washington the ride, the Metro will provide smooth, reli ter ofthe United states, the Kennedy Cen Audition Manager® able transportation to convention sites. It ter will host ACDA's auditioned choir is also inexpensive, with off-peak rates performances and special concerts. A major Schedule, score, and rank your All-State or Regional Auditions with our computer running between $1 and $2 (peak-hour choral-orchestral performance with the Na software. Fast, automatic entry of data rates should not exceed $3.15). Ifyou fly tional SymphonyOrchestra is also planned. assures accurate and instant results. into Washington National Airport, which Seating 3,746, the auditorium ofCon Call Barken, Inc. ™ at 1-800-266-0580. is just south of the capital and across the stitution Hall boasts very fine acoustics, despite its large size, and was the original home ofthe National Symphony Orches tra (founded in 1930). The Hall will serve as the venue for special concerts through out the convention. MERRY The National Cathedral was founded in 1893 and is the sixth largest cathedral in CHRISTMAS PROGRAM the world. This fourteenth-century gothic edifice will serve as the venue for two ecu PLANNING! menical services and congregational sings. The Sheraton Hotel will act as ACDA's convention headquarters, with the Sheraton Convention Center housing an expected record number ofindustry exhibits. A Time for Advocacy Holding the 1995 ACDA National Convention in Washington, D.C., affords our association the unique chance to em phasize the value ofchoral music in Ameri can society. We have a remarkable Clvistmas NighJ (COL 106), Clvistmas With The Cambridge Singers opportunity to make our voices heard (COL 111), andClvistmas Day in the Morning (COL 121) are Holiday both literally and politically speaking program classics from Collegium, the English label of John Rutter and before our U.S. senators and representatives, The Cambridge Singers. To order, call 1·800·367·9059 national arts agencies, and other govern mental figures. Through singing and advo cacy, we can hope to influence the way choral music is perceived by the decision makers ofour nation's capital. Barton L. 1jtner fr. National Convention Publicity Chair PAGE 42 CHORAL JOURNAL COMPACT DISC REVIEWS Richard J. Bloesch, editor The Sound ofSt. John s acoustics. Complementing his concern for Gladdening Light by Charles Wood, And Works by Michael Tippett, Herbert a particular sound quality was his unflag I Saw a New Heaven by Edgar Bainton Howells, Robin Orr, Jean Langlais, and ging attention to text pronunciation and (one of the most moving settings of the Alun Hoddinott phrasing. The warm sound of St. John's opening of chapter 21 of the Book of Choir of St. John's College, Cambridge; was often an effective foil to those cold, Revelation), the sumptuous Faire Is the George Guest, conducting drizzly afternoons when few worshippers Heaven by William Harris, and VOx Nimbus NI 5335 appeared in the darkened chapel. Listen dicentis: Clama by Bernard Naylor-all ing to this CD, one is stunned by the English Anthems boys' superb musicianship and a vocal Works by Charles Wood, Edgar Bainton, tradition which is fostered by detailed, John Ireland, William Harris, Bernard painstaking drill of the choir. A special N aylor, Herbert Howells, William bonus of this release is the multilingual Walton, Lennox Berkeley, Benjamin notes on the choir, the music, and, most Finest Fabrics including Permanent Press and Wash & Britten, Kenneth Leighton, Jonathan revealingly, Guest himself, including remi Wear. Superior Quality. Free Harvey, Judith Weir, and Nicholas Maw. niscences and tributes given him by Color Catalog and Fabric Swatches on Request. Choir of King's College, Cambridge; former singers and organ scholars Guaranteed Satisfaction. Stephen Cleobury, conducting Stephen Cleobury first among them. Toll Free 1-300-326-3612 EMI Classics CDC 7 54418 2 Cleobury's CD collection of British EGENCY anthems includes some of the standard .,; . he Sound ofSt. John 5 is George works one would expect: Greater Love P.O. Box 106&7 CJ Guest's valedictory recording Hath No Man by John Ireland, Hail, Jacksonville, Florida 32207 nwith the St. John's Choir. As has often been the case in the choir's previ ous releases, the repertoire on Guest's St. John 5 disc is less predictable than one typically finds. Particular attention has been paid to works commissioned by the college, such as Michael Tippett's and Herbert Howells's settings of the evening July 12-16, 1994, canticles, or the lesser-known A Sequence Tuesday - Saturday for St. Michael by Howells. Howells's personalized and evocative unaccompa nied setting of the Requiem is also GUEST CLINICIANS INCLUDE: LLOYD PFAUTSCH USA SANDRA WILLETTS included. Of special interest are the four Diction/Conducting Techniques Rehearsal Techniques Songs ofZion by Guest's colleague Robin LEE KJELSON USA ALBERT MCNEIL USA Orr. The first (and most attractive), "Be Scandinavian Music Multicultural Music Gracious to Me, a God," reminds this NANCY TELFER CANADA ERKKI POHJOLA FINLAND writer of the first movement of Brahms's Sight Singing Techniques The Tapiola Choir Sound op. 29, no. 2, "Schaffe in mir, Gott, ein Special Concert Appearances: Tapiola Children's Choir of Finland rein Herz." Guest was one of the first and Chung-Ang University Master Chorale of South Korea British choral conductors to include Attend a variety of concerts featuring selected choruses from the works by continental composers from all DeKalb International Choral Festival and the WORLDSING eras in services and on recordings; the finale with 900 singers, accompanied by orchestra and conducted Langlais setting of Psalm 111 is a wel by Albert McNeil. Full Registrotion Fee: $250 Student Fee: $125 come opener on the CD. (ACDA members quatify for registration fee discount) Sound, as heralded in the title, how For Workshop information: For Choral Festival information: ever, is what makes this recording so in Dr. Marva Carter Cynthia Alford Raeside teresting. Guest cultivated a colorful, School of Music DeKalb International Choral Festival continental sound with his boys over the Georgia State University 750 Commerce Drive years. This was due partly to his own Atlanta, GA 30303 Decatur, GA 30030 vocal aesthetic but was probably also in 404/651-3676 1-800-999-6055 response to the chapel's less resonant AI'RIl1994 PAGE 43 of which were included on David Walton's familiar Set Me as a Seal is lutely magical and testifies to Weir's Willcocks's 1974 Anthemsfrom Kings LP included, as is Britren's less-often per originality. The organ doubling that oc and highlight the importance of a con formed A Hymn of St. Columba. The curs in the final third ofthe work is less tinuing tradition. CD contains two pieces long associated helpful than one might imagine, as the with Winchester Cathedral recordings part-writing is difficult. Hearing from the days of Martin Neary: Sir glissandi from the King's College Choir Lennox Berkeley's hauntingly original on the word "Alleluia" might be a bit treatment of Psalm 23 and I Love the unsettling to the choir's tradition-bound Lord by Jonathan Harvey, neither of loyalists, but, all in all, this is a stun which is well known in this country. ning work stunningly performed. Kenneth Leighton's setring of LetAll the To my ears, the engineering of this World in Every Corner Sing and Nicholas CD is the best of any King's College re Maw's extended choral work One Foot in cording to date. There is a riveting imme Eden Still, I Stand are included as well. diacy in the presence of the choir, finely But the real find for this reviewer is tuned balances with the organ (an in C HOI R Judith Weir's Ascending into Heaven. strument tonally superior to St. John's), MASTER The piece is, at first, arresting because and a healthy respect for the chapel's 2 . 0 of its virtuosic organ accompaniment, acoustics. SOFTWARE unmistakably reminiscent of Messiaen. James Hejduk Database software for Even the print format of its text by University ofNebraska-Lincoln $185 Upgrade $120 choral direaors and Hildebert ofLevardin, translated by the Lincoln, Nebraska (plus shipping & tax) librarians composer, draws one's attention. The MUSIC MASTER SOFTWARE duets in the second section of the work 1791 East 7th Avenue, Vancouver, Be. Canada V5N ISI are reminiscent ofStravinsky's Canticum -CJ- Tel (604) 25).6989 Fax (604) 255-6850 sacrum, but the choral flowering at the words "Te affecto, te requiro" is abso- ACDA Graduate Fellowship Program • Applicant must have been a student, active, or life member of ACDA for at least three years preceding the application deadline ofApril 15, 1994; that is, since April 15, 1991. • Study must be toward a graduate degree. • Applicant must be a full-time graduate student during the funding period Gune 1, 1994, through May 31, 1995). • Fellowship can range from $500 to $1500 but will not exceed the cost oftuition. ACDA Research Grant Program • Applicant must have been a student, active, or life member of ACDA for at least three years preceding the application deadline ofApril 15, 1994; that is, since April 15, 1991. • Applicant must pursue a research project involving an in-depth study ofsome aspect of the choral art. •A monograph based on the candidate's study must be sent to the ACDA national office within six months following the funding period. • Applicant must provide a breakdown ofprojected costs ofthe research. • Research grant will not exceed $1500. Application materials should include: •A letter that states the applicant's reason for applying for financial assistance and the date he or she joined ACDA. •A current resume. •A description of the graduate degree program in which the applicant is or will be enrolled and/or the proposed research project. Include a budget breakdown of the degree or project costs which need funding assistance. •A current personal finance statement showing the need for ACDA's financial assistance. Financial need will be a strong consideration ofthe selection committee. Applications must be postmarked by April 15, 1994, and mailed to: Fellowship/Research Grant Program, ACDA, P.O. Box 6310, Lawton, Oklahoma 73506-0310. Applicants will be notified byJune 1, 1994, ofthe selection committee's decision. PAGE 44 CHORAL JOURNAL BOOK REVIEWS Stephen Town, editor Hugh Keyte and Andrew Parrott, editors late-nineteenth century, such as Once in are included. Furthermore, the original The Shorter New Oxford Book ofCarols RoyaL David's City and Good King versions of well-known carols are pre (Oxford: Oxford University Press, 1993.) WencesLas Looked Outare included; many sented in the short collection. For ex 341 pp. $16.95. ISBN 0-19-353324-8 of the traditional English carols present ample, the many changes that have crept (Hardback); 0-19-353324-3 (Paperback) in the large anthology, including The First into Mendelssohn's original version of NoweLL and The HoLly and the Ivy, reap Hark! the HeraLd AngeLs Sing have been INCE the appearance of The New pear in the short collection. removed; SiLent Night! Holy Night!is pro Oxftrd Book ofCarols late last year, This bow to popularity does not de vided in Franz Gruber's original delicate Schoral directors have eagerly ter the editors from the main goal of The setting for two solo voices and guitar, as awaited the publication of the shorter New Oxftrd Book of Carols: in creating well as in its modern version. edition of this highly acclaimed collec both the shorter and longer volumes, In the shorter collection, the editors tion. The exceptionally fine quality ofthe Keyte and Parrott wished to expand the have continued to encourage a historical full edition, with its comprehensive cov current Christmas carol repertory. By in approach to the carol. The appendixes in erage and its thorough, detailed scholar cluding a wide range of traditional car the large anthology on the post-Reforma ship, created the expectation of an ols from several countries, diversity and tion hymn, the English Gallery Choir, equally high standard in the shorter col innovative programming are encouraged. the American Primitive traditions, and lection. The scope and size of the large Several lovely French and Provens:al set the English folk carol have been summa edition, which costs $125, led to the tings, as well as selections from the Ger rized in the introduction of the shorter need for a cheaper version suitable for use man, American, Czech, Polish, Basque, collection. In addition, the critical notes by choristers. The publication of the Spanish, Neapolitan, Irish, Welsh, and in the longer edition, which appear at the shorter edition provides an excellent, very Trinidadian traditions, are included in end of every carol, are reduced in the reasonably priced anthology. the shorter anthology. More than 80 per shorter volume. The shorter collection Of the 201 carols in The New Oxftrd cent of the traditional non-English car contains just enough critical apparatus to Book ofCaroLs, the editors selected 122 ols in the full edition appear in the be informative without becoming mired for inclusion in the shorter anthology, shorter volume. Even the most familiar in scholarly detail. based on several criteria outlined in the carols appear in several versions, as they In spite of the careful scholarship that introduction. Keyte and Parrott decided do in the larger edition: 0 Little Town of is the basis of their work, the editors are to include mainly choral settings in the BethLehem is present in three settings, not dully dogmatic when it comes to per shorter collection to maximize its use and two versions of Away in a Manger formance. The shorter collection includes fulness for choral groups. Only twenty ------two of the carols in the shorter edition CLEVELAND STATE UNIVERSITY lack a complete four-parr setting. This Department of Music policy means that many of the medieval and early English carols included in the Summer 1994 Workshop large anthology are omitted from the shorter volume: only nine ofthe twenty two carols from the Middle Ages and ROBERT PAGE eleven of the twenty-five early English CHORAL WORKSHOP carols reappear in the shorter collection. June 20-24, 1994 Nevertheless, no historical period is com School and church choir directors will have the opportunity to work with the internationally pletely ignored in the shorter anthology, renowned conductor. Robert Page. Seminars and master classes will include score study as well and many of the finest examples from as rehearsal and conducting techniques. Selected students will receive private lessons with Mr. Page and the opportunity to rehearse and conduct choirs in a master class setting. Limited each period are included. For example, enrollment. two versions of the lovely medieval carol AngeLus adVirginem appear, and the beau For detailed information regarding scheduling, workshop content, academic credit, etc., please write or phone: tiful, fifteenth-century English carols Howard Meeker, Chair HayL, Mary, FuLL ofGrace and Ther Is No Department of Music Rose ofSwych ~rtu are also retained in Cleveland State University the shorter collection. Further, none of 1983 East 24th Street Cleveland,OH 44115 the most beloved and widely known fa vorites is excluded from the short edi Phone: (216) 687-2033 tion. Most of the standard carols of the Cleveland State University is an Affirmative Action/Equal Opportunity institution. APRIL 1994 PAGE 45 Inspiring & Innovative Powerful and moving music for your choral ,. program. Call (612) 482-0472 for more K valuable performance suggestions at the bers with an inexpensive collection ofcar information or afree catalog. ~ end ofevery carol, and instrumental ma ols that are beautifully edited and pre BeautifuL Star PubLifhin.lJJ Inc. terials for some carols are available on sented. rental from the publishers. The editors, Christine D. de Catanzaro however, do not wish to restrict choirs to Georgia State University only these ideas; rather, they encourage Atlanta, Georgia LYRIC CHOIR GOWNS experimentation and innovation. By read from $25.95 ing about the historical practices of ne "Professionallytailored. gownsof glected repertories, choir directors can Wolfram Schwinger lasting beauty.' ' devise their own adaptations ofthe music KrzysztofPenderecki: His Life and Work FREE for modern performances. In the same Trans. William Mann. (London: Schott catalogand spirit, the editors have not provided des & Co., Ltd., 1989.) 290 pp. $39.95. fabric samples. cants for the carols; instead, they have left ISBN 9-946535-11-6 . Write today. it up to the user to create them for his or Since 1955. her own performance conditions. RZYSZTOF PENDERECKI is LYRIC Some people will regret certain exclu arguably one of the best-known CHOIR GOWN COMPANY sions. Because of the policy to include K composers of the late-twentieth P.O. Box 16954-AZ only carols that are related to Advent or century, yet performances of his music Jacksonville. FL 32245 (904) 725-7977 Christmas, Elizabeth Poston's beautiful are rare among American orchestras and setting of jesus Christ the Apple Tree is choirs. His massive works, calling for omitted from both the shorter and the enormous forces, and his visually intimi longer collection. The lovely medieval dating scores often lead conductors to Advent hymn Verbum supernum, prodiens avoid such challenging pieces. I and the sprightly English carol Nowell: In this biography, music critic Wol Tjdynges Trew Ther Be Cum New, both of fram Schwinger gives an account of which are in the longer collection, are Penderecki's personal and musical life, v .. 1)- MUS IC eliminated in the shoner edition. Ben from his childhood in Debica, Poland, to jamin Britten's A Hymn to the Virgin also his rise to world fame. Schwinger writes INC. TOURS had to be excluded from the shorter edi with affection and admiration, reflecting tion because of its double-choir setting. his long friendship with the composer. Edmund Rubbra's exquisite Dormi, jeJU! The book is divided into two major QUALITY also does not appear in the shorter col sections. The first chronicles Penderecki's lection. Most ofthe omitted works, how significant premieres and performances; INTERNATIONAL ever, are available in octavo form, and the second provides a valuable musical CONCERT TOURS permission to reproduce works that ap commentary on a selection ofworks. at pear only in the longer collection may In the first section, chapters such as REASONABLE PRICES be obtained. "From Debica to Krakow" and "Between The shorter edition is easy to read, with Europe and America" give a detailed ac the exception that usually only one verse is count of each premiere as Penderecki's underlaid in carols with multiple verses. music spread throughout Europe, America, The remaining verses are printed below and the former Soviet Union. The author Call or write today the music or on the facing page, and any devotes much space to listings of orches variations in rhythm are printed in small tras, soloists, choirs, stage directors (for for our unique notes above the words. Some users will be operas), and conductors for each perfor personalized service! familiar with this procedure from other mance, as well as the exact location ofeach English publications; the printing method concert. He also comments on the success TOLL FREE requires that the music be learned thor of each concert, giving brief but glowing 800-869-1406 oughly first. This method is adopted in all reviews. Schwinger notes, however, that the carols, regardless oflanguage. other critics and, sometimes, audiences did Now that both The New Oxftrd Book not agree with his opinion and reviews of Carols and The Shorter New Oxftrd were often mixed. MARK FOSTER Book ofCarols are available, choral direc Schwinger recounts anecdotes of the MUSIC TOURS tors have the best of both worlds. The composer's boyhood and family life, but Box 2760 larger collection, with its extensive ap he seldom explains how Penderecki's per SANTA CLARA pendixes and meticulous scholarship, sonal experiences might have influenced California 95055-2760 serves as an excellent reference tool. The his compositional output. Penderecki de shorter anthology provides choir mem- scribes himselfas a "right wing Catholic," PAGE 46 CHORAL JOURNAL thus explaining why all his vocal music sets Tim Lautzenheiser should not be opened. To be fair, since sacred texts and his operas explore reli The Art ofSuccessful Teaching: A Blend the book is stressing praxis, that is, the gious themes. But Schwinger stays only at ofContent and Context exercise of an art, perhaps the message the surface: he rarely discloses any further (Chicago: GIA Publications, Inc., 1992.) can be comprehended while the flaws of information about Penderecki's composi 239 pp. $19.95. ISBN 941050-29-7. LC presentation are overlooked. tional style, how he developed his notarion 91-77572 Steven Town for extended vocal techniques, or the Book Review Editor sources for his inspiration. L WHO ATTENDED the Northwest Missouri State University The musical commentary is most im j\ 1993 ACDA National Conven Maryville, Missouri portant to the conductor or performer. tion in San Antonio will re Schwinger's discussions contain some analy member the keynote speaker, Tim sis, particularly of the longer works, but Lautzenheiser, who gave the entertaining -CJ- mainly describe musical characteristics, presentations, "The Art of Successful ~--~----_. compositional techniques, and notation. Teaching" and "It's Nor What We Thankfully, many musical examples are Think We Are, but What We Think, We provided. Because Penderecki uses his own Are." Both were representative of his notational symbols, Schwinger is obliged workshops, seminars, and speaking en to explain their meanings. He defines gagements in their subject matter and some ofthe notational symbols and leaves delivery. Those who did not attend and others for the reader to decipher. do not know Lautzenheiser may refer to There is a long, informative section his biography on page 19 of the January devoted to the St. Luke Passion. Schwinger 1993 issue of the Choral Journal In The discusses the use of motifs (B-A-C-H is Art ofSuccessfUl Teaching: A Blend ofCon ChoralView prominent), twelve-tone method, and tent and Context, Lautzenheiser commits other techniques, as well as the musical to book format his ideas about positive All the Choral Reviews wlitten by roles of the Evangelist, choirs, and or attitude, student motivation, and effec the ACDA, AGO, Choristers chestra. His discussion of the Polish Re tive leadership training. Guild, The DIAPASON, AGEHR, quiem, Penderecki's somewhat contro The book-an augmentation of es and Creator Magazine... on versial tribute to his native country, is says that appeared in slightly different computer disk t excellent as well. versions in music education journals-is One associates a Penderecki work with divided into five parts preceded by ac gigantic orchestras, triple choirs, and knowledgments, an author's note, a fore virtuosic soloists. He wrote several unac word by F. Earl Dunn, and an intro companied choral works, however, some duction by Barry Green, author of The ofwhich are discussed in the musical com Inner Game of Music. Although aimed All reviews are mentary section. They include £Clogo VIII primarily at band directors, the contents catagorized so that they may be (1972) for six male voices and the Agnus of the book apply to any teaching situa located by Historic period, Dei from the Polish Requiem (1981). tion-perhaps even the fourth part titled Liturgical Season, Source of the Other works such as the Song ofCheru "For Band Directors Only." The mate Text, Voicing, Recommended age bim are not analyzed but are mentioned rial is not difficult to absorb, and, due to of choir, Composer, Title, Style in the biographical section. the construction of the book, it can be The appendixes provide a list of approached in one sitting or intermit such as Jazz, Folk, s+etc. works, selection of recordings, and a list tently, much as one might read the brief of film scores and incidental music. The sections ofa volume by Norman Vincent book is also filled with nearly one hun Peale. Lautzenheiser's book, in fact, Sample copies of ~ dred photographs of various perfor might be described as The Power ofPosi reviewed octavos available to mances, rehearsals, conductors, the tive Thinking for music educators. subscribers. composer, and his family. The Art ofSuccessfUl Teaching presents This is a valuable reference book and an inspirational and energetic message One year subscription is $32. an informative, well-written biography. that I appreciate for its pragmatism but New-music enthusiasts and champions of dislike for its effusiveness. Moreover, the FREE SAMPLE DISK is available twentieth-century repertoire will want to author's conversational style does not by calling ChoralView at 1-800 include this book in their libraries. translate well into the written word. In 736-0595...Give name, address, Laurie Gurman Peterson deed, the major defects ofthe book are its phone, and computer type eXindigo! many errors of grammar and syntax. If (IBM/clone or Macintosh) and Woodland Hills, California one cannot read without disregarding the floppy disk size. incorrect writing style, then the book I APRIL 1994 PAGE 47 CHORAL REVIEWS Conan Castle, editor Editor's Note: This issue explores an PUBLISHERS THIS ISSUE thems and services scored for mixed voices. Art Masters Studios, Inc. Descant Publications Oxford University Press Behold, and See the Mighty Works 2710 Nicollet Avenue P.O. Box 1240 200 Madison Avenue Anderson, IN 46015 New York, NY 10016 ofthe Lord Minneapolis, MN 55408 Jim Lucas Alfred Publishing Company ean;/"lsongs Paradete Press SATB, piano, optional brass P.O. Box 10003 220 NW Twenry-ninth Street P.O. Box 1568 Thomas House, IC349006, $1.15 Van Nuys, CA 91410 CotY;lllis, OR 97330 Orleans, MA 02653 This powerful piece is appropriate for Augsburg Fortress Publishers Genevox Music Group E. C. Schirmer talented church choirs capable of han 1',0. Box 1209 127 Ninth Avenue, North 138 Ipswich Street Boston, MA 02215 dling rhythmic and range challenges. It Minneapolis, MN 55440 Nashville, TN 37234 would also work well in a concert setting Fred Bock Music Company, Inc. Hinshaw Music, Inc. Selah Publishing Company, Inc. for school choirs or choral societies. Al 18345 Ventura Boulevard, #21Z P.O. Box 470 P.O. Box 3037 though the tessituras are comfortable, the Tarzana, CA 91356 Chapel Hill, NC 27514 Kingston, NY 12401 first sopranos must sing a b-flat 2 and the basses an F. There is extensive use ofdot Concordia Publishing House Neil A. Kjos Mus!c Comp;wy Thomas House Publications ted figures and ties as well as several sec 3558 South Jdferson A.venue 4380 Jutland Drive P.O. Box 1423 tions in §meter and changing tempi. The Sr. Louis, MO 63118 San Diego, CA 92117 San Carlos, CA 94070 piano part is more substantial than the Coronet Press, Inc. Lorenz Publishing Company Universal Edition usual anthem accompaniment. The brass Presser Place P.O. Box 802 p.o. Box 850 parts must be purchased separately and Bryn Mawr, PA 19010 Dayton, OH 45401 Valley Forge, PA 19482 are not cued in the piano part. Garth Baxter Roger Dean Publishing Company Music 70 Music Publishers Walton Music Corporation P.O. Box 802 170 NE Thirry-third Street 170 NE Thirty-rhird Street Daylon, OH 45401 Fort Lauderdale, FL 33334 Fort Lauderdale, FL 33334 Novello Christ Be in Our Loving Presser Place Bob Burroughs Bryn Mawr, pA 19010 SATB, keyboard, handbells, and flute Kjos, GC152, 90<1: This setting of Terry York's poem IS based on Romans 12:8-9. A handbell VOCAL RANGES ~~ ..- -==--~~ choir and flute add interest and appeal to an enjoyable melody and pleasant har C c c' c2 c' monies. The three-octave handbell part, while not difficult, is essential to the over all effect of the piece, while the flute part decorates and complements the accom paniment. All instrumental parts are in Communion Service (Rite B) minimal range, with an optional part for cluded with each octavo. The choral parts Trevor Webb men's voices. Webb furnishes directions are not demanding. SATB or unison, keyboard concerning the options available for the Jack Hearn Novello (Theodore Presser, sole agent), work's performance: 1) sing in unison 29 0638, $1.30 with either mixed voices, high voices, or NEW CHRISTMAS CANTATA low voices; 2) sing in two parts (high and "CHILD OF LIGHT" What a delight to review this charming low voices); or 3) have the congregation Premiered Christmas Eve, 1993 and original serting of the Communion sing alone, if there is no choir. The set For reference copy please write or call Service. Although marked SATB, the work tings include the Kyrie, Gloria, Sanctlls, JIM GRADY, 1326 N. Central Ave. #5, Glendale, CA 91202 (818) 500-1232 is primarily for unison voices utilizing a Benedictlls, and Agnus Dei, and are ArRI L 1994 PAGE 49 derived from the Order of Holy Com Dona nobis pacem For Allthe Saints munion for Rite B from The ALternative Dan Locklair Kenneth Mahy Service Book, 1980. All the texts are in SATB, unaccompanied SATB, keyboard English, with the exception of the Kyrie, Music 70, M70-531, 95'1: Hinshaw, HMC-991, 90'1: which is found in both the original Greek and the common English translation. Some will feel that Dona nobis pacem Kenneth Mahy has set six stanzas of The voice parts and accompaniment belongs on a concert program rather than the ten-stanza poem by William Wal are simple and accessible; however, sim in worship. The piece is rhythmically and sham How. The text is so often wed to plicity is not cited as a criticism, for harmonically complex, and would be be Vaughan Williams's Sine nomine tune therein lies the work's charm. Modal har yond the reach of all but the most ad that it is sometimes hard to accept other monies, interesting and unexpected twists vanced church choirs. Top ranges include melodies as appropriate. Mahy's tune pro at cadences, hemiolas, and changing a2 for soprano and gl for tenor. Although vides a more rugged treatment of the meters contribute to the immediate ap it uses a contemporary idiom, this well text and is worth examining. peal of the set (there is a certain English written anthem is not inaccessible to ei The piece is formed around two basic poignancy inherent in the music as well). ther performers or listeners. Many of the themes. The first melody dominates stan Challenges lie in the faithful rendering harmonies are lush, and the contrasting zas 1, 2, 5, and 6, while fragments of it of the rhythms: this is not a service that middle section (marked "light, rhythmic, are found in stanzas 3 and 4. The second can be sight-read perfectly the first time! and buoyant") contains interesting cross theme lends itself to more harmonic The musical result, however, is well worth rhythms and contrapuntal writing. The treatment in stanzas 3 and 4. The pri the time spent in the learning process. concluding section, which ends ppp, con mary theme is such a strong one that This reviewer heartily recommends veys effectively the open-endedness ofthe one feels a sense ofreliefwhen it returns. Webb's Service to the church director who plea "grant us peace." Do not plan on The director must consider carefully is looking for a fresh approach to music learning this piece in a hurry, but do ex whether the weaknesses of stanzas 3 and for Communion. pect to reap its musical benefits. 4 overshadow the strength of the rest of Sharon A. Hansen ALan Hommerding the piece. ------Mahy's use of accidentals keeps the piece moving back and forth between major and minor and requires some care ful intonation work. Ranges are moder ate, and the voice parts are quite singable. ~ttterttatiottaI, QIIassic QIOtturts 1Jlth. Dynamics range from pp to fff Shelden Timmerman 1995 Utah Opportunities Salt Lake City - Abravanel Hall Guide Me, 0 Thou GreatJehovah 5th Annual Intermountain Salute To Youth Concert Hal Hopson (arr.) Designed for Junior College, High School Choirs SATB, keyboard (optional brass, Concert Date: Tuesday, March 14, 1995 handbells) Five day/four night ground package cost: $282.00 - quad occupancy Alfred, 7815, $1.25 Tribute To America College, Adult choirs are invited to apply Hopson calls his arrangement ofJohn Concert Date: Saturday, May 27, 1995 Hughes's CWM Rhondda "a hymn con Five day/four night ground package cost: $296.00 - quad occupancy certo." It can be performed effectively with organ alone, but the optional brass (two trumpets, two trombones, tuba) and Cache Valley - Eccles Theater handbells add to the festive character. This 'lie Iloelt, MOI/"t.i" Cllo,.1 Felti,.1 work would be a fine substitute for the final hymn or could be used as the an Adjudication, Workshop, Gala Concert, Awards, Daily Breakfast, Banquet, Competitions and Much More!!!! them in a worship service. The congregation joins in the first and Monday - Friday, June 19-23,1995 last verses. The congregational part is Five day/four night ground package cost: $261.00 printed on the back of the octavo, with permission given to reproduce it. Contact: Venessa Peterson, Concert Development Donald Trott 1439 East 1100 North, Logan, Utah, 84321 Telephone: (801) 752-2867 PAGE 50 CHORAL JOURNAL Hallelujah OBERLIN from The Book with Seven Seals Franz Schmidt Summer 1994 SAATTBB, organ Universal Edition, UE 30504, $3.95 INSTITUTE OF VOCAL PERFORMANCE PEDAGOGY Neo-romantic Franz Schmidt's "Hal lelujah" is a fine exercise in learning and July 2-9 enjoying unusual accents. The principal Richard Miller, Director rhythmic motive ofJ}.•~ J rules through out this German anthem inspired by The Institute ofVocal Performance Pedagogy offers a unique words from the Revelation ofSaint John. opportunity for intensive study of technical and practical as The "Hallelujah" movement seems to be pects of performance for teachers of singing, professional a psalm paraphrase rather than an excerpt singers, and college-age voice students. from the last book of the Bible, however. An unabashedly flamboyant organ part dazzles and invigorates throughout. Clearly, a large, colorful pipe organ (no imitations) is required. Ranges as high as b2 for soprano and as low as F-sharp for basses, plus frequent part divisions, render the work most suit able for a large, richly voiced choir. The original German text is preferable to the paraphrased translation. Once the synco pations are learned and the singers become used to a high tessitura, the piece should soar and be a fine addition to the reper Systematic Vocal Technique covers breath management, toire of highly capable community cho vocal onset, agility, sostenuto, vowel definition and modifica ruses as well as church and college choirs. tion, vocal registration, the even scale, range extension and Richard Co./fiy dynamic control. -_.... _--- Guest lectures and recitals Hosanna Commentsfrom pastparticipants: David Conte SATB, unaccompanied "This is the only seminar I have ever attended where all ofmy ques E. C. Schirmer, ECS 4188, $1.20 tions on teaching techniques were satisfactorily answered. " "It has brought the biggest vocal breakthrough I have ever experienced. " Hosanna (1989) is a reflective, autono mous setting ofthe Benedictus text. It lasts "Now Ifind there is greaterjoy, not only in my singing, but in my about two-and-a-half minutes and func practicing and in my teaching. " tions appropriately as an Offertory, Com munion, or general service anthem. Its "I have attended numerous workshops, seminars, and master classes tripartite structure is easily grasped, as is its for the past 20 years. Finally, I found one that, pedagogically, makes structurally derived tonal configuration. sense to me. I hope the Institute will be an annual event. " Conte's careful attention to the Latin word stress dictates his continuous but "The best professional investment I have ever made, including all integral use of mixed meter within the preViOUS graduate studies. " context of a predominantly homopho "The sessions presented the most cogent, logical andpractical system nic texture. Likewise, the musical struc ofvocal training I have ever encountered. It should be mandatoryfor ture conforms comfortably to the every voice teacher. " sectional demarcations of the text, i.e., "Hosanna in excelsis ..."/ "Benedictus For a detailed brochure, contact: Office of Outreach Programs, qui venit...." An incipit-like rendering Conservatory of Music, Oberlin College, Oberlin, Ohio 44074 of the principle thematic material at the 216-775-8044 outset of the piece ensures its immediate APRI L 1994 PAGE 51 recognition when it recurs in other har and flows, sustaining balance and pro etly undulating piece, whose subtle har monic and rhythmic guises. With the pos portion without sacrificing the underly monic language, replete with ninths and sible exception of an isolated alto g and ing dynamic quality of expression. One passing dissonances, necessitates lightness tenor f-sharp!, Conte has made the com of my favorite moments occurs at the oftone and clarity ofline. position accessible to the average church midpoint, when an abrupt shift from a B Stephanie Henry choir, and a brief three-part divisi in the major chord to an F-major chord in sec tenor and bass is easily distributed among ond inversion gives exponential mo even the smallest of male sections. With mentum to the climax. A modest-sized eloquent simplicity, Conte's music ebbs choir will do sufficient justice to this qui- How Beautiful upon the Mountains Edwin Fissinger SATB, unaccompanied Walton, WW 1097, 70 RobertA. Harris, who is director ofchoralorganizationsat Northwestern University, is an eminent composer. Some of his works include Canticle: the I Sing the Almighty Power ofGod Hungry Angels; Oh, How Can I Keep from Singing?; Go Down, Moses and The J. Scott Ayers Lamb. He has completed commissions for the American Guild of Organists, SATB, organ, brass (two trumpets, trom the American Choral Directors Association, and others. He is published by bone, bass trombone or tuba), timpani the Oxford University Press, Boosey and Hawkes, Carl Fisher, Mark Foster Genevox, 4171-47, 85 PAGE 52 CHORAL JOURNAL [ Will Give Thanks and approachable by a modest-sized church choir. The soloist, either a soprano Ronald Nelson church choir. Ranges and tessituras are or tenor, must sing several high fs. The SATB, treble choir, keyboard moderate, and the vocal writing poses Augsburg Fortress, 11-4678, 95ct no problems. The text, by the composer, ~ is ofpraise and exaltation, and is suitable PUBLISH A MASTERPIECE! In this challenging setting ofPsalm Ill, for general use in the church year. ~ TAKE NOTE j) the treble choir alternates between short David L. Brunner ~ Music Engraving SelVice segments of three-part texture and uni (304) 363-7368 1010 Morgantown Ave. Fairmont. WV son singing, with two parts joining the Suite 111 26554 SATB choir on the last page. The piece is rhythmic with appealing melodies. While L 'Envoy: King ofGlory, King ofPeace the accompaniment could be played on Alfred V. Fedak the piano, it is clearly intended for organ. SATB, organ Carus-Verlag CV The ranges for soprano are e-flat1 to a-flar2; Selah, 418-611, $1.15 alto, b-sharp to e-flar2; tenor, e-flat to Jan Dismas Zelenka (1679 -1745) g-sharpl; and bass, E (second bass) to This setting ofa George Herbert poem This Bohemian contemporary of J. S. Bach 1 e-flat • Modulations are sudden but not is charged with energy and emotion. The worked at the Court of Dresden and com jarring, and mixed meters are employed. music expresses the text well and evokes a posed a large body of sacred music. Carus-Verlag has an extensive selection of In this translation ofa text from the Book sense ofspiritualiry. The moderately diffi his works including over forty motets & of Common Prayer, Nelson provides sug cult writing utilizes a variery of mixed psalm settings. gestions for making the text gender meters and key centers. The choral parts, Works for soloists. chorus & orchestra: inclusive. [Will Give Thanks requires expe which lie in comfortable ranges, require - Te Deum for SSATB soli, SSATB chorus & orchestra (CV 40.471) rienced singers, both in treble and mixed three-part divisi in the treble voices. The - Magnificat in D for AT soli, SATB chorus choirs, and would make an excellent con ending is beautiful and serene; an op & orchestra (CV 40.063) - Magnificat in C for S solo, SATB chorus tribution to a festival service. tional ending is given for smaller choirs & orchestra (CV 40.470) Timothy Berlew that cannot manage the divisi. The organ 27 Responses for Holy Week accompaniment needs good string and for SATB chorus and basso continuo (in flute stops; a soft 32' pedal will make the three volumes CV 40.466-68: also avail able as individual pieces) perfect ending. ]esu, Our Hope, Our Heart's Desire James D. Moyer Motets: - Ave Regina in g for SATB chorus K. Lee Scott & basso continuo (CV 40.465) SATB, organ - Asperges me in F for SATB chorus & basso continuo (CV 40.464) Concordia, 98-2951, 80ct - Canticum Zachariae for SATB chorus Lord, You Have FormedMe & basso continuo (CV 40.459) This excellent, strophic setting consists Hal H. Hopson - Dixit Dominus for SATB soli, chorus & orchestra (CV 40.065) of a gentle, lilting ~ melody treated in a SATB, soloist, organ Additional works by Zelenka are listed in variery of textures. None of the parts are Selah, 418-616, 95ct the 1994 Carus-Verlag catalog which can difficult, and the only extreme in range is a be obtained from Mark Foster Music. o for second basses on the final chord. This piece is one in a series ofsettings Sole U.S. agent: Mark Foster Music Company The text, attributed to "Latin, tr. J. Chan using texts by George Herbert and should Tel. (800) 359-1386. Fax (217) 398-2791 dler, alt," differs greatly from the Chandler work quite well with any size SATB P.O. Box 4012, Champaign, Il61824-4012 text in the British Hymmfor 1Oday's Church and seems more vibrant in Scott's form. Ronald Melrose Tour Europe With Your Choir. II and perform in the Great Cathedrals and Historic Churches. King ofGlory We've been coordinating successful concert tours Dana Mengel for over 25 years. Travel with the professionals who SATB, keyboard exceed your expectations for a trouble-free tour. Descant, DA 0889306, $1.05 Ask about our free familari%ation trips, customized itineraries and impressive references. This is one of the better-written ~ AMBASSADOR contemporary Christian pieces in a popular style. The harmonies are pleas \1IW TRAVEL SERVICE ing though somewhat predictable. Both 148 E. Michigan Ave/ Kalamazoo, MI 49007 the vocal and keyboard parts are easy TEL: 800-247-7035 FAX: 616/349-7674 APRIL 1994 PAGE 53 ranges ofthe choral parts lie within a very Luxaeterna chords built with seconds and fourths. It comfortable tessitura. The text would be Edwin Fissinger would be an excellent piece for any well most appropriate for Trinity Sunday but SSAATTBB, unaccompanied tuned choir capable of solid eight-part also could be used as a general anthem. Walton, WW 1124, $1.10 divisi. The widely spaced chords would The lovely organ part utilizes a solo stop probably sound best with a large choir, (solo flute, soft reed, or sesquialtera) Edwin Fissinger's Lux aeterna is a but it could also be performed by a well against a gentle, steady-moving chordal richly sonorous setting ofthe Latin Com trained chamber choir. Melodic inter accompaniment. The choral writing al munion text from the Requiem Mass. vals are not difficult. In this four-minute lows for dynamic movement and phrase Baritone and soprano solos have chant work, the late composer, himselfa noted stretching. It could work well as a training like melodies that provide contrast to choral conductor, was clearly sensitive to piece for a high school choir in need of the largely chordal accompaniment by the needs ofan amateur chorus. The text improving its legato singing. the choir. The harmonic framework is is sacred in origin but universal in its call James D. Moyer tonal, with some moderately complex for peace for all departed souls. As usual, the Walton edition is clearly and taste fully presented. :r=""'~"""-'~"'''='-==--==-- = ------==-r George S. T. Chu The 11th International L." f Choir Competition ''Franz Schuhert" ; (/-_'_'__00' ,_-- I o BeJoyfUl in the Lord I Edwin Fissinger ! VIENNA, AUSTRIA SATB, unaccompanied NOVEMBER 17-20, 1994 Walton, WW 1085, 75¢ t?~ ~ ~de. H'toiud Excerpted from the composer's Three ad. .w.ate t:ku'r4.~. Psalms, "0 Be Joyful in the Lord" (from Psalm 100) makes a wonderful general Whether you are inuresud in one ofour excitingfestival ora service anthem and, with a little creativ customized petfonnance tour, CAPA can open up the world to you ity and editing, could double as a mag through our innovative and creative travel programming. nificent Introit or Call to Worship. Commissioned by the All-City Choir of Cultural and Performing Arts Rockford, Illinois, "0 Be Joyful" is a versatile piece lasting approximately two c~r~/ Creative group travelfor arts cultural and perfarming arts minutes. Discriminate use of mixed and music organizations worldwide. meter allows the poetry ofthe psalm text 18'00 444--2272 to emerge with clarity from the homo phonic texture. The use of compound meter to depict joy and gladness in the opening and closing sections contrasts effectively with slower, duple meter in The perfect solution for a perfect performance! the reflective middle section. The fre quently employed divisi occurs consis SONG-LEARNING TAPES© tently within triadic constructions. ©1988 by Hammond Music Service Comfortable ranges, easily accessible Rehearsal tapes help choirs learn music 5times fasterl rhythms, and well-written vocal lines Perfect for learning oratorios, requiems, cantatas - any major work! guarantee the unanimous appeal of this work. Added-note chords and occasional Also -Inexpensive rehearsal tapes for honor, all-state and regional choirs internal dissonance provide interesting Each tape has a grand piano playing its voice part loud in the foreground. all other parts soft. Order 2ways: Plan A- Individual Song-Learning TapeS©: challenges for choirs ofall sizes and sing ers ofvarious abilities. Each choir member receives their own Individual Song-Learning Tape© Stephanie Henry Plan B- Order a set of Master Song-Learning TapeS© - receive a high quality master tape for each voice part and do your own dubbing. Call or write for information, a free demo packet. and prices: MOVING? HAMMOND MUSIC SERVICE - Toll Free: 1-800-628-0855 Notify the ACDA National Office at: 235 Morningside Terrace, Vista, California 92084 P.O. Box 6310 Lawton, Oklahoma 73506 PAGE 54 CHORAL JOURNAL o Cleansing Stream in performing twentieth-century rhythms assigned to different voice groups or Douglas E. Wagner and harmonies. choirs. As a general service anthem, the SATB, organ David W Music piece requires a large choir, due to the Lorenz, C493-3, 954: breadth of the choral writing and its fre quent division into six and eight partS. A The text of this anthem, excerpted unison motif and its fanfarelike climax from a larger work titled Gift ofPeace, Praise the Lord comprise the outer sections, separated by speaks of the "cleansing stream" of righ Edwin Fissinger a subdued and hymnlike middle section. teousness that washes over the soul, re SATB, unaccompanied Elusive tonality and the vertically devised moves its guilt, and makes it whole. As Walton, WW 1087, 704: clusters of added-note chords may be with most of his compositions, Douglas problematic at first for singers whose ex Wagner has written music that very Another gem from Fissinger's trilogy perience lies in the more traditional, me closely matches the mood and meaning Three Psalms, "Praise the Lord" is a set lodically conceived style. All that aside, of the text. There are three verses as well ting ofPsalm 113:1-4. Like its predeces however, the work is definitely within as a short codetta; the first two verses are sor, "0 Be Joyful," it was commissioned reach of high school choruses and vol part unison and part SATB, while the for an all-state choir and would make a unteer church choirs. "Praise the Lord" third verse is part canon between men's fine selection for a festival program. A makes a terrific addition to twentieth and women's voices and part SATE. The polychoral rendering would be effec century sacred repertoire. codetta requires SSA divisi. Ranges are tive, as the contrasting phrases are easily Stephanie Hen~y ,------~~-----~--- comfortable (soprano to f-sharp2, tenors 1 to e ). This is a good general anthem that is suitable for any size church choir, Whitworth College presents youth or adult. Rob Engelson Summer Choral Festival featuring InternatIonally renowned composer, arranger and conductor ALICf PARKfR o Sing unto the Lorda New Song July 31-Aug. 3, 1994 David Willcocks SATB, organ Features include singing in a workshop choir conducted by Oxford, A384, $2.50 Parker, daily class lessons, and close individual attention to your needs as a choral musician. Dr. Randi Von E.llefson, director of This joyful and exciting setting ofPsalm choral activities at Whitworth College, will also teach during 98, from the Book ofCommon Prayer, forms the festival. Write, call or FAX for a detailed brochure. the first movement of David Willcocks's Alice Parker Undergraduate and graduate credit available. Ceremony of Psalms. The voice lines are Dr. Randi Von Ellefson, Whitworth College, Spokane WA 99251-1701 restrained in both range and tessitura. A Telephone (509) 466·3780 FAX (509) 466·3773 few divisi passages occur and the organ part requires a player with good technique. The major difficulties in the work are rhythmic and harmonic. Much of the piece is in ~ meter, and ~, ~, and i C-S TRAVEL SERVICEINC. are encountered. Syncopations abound, and the choir must perform several two "The Concert Tour Co.' ,TM beat triplets and one two-beat quintu presents plet. The use ofshort note values and the relatively quick tempo call for clear, crisp articulation. EUROPEAN CONCERT TOURS The accentuation of the text seems awkward in a few passages (e.g., "show - Qualitative Concerts! yourselves joyful unto the Lord"; "as it - Excellent arrangements! was in the beginning, is now'). The rhyth mic features ofthe work, however, gener - The finest tour at the best cost! ally support and enhance the meaning -----_.-....------....------and meter of the text. This is a festive Write or Call Today 10031 S. ROBERTS ROAD piece which will work well with medium C·S TIA.VEL SERVICE, INC. PALOS HILLSJ ILLINOIS 60465 to large church and university choirs skilled 1·800·428·7883 APRil 1994 PAGE 55 PERFORMANCE TOURS PresentsJar Summer oJ1995 Prelude andIntroit (Open Wide the keyboard WCltlllg. After a brilliant 51 Cultural Contact 'l1i.rougli Music Windows ofOur Spirits, 0 Lord) toccata-like organ introduction, the cho Richard Proulx rus trumpets a two-part (ST/AB) fanfare Three Spires Children's SATB, congregation, tenor solo, organ on the text, "How lovely is your dwell Chorus Festival (or four horns), and handbells ing place, 0 Lord of Hosts!" Through Jean Ashworth Bartle, Conductor Oxford, 94.235, $1.50 out this lively ~ piece, the men and Copenhagen, Denmark women answer one another in techni .. This work was commissioned by West cally difficult passage-work, usually in Nottingham Chamber minster Choir College in Princeton, New thirds. The organ, meanwhile, strikes a Jersey, for the 1989 Symposium, "Church happy balance between constant energy Festival Music: The Future." Prelude and Introit and solid support of the vocal lines, re Weston Noble, Conductor may be performed with organ and sulting in a soloistic part. Nottingham, England handbells, or with four horns instead of The work derives its overall excite .. organ. Full score and instrumental parts ment from the constant interplay of Kinda Kanal are available on rental from the publisher. the rising sixteenth-note Lydian pas The work, about nine minutes long, is sages found in all parts, primarily on Choral Festival divided evenly between the Prelude and the word "joy!" While the vocal ranges Ronald Staheli, Conductor the Introit. The Prelude is written for stay fairly high (alto and bass to e2 and Linkoping, Sweden l instruments alone (twelve handbells over e ; soprano and tenor to gZ and gt, with .. three octaves), while the Introit is taken an optional tenor a'), the piece sounds Wells Oratorio Experience from Psalm 21:26-32 and begins with a brilliant and is well-conceived. Sing for England tenor solo in plainsong style, accompa Joy is recommended for intermediate nied by the handbells. The most notable and advanced choirs possessing both Requiem Mass - Mozart section of this piece occurs when the precision and stamina. Gloria - Poulenc choir divides into SSATB and each sec Michael Braz Requiem - Faure tion improvises on the text "Alleluia" us Requiem - Durufle ing given melodic cells while the tenor Christopher Adey, Conductor soloist and handbells are performing the .. three verses. The improvised melodic Psalm 104 Scandinavian Choral cells produce a quiet, smooth, shimmer Don E. Saliers ing chord cluster, over which the tenor Cantor, choir, congregation, SATB, Festival Tour soloist must be clearly heard. This diffi semi-choir, organ, and handbells Norway cult passage requires a full-sized choir, Oxford, 94.234, $2.00 while the tenor soloist needs to be ca Sweden pable of producing a free-flowing sound Psalm 104was commissioned in 1989 Finland within a modest range. The work ends by Westminster Choir College for the Dr. Byron McGilvray, Conductor with the tenor soloist repeating "Open Symposium "Church Music: The Fu .. wide the windows, open wide the doors ture" and is based on text from the New ofour hearts." Revised Standard Version of the Bible. Choral Tour Opportunities The choral writing, other than in the Intended as an antiphonal festival an Hong Kong / China improvisational section, is not difficult. them for large groups, it would be most Baltic Choral Arts Tour The congregation's part may be reprinted effective in a cathedral-like setting. The International Festivals in worship bulletins. This piece would six-and-one-half minute work is tradi (some subsidized) work very well at any festive occasion tional in harmonic and formal structure, European and Scandinavian or serVIce. presenting none of the difficulties of Custom Tours James D. Moyer some contemporary writing. Although written for ensembles ranging from .. eight-voice semi-choir ro SATB and handbell choirs, the antiphon may be For information contact: Psalm 84-SingforJoy! performed with organ substituting for Theodore Morrison semi-choir and handbells, if the con SATB, organ ductor is willing to accept the slightly earthsongs, ES-32, $1.20 dampened effect. PERFORMANCE TOURS The composer's sensitivity to text is P.o. Box 26045 • Fresno, CA 93729 In this restless, celebratory setting of noted in the building and direction of 800488-6795· 209449-9451 verses from Psalm 84, Theodore Morrison phrases and frequent use of word paint has employed virtuostic choral and ing. Comfortable vocal ranges allow for PAGE 56 CHORAL JOURNAL observance of expressive and dynamic Resurrection Fanfizre quality. It is readily singable, with much markings as they appear. The opening John E. Carlson of the writing beginning unison and ex line of the biblical passage, "Lord, send SATB, brass or keyboard panding to four parts. The highest note forth your Spirit and renew the face of A.M.S.I., 616, 90 _.------Psalm 136-Give Thanks to the Lord Theodore Morrison SATB, organ earthsongs, ES-31, $1.20 Give Thanks to the Lord is Theodore Morrison's gentle, dancelike setting of verses from Psalm 136. The ~ perpetual motion accompaniment introduces the ritornello ("Give thanks to the Lord, for he is good; His love is everlasting!") for solo soprano, answered by full chorus. Interspersed between three statements of this F-minor theme are modal verses al ternating women and men in unison or two parts. The writing is generally straightforward and accessible; vocal lines move largely stepwise, with a small num ber ofninth chords. The organ part may be performed on piano with the addi tion of a second player in the lower oc tave for the pedal part. At the ending, the pedal part reprises a fragment ofthe opening soprano theme against open fifths in the chorus and an accompani ment that shifts from minor to major. This piece lends itself admirably to a variety of worship or concert programs; I recommend it to choirs at any level. Michael Braz ArRI L 1994 rAGE 57 Resurrexi with the score, describe the architecture remainder of the work is unaccompa Gerald Near as "rather in the style of the Bach Pas nied. Texts are in Latin throughout. SSATBB, SATB soloists, handbells sions, i.e., with small descriptive cho The work is unhurried, undramatic, Paraclete Press, PPM0910 1, $13.20 ruses, recitative, chorales, and large and uneventful, developing slowly and choruses at the beginning and end." It is effectively, although two moments stand Four Motets from Resurrexi also episodic, describing in four large out: Thomas's confession, in the choral Gerald Near sections the post-Resurrection appear antiphon "Misi digitum meum" (no. 34) SSATBB, unaccompanied ance of the Angel and Christ's appear and the first sound of six-part writing in Paraclete Press, PPM09108, $4.20 ances to Mary Magdalene, Cleopas, and the Palestrina-like motet "Mitte manum Thomas. These are bracketed by an open tuam" (no. 37). If the whole work cannot The chant-based Resurrexi was com ing choral ''Alleluia'' and a closing cho be undertaken, a performance note in the missioned by Gloria Dei Canrores, a rus which points to Pentecost by score suggests various excerpts. Cape Cod ecumenical religious commu incorporating veni creator spiritus. Both Ronald Melrose nity. The composer's notes, published choruses require handbells, although the Set Me as a Seal upon Thine Heart Music Educators Are Delighted With Philip Lane SATB, STB soli, organ The Young Women in Harmony Program Roger Dean, HRD 300, 954: CC] like the easy to follow This festive setting of Song of Solo imtructions (for music mon 8:6-7 has accessible ranges and a educators). ] love the moderately difficult accompaniment. Ctogetherness) we are Compound and changing meters add to forming as a group.» - the effectiveness of the anthem. Since Kathleen Flynn, Port Land Special School, some sections are unaccompanied and Portland, Tenn. moderately dissonant, precise intonation is required. While primarily homopho CCThe Young Women in nic, the writing utilizes some unisons and Harmony song occasional imitative entrances, and the arrangements are emphasis on loud dynamics suggests an accessible to my amateur ensemble of at least moderate size. The singers. They are fun, Second Edition ofWalla Walla, Wash .. Sharon Conley. director. accompaniment is quite colorful, includ yet promotegood quality The Young Women in Harmony singing practices.» ing use ofa solo clarinet stop. This piece Patricia Coxwell, would be best used as a wedding anthem, Program introduces your students LivingstonJunior although it could function in general ser High School, vices or concerts. Donald Callen Freed to the thrill of four-part harmony, Livingston, Ala. CC] think the Young barbershop style. Call or write for Women in Harmony Program offers a Sing a New Song to the Lord your FREE TEACHING MATERIALS wonderful opportu11ity to spotlight and Stephen Lawrence challenge girls in a SATB, keyboard or to inquire about arranging choral progra m. " Alfred, 7792, $1.1 0 Kathy Backherms, St. Ursula Academy, This is a wonderful, infectious piece a DEMONSTRATION ofthe Cincinnati, Ohio. that the average church choir can per form easily. The energetic, syncopated ac exhilarating lock and ring companiment, set in a fast ~ meter, propels the music forward. The melody "soars," of barbershop chords. and the vocal parts sing themselves. Ranges for all voice parts are moderate. This easy, two-minute anthem would be SWEET ADELINES INTERNATIONAL great for a church youth choir. PO Box 470168 • TULSA, OK 74147·0168· 918·622·1444 • FAX 918·665·0894 D. Brent Ballweg f'AGE58 CHORAL JOURNAL 'Tis the Spring ofSouls Today! (St. Kevin) small adult or youth choirs. The first two When Morning Gilds the Skies Sir Arthur Sullivan verses are homophonic, and, after a simple Fred Bock Ross Hastings (arr.) modulation, the final verse marches along SATB, congregation, keyboard SAB, keyboard in a stately unison. Voice ranges are com Fred Bock, BG 2168, $1.10 Coronet Press, 392-41631, $1.00 fortable: the sopranos end on a g2, but l the baritones never rise above a d . While This is an exciting, creative hymn ar This Ross Hastings arrangement ofthe vocal lines are fairly easy to sing, the bari rangement for choir and congregation. hymn by St. John of Damascus (eigh tone part contains a few awkward leaps. Following an eight-measure introduc teenth century) and Sir Arthur Sullivan's Paul1. Martin tion, the first part sets a text of praise tune provides a solid Easter anthem for and commitment by Johann Wallin to an original melody first for SA, then for TB and SATB. A modulation using the TRINITY LUTHERAN SEMINARY opening instrumental material leads to Master of Arts in Church Music the B section-a free setting of the fa ~ comprehensive theological, musical and liturgical miliar hymn tune in meter. The instru preparation for leadership ministry in the church mental motive is used once again, and the original key returns as the SATB choir and congregation sing the hymn tune. The final stanza is sung in unison and ends with a climactic choral ''Amen!'' This piece will work well with church choirs and makes no excessive range or tonal demands. James A. Brown, Jr. -CJ- 1994 SUMMER COURSE OFFERINGS GMadrig; • Music and Worship in the African American Tradition • Perspectives in Choral Conducting For more information, contact: CJJinner • Children's Choirs May Schwarz, Dir. of the MA in Church Music Prog. ... Trinity Lutheran Seminary Tlrp• ts PaulbyBrandvik • The ChristIan Fatth 2199 East Main Street, Cols. OH 43209-2334 C author of The Compleat Madrigal Dinner Booke Scripts include: ALL DIALOGUE: Greetings, Toasts, Festivities, Concert, Farewell Plus: HUMOROUS RENAISSANCE MASQUE Plus: REPERTOIRE SUGGESTIONS: Ceremonial music and concert FIFTEEN different scripts available, each a unique Renaissance delight for your performers and audience! NEW this year and "the best yet. " M. PEROR'S GNU CLOSE Call or write for your FREE descriptive brochure. Join the thousands who have made these Madrigal Dinner scripts a tradition. knight-shtick press Box 814 Dept. A Bemidji, MN 56601-0814 Telephone 218-751-2148 A Division of EXTREMELY. LTO. APRIL 1994 PAGE 59 John Feierabend, artistic director Al Holcomb, administrative director W88KLONG CHORAL WORKSHOPS AND SPECIAL PROGRAMS JUNE 27-JULY 1 JULY 5-9 JULY 18-22 • CHORAL MUSI EXPERI- • CHORAL CONDUCTING • TRAINING YOUNG VOICES ENCE NG GESTURE AND APPLICATION Clinician: Helen Kemp WORK PS TEACHERS Clinician: Michael Yachanin Learn the basic principles of Clinicians: Doreen Examine the latest innovations vocal production and resulting Sandra Prodan in conducting, literature and characteristic tone quality of An int e one-week performance practiceS for the elementary, junior high and teacher cation course. secondary school choral high school voices. Extend your knowledge in professional. study, conducting and re • IMPROVING YOUR CHORAL hearsal/teaching techniques, LY ii-iS CONDUCTING AND vocal sk' performance CONDARY CHORAL REHEARSAL SKILLS practices. ertification IIUSIC: INSIGHTS AND Clinician: Carroll Gonzo available. INNOVATIONS A practical course for choral Clinicans: Sally Sqhott, Ruth directors wishing to improve JULY 5-9 Whitlock, and Carroll Gonzo their choral art. • NOT JUST SURVIVAL Increase effectiveness in the SUCCESS: BUILDING A classroom and in;J.prove your AUGUST 1-5 QUALITY JUNIOR HIGH choir's perform JULY 8-15 AUGUSTi 4-6 • THE VOICECARE NET CHORISTERS GUILD WORK Reading ~ions for Choral Music International Impact Course For inforn;J.ation: (214) 271-1521 Lifespan Voice ~fiucation i~ the Real World Academic and CEU credits For information: (612) 363-3374 available. AUGUST 1-3 • MUSIC UNLIMITED School Choral,jy1usic Symposium Sacred Choral R,~ading Sessions For information: (31i) 625-7057 UNIVERSITY ©lFHARTFORD The Association for Choral Music Education announces ... Choral Music Experience INSTITUTE fOR CHORAL TEACHER EDUCATION June 19-24, 1994 For information regarding CME at Queenswood School, please contact: Congress Travel, Attn: CME Northern Illinois University, DeKalb, Illinois Institute, 350 Sparks Street, Suite 207, Ottowa, Faculty: Doreen Rao, Barbara Tagg, Lee Ontario K1 R 7S8, CANADA. or call 1-800-267 Kessleman, Ellwood Smith. 8526, Featuring the Glen Ellyn Children's Chorus and the Naperville Children's Chorus as Young Artists-in-Residence. Course Offerings • Conducting Masterclasses with the Young Art For information regarding CME at Northern Illinois ists-in-Residence Institute Choir University, please contact: Lucinda Myers, Choral Music Experience, PO Box 495 Cookeville, TN • Classes in Conducting, the Child Voice, Choral 38503-0495, Phone: (615) 372-3791 Fax (615) Repertory, Movement and Score Analysis 432-6265 • Sessions in Choir Management, Administration and Philosophy of Music Performance July 29-August 6, 1994 • University Graduate Credit available Doreen Rao, • On-site housing and meals available Founder and Director, Queenswood School, Hertfordshire, UK Choral Music Experience Faculty: Doreen Rao, Lee Kessleman, • Access to the most extensive children's choral Institute for Choral Teacher Education David Elliott, Emily Ellsworth, Bill Buhr, library in North America Kathy Armstrong, Roy Wales, CME Asso Offering the Choral Music Experience ciates-in-Residence. Certification Levels 1, 2 and 3 and Featuring the Young Artists-in-Residence the Artist-Teacher Diploma! Institute Choir. "helping people discover music since 1888" IN:S TOLL FREE 1-800-553-8742 412-788-5900 - FAX 412-788-6055 138 INDUSTRY DRIVE PITTSBURGH, PA 15275-1054 Business Hours: TUESDAY through SATURDAY 8:30 AM to 5:00 PM. Closed Sunday and Monday. APRI L 1994 PAGE 61 asterc a tn• choral , 9-17July1994 Namur, Belgium INTERNATJON "l CENTER FOR ('HORA.l MUSIC This MasterdaJJ is organized in cooperation between the lnterna Formor lil.>f1 CENTRAL CONNECTICUT STATE UNIVERSITY MUSIC DEPARTMENT Choral Seminars and Workshops Offered between June 27 and July 29, 1994 The Changing Adolescent Voice, Lynne Gackle The Secondary Choral Program, Pamela Perry Choral Conducting Seminar, Henley Denmead Group Vocal Techniques, James Jordan Handbell Technique, David Spicer Choral Literature, Dan Schwartz Multicultural Music, Dennis Waring Developing Children's Choirs, Chris Shepherd Courses offered for credit or non-credit. Campus housing available as well as affordable hotel/motel accommodations nearby. Central Connecticut StateUniversityoffers some thirty other courses for instrumental teachers and classroom music teachers including courses in Orff Schulwerk, Kodaly, handbells, band, computers and music, strings, assessment, research, theory and study abroad. Central Connecticut For a brochure with application forms, call 203-827-7251, FAX 203·827-7350 or write: State University is a Dr. B. Glenn Chandler, Department of Music, campus of Connecticut State Central Connecticut State University, University and is an New Britain, CT 06050-4010. AA/EEO employer. PAGE 62 CHORAL JOURNAL MUSIC UNLIMITED SUMMER SESSIONS FOR 1994 Featuring Sherri Andy Mary Lynn Gene Jonathan Neil Joyce Paul Audrey Porterfield Haines Lightfoot Grier Willcocks Johnson Eilers McNeff Grier Dr. Gary Dr. Keith Dr. Rohert Dr. John Gilhert M. Dr. Brian Dr. James Dr. Scott Dr. John Schwartzhoff Pagan Harris Leavitt Martin Busch Cox Fredrickson Dovaras ELEMENTARY. JR. & SR. HIGH SACRED CHORAL MUSIC SACRED CHORAL MUSIC SCHOOL CHORAL MUSIC READING SESSIONS READING WORKSHOPS SYMPOSIUMS AND SING-INS THE MUSIC TREE ELEMENTARY WORKSHOP &. READING SESSION FOR STUDENTS &. TEACHERS uy , uy , Illinois State University Wilson Junior High SChool Normal Illinois leton Wisconsin July 14 & 1~, 1994 JAZz/SHOW &. RECORDING Drake University WORKSHOPS FOR STUDENTS Des Moines Iowa and TEACHERS u us , us , University of Hartford University of Hartford West Hartford Connecticut West Hartford Connecticut • OBJECTIVES AND FORMAT: School Symposiums provide educational and musical experiences with special sessions on: 1) Discipline and Attitude Adjustment in the Music Room; 2) Multi-Cultural Music; 3) Interdisciplinary Music; 4) Voice Lessons for Your Choir; 5) Movement and Choreography; 6) How to Teach Vocal Improvisation & Scat-Singing; 7) Concert and Contest Repertoire; 8) Music for the School Year and much, much more. Sacred Reading Sessions contain wonderful music selections to read, while the Sacred Reading Workshops indude Master Classes and Sing-Ins. The SchOOl sessions are for students and teachers. All seSsions indude "hands-on" participation. • FACULTY AND ACCOMPANISTS: Additional faculty and accompanists will include: Ruth Antrim, Boyd Bacon, Danielle Blanchard, Mark Car1stein, Ron DeRoo, Lowell Everson, Jim Jirak, Melva Morrison, Dr. Jo-Michael Scheibe. Dr. Loren Waa and Andy Zerban. • MUSIC AND MATERIALS: Each participant will receive valuable packets 01 music and materials. The music will be seleCted from the catalogs of the following publishers: Fred Bock Music Company; Choristers Guild; Concordia Publishing House; CPPl8elwin, Inc. Music Publishers; Designer Music Group; EverGreen Music Press; G.I.A. Publications. Inc.; Hal Leonard Publishing Corp.; Harold Flammer Music; Heritage Music Press; Hinshaw Music, Inc.; Lorenz Publishing Co.; Oxford University Press; Plymouth Music, Inc.; Purifoy Music; Sacred Music Press; Shawnee Press. Inc.; Triune Publishing; and Unity Music Press. • SUPPLEMENTAL MATERIALS: Music industry representatives will be available for consultation at our exhibits at each session. They will provide opportunities for participants to browse through supplemental mater1als, as well as order materials presented at our sessions. Opportunities will be provided for you to talk with representatives from: Kempke Music - Longwood, FL; Malecki Music, Inc. - Long Beach, CA, 'Council Bluffs, lA, Grand Rapids, MI; Onondaga Music - Syracuse. NY; and Ward-Brodt Music Company - Madison. WI. • CREDIT AND FEES; Opportunities for credit exist at all of our sessions. For a free brochure listing fees, credt, registration, housing and meals, contact: MUSIC UNLIMITED. P.O. Box 990 • Clarkston, Michigan 48347 • (810) 625-7057 REVI EWERS TH IS ISSUE ADVERTISERS D. Brent Ballweg Rob Engelson Sandra C. McClain INDEX Westark Community College St. Andrews Presbyterian College Georgia Southern University APRIL 1994 Fort Smith, AR 729U Lautinburg, NC 28352 Statesboro, GA 30460 ACFEA Tout Consultants . 14 Garth Baxter Donald Callen Freed Ronald Melrose Ambassadot Travel Service .. 53 2744 Murkle Road Sourh Gate United Methodist Church All Angels' Episcopal Church Barken, Inc. .. 18, 42 Wesrminister, MD 21157 3500 Pioneers Boulevard New York, NY 10009 Beautiful Srar Publishing, Inc. 46 Lincon, NE 68506 Boise State Universiry . 26 Timothy Bedew James D. Moyer Boosey & Hawkes, Inc. 61 Ttinity United Methodist Church Sharon A. Hansen Centenary United Methodist Church Bosron Universiry . 24 1100 Lake Drive, SE University of Northern Iowa P.O. Box 6160 CAPAlPleasureBreak .. 54 California Srate University, Los Angeles 23 Grand Rapids, MI 49506 Cedar Falls, Iowa 50614 Portsmouth, VA 23703 Capira! Universiry 11 Carnegie Hall 48 Michael Braz Jack Hearn David W. Music Carus-Verlag GmbH . 53 Georgia Southern University Christ United Methodist Church Southwestern Baptist Theological Central Connecticut Srare University 62 Statesboro, GA 30460 4488 Poplar Seminary ChoralView . 47 Memphis, TN 38117 2001 West Seminary Drive Chorus America , 26 James A. Brown, Jr. Fort Worth, TX 76122 Classic Concerrs Inrernational, Ltd 50 Briarwood Presbyterian Church Stephanie Henry Cleveland Stare University 45 2200 Briarwood Way University ofCalifornia, Los Angeles Rose Mary Owens Collegium Records .. 42 Birmingham, AL 35243 405 Hilgard Avenue Southwest Missouri State University Colwell Arrs Management .. 44 Los Angeles, CA 90024 Springfield. MO 65804 C-S Travel Service, Inc. .. 55 David L. Brunner Educational Programs .,. 8 University ofCentral Florida Alan Hommerding Shelden Timmerman European Incoming Services .. . 12 Orlando, FL 32816 Corpus Christi Parish Oakland Baptist Church Mark Foster Music Company...... 21 Mark Foster Music Tours. . 46 8607 West Villard Avenue Rock Hill, SC 29730 George S. T. Chu Georgia Srare University . 43 Milwaukee, WI 53225 GIA Publications. Inc. .. .40 Hamline University Donald Trott Grade A Music .. .49 St. Paul, MN 55104 PaulL Martin Longwood College Hammond Music Service 54 257 Senate, NW Farmville, VA 23901 Ham School ofMusic 60 Richard Coffey Salem, OR 97304 Heritage Fesrivals . 6 Connecticut Choral Anists Dawn O. Willis Indiana Choral Directors Association 5 90 Main Street Iowa Wesleyan College Internarional Federation for Choral Music 62 New Britain, CT 06051 Mt. Pleasant, IA 52641 Intropa International/USA, Inc. 37 Knight-Shtick Press 59 Latham Mnsic Enterprises 18 Lyric Choir Gown Company 46 MacMusic Graphics 29 Massachusetts ACOA .. 16 las~ schoo~ Master Schola .. 7 At quality choir robes can afford... MidAmerica Productions ..,. C3 Mo-Ranch Music and Worship Conference 30 Musica Mundi, Inc. .. 15 Shenando~lls V~ue Line Music Master SoftWare 44 NEW Music Prinr Company 41 Music Unlimited 63 National Evenrs 5 priced from $41 ! Norrh American Music Fesrival 4 Norrhwestern Universiry . 52 Oberlin Conservaroty of Music 51 Opcode Systems. Inc. 57 • Quick, reliable delivery Peoria Area Civic Chorale 36 Performance Tours by Invitation. . 56 • Convenient sizing (small, medium, large) Portland State University 16 Theodore Pressel Company 38 Regency Cap and Gown. . 43 • Free monogramming w/ quantity orders Ridge Valley Music 52 Scarecrow Press .. 36 • Machine-washable, soil-release fabric SOG Records 27 Shenandoah Robe Company... . 64 Showchoir Camps ofAmerica .. C2 • Many popular color choices Sico Incorporated 17 Sonos Music Resources .. 57 Southern Music Company 27 Sourhwestern U niversiry 30 FREE CATALOG S.P.E.B.S.Q.S.A., Inc. 33 w/flbric samples Suzuki Music Corporacion 34 Sweet Adelines International 58 ext 494 Take Note Music Engraving Service 53 1-800-488-2370, TapeWorld 38 Trinity Lutheran Seminaty 59 University of Minnesora . 29 SHENANDOAH ROBE COMPANY Voice of ;he Rockies . 47 P.O. Box 6039 • Roanoke, VA 24017 Volkwein's, Inc. .. 61 Information on our complete line of choral robes also available. Fred Waring's America .24 Western Wind Vocal Ensemble .. 35 Whirworth College .. " 55 Wirte Travel .. ". .. 33 Copyeditors this issue: Catherine Pickar and Kathryn E. Smith Yale Institute ofSacred Music .. 32 J. C. A. Zimmet, Inc. 59 Choraljoumallayout and production: Jennifer Dielmann Zamir Choral Foundation 18 PAGE 64 CHORAL JOURNAL MIDAMERICA PRODUCTIONS and GREAT CONCERTS ABROAD present SlJl\11\11~ll 1995 "MOZi\R]' l'()U]{'" "" C""'EN',]TR AI ··f···.,··lTR(..)·pL' ()I1 . j . Il.. ..' ~..1 J. ... I=~: Perform Mozart's most stirring and dramatic work REQCIEl\!l IN n MINOR, K. 626 Appear in the mostprestigious concert halls in Central Europe PRAGl E - Histork Smdana Uall or Dvohlk HaH VIENNA - The Great Cathedral at Votivkirche or Kon:lerihuw. BRATISl",AVA - (;reat Concert Hall of til{' Slovak PhHlnlnnonlt' PETER TIBORIS, condudm' Principal Guest Conductor ofthe Filharmonie Bohuslava Martinit -'i1 Work with a world-renowned symphony orchestra JM F1LHARMONIE BOBUSld\\:\ MARTI:"Ji, Share the concert stage with world-class professional soloists From PRAGO CONCI':RT i\lANAf;EiVIEN'1 ** * * Tour dates: Depart Monda~', JUJU' 26, from New York Return Frida~. July 7. from Vienna (12 days) Package price or $l,X99 hH:ludc..... • Round-Trip Airfare from New York and all departure taxes • 10 Nights in First-Class Hotels (based on double occupancy) • All Concert Development and Administration • All Ground Transportation by air-conditioned bus • Full Breakfast and Dinner daily • Arrival Reception • Farewell Banquet • Half-Day Guided Tours of Prague, Vienna and Bratislava with fully licensed guides • Walking Tours of musical places of interest involving Beethoven, Dvorak, Mahler, Mozart, Schoenberg, Schubert, Smetana and Suk with visits to the Great Cathedral of St. Stephan in Vienna and the Museum of Classical Art Tour is 0pt~n to aU choral singers and .H..TO.iTlp;myjng no ngf'I·, Registrations of $1 on per person are heing acnpH'd rum through OctolH I For more infor'mation call 212/239"tj20,:', American Choral Directors Association Post Office Box 6310 Lawton, Oklahoma 73506 Build a Library of Choral Expertise Trlrough the medium of video, ACOA on LOCATION brings to you the expertise of distinguished choral conductors as they lecture, rehearse, and perform. Volume 1 focuses on the children's choir with the Glen Ellyn Children's Cho rus and its immediate past conductor, Doreen Rao, who shares her artistic approach to the music education of children. Volume 2 is an interview with Howard Swan, 1987 ACDA National Conven tion Honoree. Swan reviews the history of American choral music during the first half of the twentieth century, discusses the present state of choral music in church and school, and gives learned advice to the young choral conductor. Volume 3 features Jester Hairston, internationally renowned African-Ameri can composer, arranger, conductor, and 1989 ACDA National Convention Honoree. In this interview, Hairston traces the history of black spirituals in America, gives suggestions for interpretation, and demonstrates the use of rhythm and dia lect in the music. THE AMERICAN All three VHS videotapes are available from the ACDA national office CHORAL for $37.50 each. ~ DIRECTORS Send your order with prepayment to: ASSOCIATION ACDA, Post Office Box 6310, Lawton, Oklahoma 73506.