Official Publication of the American Choral Directors Association

Volume Thirty-nine Number Three

OCTOBER 1998

CHORALJO Wesley Coffman Ann Easterling

EDITOR MANAGING EDITOR

COLUMNS ARTICLES
From the Executive Director ......... 2
Leonardo Leo and His
From the President ....................... 3
Dixit Dominus ...................... 9
From the Editor ............................ 4 by Sharon Rae Van Nest
Letters to the Editor ...................... 4

Hallelujah! .................................. 53
Timothy W. Sharp, editor
Norman Dello Joio's
Compact Disc Reviews ............... 57
Secular Choral Music:
Richard J. Bloesch, editor Conversations with the
Book Reviews ............................. 61 Composer........................... 15
Stephen Town, editor
by Lee Egbert
Choral Reviews ........................... 67
Corydon J. Carlson, editor

In Memoriam ............................. 32
The Choral Music of
Hugo Wolf ......................... 25
Repertoire and Standards
by Peter Pocock
Committee Reports .................... 43

Advertisers Index ........................ 80 REHEARSAL BREAI(S

Cover an depicts uThe Choristers'" by Alessandro
The Good-Hearted Cantor ............................................ 35
Magnasco (J 740-45), donated co the National Gallery of by Margaret Boudreaux
Art by Emily Floyd Gardiner. Phocograph © Board of
Trustees, National Gallery ofAn, \'(Iashingcon, D.C. Two
of the: figures are kapellmeisters. Cover design by Susan
Gower.
SPECIAL PULL-OUT
CONVENTION SECTION!
Registration form, map of downtown Chicago,
information on hotels, airlines, car rental ....................... 39
OCTOBER 1998 PAGE 1
 r
lL,ROM THE AFFILIATED
EXECUTIVE DIRECTOR ORGANIZATIONS
ACDA International Archives Receives Special Donations INDIANA
CHORAL DIRECTORS ASSOCIATION
URING THE WEEK of August lOth, I attendedthe Fourth Pennsylvania

D
President - Daniel H. Graves
ACDA Summer Conference for Choral Musicians, held at Pennsylvania 209 South Sixteenth Street
Richmond, Indiana 37374
State University. It was an outstanding conference, and I was happy to be a
part of that program. I was especially thrilled and honored to accept three very special Treasurer - PaulaJ. Alles
1471 Altmeyer Road
donations to the ACDA International Archives. These were presented by Janet Jasper. Indiana 47546
Yamron on behalf of Elaine Brown, Peter Kiefer on behalf of Fred Waring, and IOWA
Marvin Huls on behalf of Robert Page. We are very happy to have these wonderful CHORAL DIRECTORS ASSOCIATION
President - Bruce Chamberlain
gifts for the archives. They will be of great value to our members now and in the 1211 Oak Park Boulevard
future. Cedar Falls. Iowa 50613
I will be describing these gifts, beginning with the Elaine Brown donation in this Secretary/Treasurer - Bruce A. Norris
issue. Fred Waring and Robert Page contributions will appear in future issues of the 404 Maple Street
Mondamin. Iowa 51557
Choral Journal Elaine Brown was a great teacher, conductor, mentor, humanitarian,
and friend. Elaine had a vision early in her career-to bring people of diverse AMERICAN CHORAL DIRECTORS
ASSOCIATION OF MINNESOTA
backgrounds together through choral music sung with a high standard of excellence. President - David Dickau
This vision was realized when she founded the Singing City Choir in Philadelphia. 104 Manchester Court
Mankato. Minnesota 56001
The materials donated to the ACDA archives by Janet Yamron include the follow-
mg: Treasurer - Susan Zemlin
1029 Paul Parkway. NE. #304
• "Elaine Brown and Singing City: The Choral Art as a Communicative Social Blaine. Minnesota 55434
Force" is a dissertation by James D. Ewing, University of Miami, 1976. This is an MONTANA
outstanding history of Elaine Brown and Singing City, showing how Singing City was CHORAL DIRECTORS ASSOCIATION
formed. Elaine was untiring in her efforts to bring music to every segment of the President - Marco Ferro
Box 454
community and to make Philadelphia truly a Singing City. Malta. Montana 59538
Letters, selected writings, awards, honors, and citations are listed here. "Chrono- Treasurer - Larry Swingen
logical highlights of Elaine Brown and Singing City," a "Selected Performance 216 Eighth Avenue SW
Sidney, Montana 59270
(Continued on p. 6.)
NEBRASKA
CHORAL DIRECTORS ASSOCIATION
1999 ACDA National Convention Receptions President - James F. Hejduk
Westbrook Music Building
DECEPTIONS AT ACDA National Conventions afford friends and colleagues wonder- University of Nebraska
.I'\..fuI opportunities to renew acquaintances and share ideas about choral music. Receptions Lincoln. Nebraska 68588

at the 1999 national convention in Chicago will take place at the convention hotels. If you are Treasurer - Mark Burler
1014 Arthur Street
interested in hosting a reception, a list of the convention hotels and contact information may Holdrege. Nebraska 68949
be obtained by contacting Bill Mayelin, 1999 ACDA National Convention Program Chair,
OHIO
.520 NW 3rd, Pendleton, Oregon 97801; telephone 541/276-4540; fax 541/278-1638. CHORAL DIRECTORS ASSOCIATION
Information about receptions must be received by the National Program Chair by November President - Craig Johnson
Music Department. Otterbein College
1, 1998, to be listed in the program booklet. Westerville. Ohio 43081
Treasurer - Bob Hartigan
STATEMENT OF MEMBERSHIP 8770 Landen Drive
The American Choral Directors Association is a nonprofit professional organization of choral directors Maineville. Ohio 75038
from schools, colleges, and universities; community, Church, and professional choral ensembles; and
industry and institutional organizations. Choral Journal circulation: 18,000. Annual dues (includes TEXAS
subscription to the Choral Journal): Active $55, Industry $100, Institutional $75, Retired $25, and CHORAL DIRECTORS ASSOCIATION
Student $20. One-year membership begins on date of dues acceptance. Ubrary annual subscription
President - Marsha Carlisle
rates: U.S. $25; Canada $35; Foreign Surface $65; Foreign Air $75. Single Copy $3; Back Issues $4.
10318 Royal Coach
ACDA is a founding member of the Intemational Federation for Choral Music. San Antonio. Texas 78239
ACDA supports and endorses the goals and purposes of CHORUS AMERICA
in promoting the excellence of choral music throughout the world. Treasurer - Kelly Moore
ACDA reserves the right to approve any applications for appearance and to edit all materials proposed for distribution. 4021 Tirnberidge Drive
Permission is granted to all ACDA members to reproduce articles from the Choral Journal for noncommercial, educational Irving. Texas 75038
purposes only. Nonmembers wishing to reproduce articles may request permission by writing to ACDA.
WISCONSIN
The Choral Journal is supported in part by a grant from the National Endowment for the Arts, a federal agency. CHORAL DIRECTORS ASSOCIATION
Recognizing its position of leadership, ACDA complies with the copyright laws of the United States. Compliance with President - Richard L Bjella
these laws is a condition of participation by clinicians and performing groups at ACDA meetings and conventions. 3011 West Heritage Avenue
Appleton. Wisconsin 54914
© 1998 by the American Choral Directors Association, 502 SW Thirty-eighth Street, Lawton, Oklahoma 73505. Telephone:
580/355-8161. All rights reserved. The Choral Journal (US ISSN 0009-5028) is issued monthly except for June and July. Secretary/Treasurer - Ronald C. Buckles
Printed in the United States of America.
18723 67th Avenue
~ Periodicals postage paid at Lawton, Oklahoma, and additional mailing office. POSTMASTER: Send address Chippewa Falls, Wisconsin 54729
EdPless changes to Choral Journal, P.O. Box 6310, Lawton, Oklahoma 73506-0310.

Volume Thirty-nine Number Three

........................................
h
PAGE 2 CHORAL JOURNAL
 NATIONAL
OFFICERS
FROM
PRESIDENT
James A. Moore
THE PRESIDENT
School of Music. East Texas Baptist Universicy
Morshall, T <=5 75670
9031935-7963 (voice); 9031938-0390 (f.t.,)
jmoorc:@c:rbu.edu
ACDAs Historical Legacy
VEN THOUGH we are a young organization, the historical legacy of our
VICE-PRESIDENT
Lynn 'Whitten
College of Music, Universicy ofColor.J.do
Boulder, Colorado 80309
3031494-6648 (voice); 3031492-5619 (f.t.,)
whincnr@spor.coiorado.edu
E association is significant. Our contribution to the development of choral music
in America is extensive, and the influence of ACDA upon the position pf arts
in American society is pronounced. Another twenty-five years will provide additional
PRESIDENT-ELECT evidence of the effect of to day's activities. Where will it be noted? How will future
Milburn Price
School of Music, Samford University generations know of ACDA's history?
Birmingham, Alabama 35229
2051870-2778 (voice); 2051870-2165 (fax) An increasing number of our members are
smprice@samford.edu
becoming aware of the ACDAArchives, housed
TREASURER
Maxine Asselin in the national headquarters office in Lawton.
Music Department, Bridgewater State College
Bridgewater, Massachusens 02325 Donations have previously been made from the
5081697-1377 (voice); 5081697-1729 (f.t.,)
ffi:1SSelin@bridgew.edu collections of Wesley Coffman, Walter Collins,
EXECUTIVE DIRECTOR Walter Ehret, 1. Stanley Glarum, Charles Hirt,
Gene Brooks
P.O. Box 6310, Lawton, Oklahoma 73506
Morris Hayes, Elwood Kelster, Russell Mathis,
5801355-8161 (voice); 5801248-1465 (fax)
acda@siriner.ner
Robert Snyder, Eva Stuckmeyer Youngberg, and
CENTRAL DIVISION PRESIDENT
more recently, Harold Decker. Others have con-
Thomas J. Stauch tributed materials, including music scores, origi-
Harper College
12.00 \Vest Algonquin Road
Palatine, IHinois 60067
nal compositions, recordings, concert programs,
8471925-6566 (voice); 8471925-6039 (fax)
rjsr:a@aol.com
and notes from various class presentations and
EASTERN DIVISION PRESIDENT
rehearsals.
Frederic Ford
Bridgew3tcr-Rarir:m High School
At the 1998 summer convention of the Penn-
P.O. Box 6569
Bridgewater, New Jersey 08807
sylvania ACDA Convention, donations were
9081231-8660 (voice); 9081231-0467 (fax)
fordfred@aol.com
made in recognition of Elaine Brown, Robert
Page, and Fred Waring. ACDA is in the process
NORTH CENTRAL DIVISION PRESIDENT
Steve Boehlke of becoming a repository of materials representing the work of leading choral musi-
Rosemount High School
3155 144m Srrm, W. cians of the last half of this century. The archives will become an attraction for the
Rosemount. Minnesota 55068
6121423-7542 (voice); 6121423-7511 (fax) interested, the inquisitive, and those who have an appreciation for our legacy as
boehlke@rhs.isdl9G.kI2.mn.us
choral musicians. The most sincere gratitude of ACDA is extended to those who have
NORTHWESTERN DIVISION PRESIDENT
Constance Branton made contributions. Donations from other members are encouraged and will be
Sourh Junior High School
805 Shoshone Street gratefully accepted. Publications, reports, convention programs, and other items of
Boise, Idaho 83705
2081338-5377 (voice) historical significance should be considered also. Through this cooperative effort, we
sjhmusik@micron.net
can ensure that a thorough, complete history of ACDA will be preserved.
SOUTHERN DMSION PRESIDENT
Donald Trott
Music Department. Longwood College
Farmville. Virginia 23909
1999 ACDA National Convention Plans
8041395-2500 (voice); 8041395-2149 (fax) The ACDA Executive Committee, the ACDA National Board of Directors, and
dtrott@longwood.lwc.edu
the ACDA National R&S Committee chairs met in Chicago in August to transact
SOUTHWESTERN DMSION PRESIDENT
R. Paul Drummond the business and activities of the national organization, Included on the agenda was a
Cenrral1vfethodist College/Department of Music
Fayette. Missouri 65248 review of the program and performance venues for the 1999 ACDA National
8161248-6324 (voice)
Convention in Chicago. A visit to the city and a preview of the schedule generated a
WESTERN DMSION PRESIDENT
Thomas Davies high degree of excitement and anticipation from those in attendance. National
Music Department
California Polyrechnic State University conventions have become monumental events. If you have been a convention at-
San Luis Obispo. California 93407
8051756-1548 (voice); 8051756-7464 (f.t.,) tendee through the years, you have vivid impressions of certain performances, interest
tdavies@c::J.1poly.edu
sessions, program personalities, and particular events that will never be forgotten.
INDUSTRY ASSOCIATE REPRESENTATIVE
KentSmiili The 1999 convention committee has worked diligently to provide opportunities for
Herhage Festivals
P. O. Box 571187
additional "life-changing experiences." Plan now to be in Chicago, February 24-27,
Salt Lake City, Utah 84157
8011263-3445 (voice); 8011265-2314 (fax)
1999. A special pullout section of convention information begins on page 39 of this
majJ@~eritagefestivals.com
issue of the Choral Journal.
PAST PRESIDENTS COUNCIL

importan~~!f~~~~!:!n~!~~e::~nftCZ!;~1az:':r~
John Haberlen
School of Music. Georgia Stare University
University Plaza
Atlanta. Georgia 30303
An activities. The
4041651-3676 (voice); 4041651-1542 (fax)
musjbh@gsusg12.gsu.edu
Outstanding Student Chapter Award was established by ACDA in 1978 to recognize
Maurice Casey Colleen J. Kirk an ACDA student chapter that, through its activities, best supports the advancement
Harold A. Decke Theron Kirk
William B. Hatcherr DianaJ. Lebnd of choral music. This award and recognition will be presented at the 1999 National
Morris D. Hayes Russell Mathis
Charles C. Hit[ H. Royce Sainman ACDA Convention and will be determined on the basis of the following criteria:
\Varner Imig Hugh Sanders
Elwood J. Keister David Thorsen (Continued on p. 36.)

OCTOBER 1998 PAGE 3

 FROM EDITORIAL
BOARD
THE EDITOR EDITOR
Wesley Coffman
Corydon J Carlson 4023 WembleyTerrace
Dallas, Texas 75220
214/353-8020 (voice/fax)

T
HE CHORAL Journal Editorial Board and ACDA friends are devastated by wcofFrams@aol.com
the untimely death of Cory Carlson. Cory began his tenure as Choral ASSOCIATE EDITOR
Reviews editor in 1995 and remained in that position until his death the Nina Gilbert
University of California-Irvine
weekend of August 9, 1998. He had prepared choral reviews through the December Music 292, Building 714
issue, so you will see his name as editor through that time. Cory was organist at South Irvine, California 92697
949/824-3854 (voice); 949/824-4914 (fax)
Congregational Church in East Harrford, Connecticut, where his funeral was held on nlgilbert@uci.edu
August 14. He served as choral director at Avon Middle School, Avon, Connecticut. MANAGING EDITOR
The Cory Carlson Memorial Fund has been established at the school. If you would be Ann Easterling
P.O. Box 6310
interested in contributing, the address is Avon Middle School, 375 West Avon Road, Lawton, Oklahoma 73506
580/355-8161 (voice); 580/248-1465 (fax)
Avon, CT 06001. Our deepest sympathy is extended to Cory's family. chojo@sirinet.net

EDITORIAL ASSISTANT
He that dwelleth in the secret place of the most High shall abide under the Susan Gower
shadow of the Almighty. I will say of the Lord, He is my refuge and my 316 Mustang Circle
San Antonio, Texas 78232
fortress. Psalms 91: 1-2 210/495-0833 (voice); 210/495-0838 (fax)
choralj@rexas.ner

EDITORIAL BOARD MEMBERS

This Issue Richard J. Bloesch
School of Music, University oflowa
The articles inform us of some lesser-known choral works. Sharon Van Nest Iowa City, Iowa 52242
exposes the values of an interesting work by Leonardo Leo. Lee Egbert, through erhd-bloesch@uiowa.edu

conversations with Norman Dello Joio, gives us some additional insight into the David L. Brunner
Departmem of Music, University of Cemral Florida
composer's works. Hugo Wolf's creative output encompasses several genres other than P.O. Box 161354
Orlando, Florida 32816
the Lied. Peter Pocock tells us about some of his choral works. The choral works brunner@pegasus.cc.ucEedu
reviewed this month are from the Jewish tradition and in a variety of voicings. Cotydon J. Carlson
P. O. Box 9517
Bohon, Connecricur 06043
The Chicago Convention Christine D. de Catanzaro
School of Music, Georgia Scare University
The Editorial Board of the ChoralJournalis presenting a session at the 1999 ACDA P. O. Box 4097
Adama, Georgia 30302
National Convention in Chicago. The session, titled "Performing on Paper: Writing muscddx@gsusgi2.gsu.edu
for the Choral Journal, "will be on Thursday afternoon. We encourage anyone inter- Sharon A. Hansen
ested in participating in the production of the Journal to attend that session. If you Departmem of Music, School of Fine Arts
University of\'{fisconsin-Milwaukee
have questions or an interest, please feel free to contact the editor at any time. P.O. Box 413
Milwaukee, \'{fisconsin 53201
sahansen@csd.uwm.edu
Choral Reviews Editor Victoria Meredirh
Faculty of Music, Talbot College
Anyone interested in serving as Choral Reviews editor for the ChoralJournal should University of\'{fesrern Omario
London, Omario N6A 3K7, Canada
contact me immediately. vrneredit@julian.llwo.ca
Wesley Coffman Ro bert Provencio
California Srare University-Bakersfield
9001 Stockdale Highway
Bakersfield, California 93311
rprovencio@csubak.edu

LETTERS Lawrence Schenbeck

Departmem of Music, Box 316

TO THE EDITOR Spelman College

350 Spelman Lane SW
Adanra, Georgia 30314
Dear Editor: lschenbe@spelman.edu
I just wanted to write a word of thanks to all involved in presenting the wonderful Timorhy W. Sharp
ChoralJournal to us. What an outstanding source of pleasure and information it is! School of Music, Belmom University
Nashville, Tennessee 37212
In a world gone amok, I especially salute those brave souls who continue to fight sharpsmnr@aol.com
for the art form called boychoir, despised by so many as politically incorrect and Stephen Town
Departmem of Music
socially anachronistic. Yet its multidimensional value and unmatched musical sound Northwest Missouri State University
are cherishable and worthy of our support. Bravi tutti! Maryville, Missouri 64468
010046 7@acad.nwmissouri.edu
Thanks to all choir directors who have made our lives richer and sweeter through stown@mail.nwmissouri.edu
their work in the choral art.
SU7"Sum corda, COORDINATOR OF STATE NEWSLETTERS
Perry White
Douglas Neslund 2726 S. Pickard Ave.
Norman, Oklahoma 73072
Los Angeles, CA jpsings@releparh.com

I
PAGE 4 CHORAL JOURNAL
l
 NATIONAL
R&S CHAIRS
NATIONAL CHAIR
Barbara T agg
215 Crouse: College/Syracuse Unh'crs-ity
Syraruse, New York 13244
315/443-5750 (voic,); 315/488-1155 (F..x)
bragg@vpa.syr.c:du

BOYCHOIR
Randall Wolfe
Cincinnati Boychoir

2i~~~V:;~ci~~~j~45n2ut5
513/9480100 (voice)
rwolfe2108@aol.com

CHILDREN'S CHOIRS
Rebecca Roruolk
Nonhwesr Girlchoir
728 Twemy-fim A...enuc
Seanle, \Vashingron 98112
206/329-6225 (voioe); 206/329-9925 (F..x)
rroruolk@e:mhlink.nc[

COLLEGE AND UNIVERSITY CHOIRS

William McMillan
Department ofMusidUnivcrsiry ofTc:xas at EI Paso
El Paso, T""" 79968
915/747-6630 (voice)
wrnanilla@utcp.edu

COMMUNITY CHOIRS
Charles Facer
Greenwood 1:Wor.nory School
Somhwcsr Missouri Stare University
901 South National
Springfield, Missouri 65804
·417/836-6356 (voice)
crfacer@aol.com

ETHNIC AND MULTICULTURAL

PERSPECTIVES
Anthony T.l=ch
Pennsylvania Stare University
University Park. Pennsylvania 16802
814/865-6521 (voice); 814/865-7140 (fax)
aclI05@psu.edu

JAZZ AND SHOW CHOIRS

Diana R. Spradling
\Vestem Michigan Univershy/School of Music
Kalamazoo, Michigan 49008
616/387-4751 (voice)
spradJingd@wmich.edu

JUNIOR HIGH/
MIDDLE SCHOOL CHOIRS
Karhleen Anderson
1551 Parl...-vkw Avenue
San Josc, California 95130
650/526-3570 x447 (voice); 650/965-9278 (fax)
meo.·..64me@aol.com

/vlALE CHOIRS
Clayton Parr
Vandercook College of Music
3140 S. Federal SL
Chicago, llIinoi, 60616
3121225-6288 (voice); 312/225-5211 (F..x) Packages start as low as $3.00 per CO. Packages incllJc:I~ digitally
MUSIC AND WORSHIP pre-mastered CDs of your group, CD cases, 9H,!phic design, full
CarlL Sum
Chapel Hill Bible Church
color covers and traycards, assembly grnf poiy":wrap",....We(
1200 Mason Farm Road
Chapel Hill, NOM Carolina 27514
can work from OATs, CDs, rec9rds, videps-o~-cassettes. .~);~,
919/968-4754 (voice); 919/918-4059 (fax)
c.ulsram@aol.com Give us a call to see how easily your pri~e6r Cary get--u:nderwa~! p~,
I \1 '-~ I"," _'" ~
SENIOR HIGH SCHOOL CHOIRS

Ij/ ~j~7
Janice R. Bradshaw
9 Morningside Drive
Boonville. Missouri 65233
816/882·7558 (voice); 816/882-3368 (F..x)
jbradshaw@dac.com

TWO-YEAR COLLEGE CHOIRS

D. Brent Ball\\'"eg
Collin County Community College
2800 East Spring Creek Park·way
Plano, T,-"" 75074
9721881-5653 (voice); 9721881-5103 (F..x)
bballweg@&7hosr.=d.edu

WOMEN'S CHOIRS
6i\SL
FQUALITyCDs.
Monica Hubbard
California Institute ofTcchnology
Mail Code 2-58
Pasadena. California 91125
626/395-6260 (voice); 626/795-8731 (F....)
mhubbard@cco.caItcch.edu

YOlITH AND STUDENT ACTIVITIES

Scon W. Dorsey
Department ofMusidMoum Union College
Alliance, Ohio 44601
330/823-2181 (voice); 330/823·2144 (F....) PH: 1-540-89~3981 FAX: 1-540-373-3902
dOI"SC)'5'..-@smrpgate.muc.edu 4521 Vicky LN Fredericksburg, VA 22408
email: tripledisc@aol.com

OCTOBER 1998 PAGE 5

J
 Sin to Life,
Sing to Italy
Outstanding concert and chorale tours have long been
associated with EIS travel services. With offices in both
the United States and Italy, EIS continues to provide
unparalleled service and attention. Our extensive
network of music and travel professionals provide all
the components of a successful concert season, from
innovative venues to creative publicity. The highest
quality of standards combined with our unbeatable
prices makes EIS the only choice for your next tour.

Gives us a call and we'll go over all the details with you.
205 Porcland Street Boston, Massachuserrs 02114
Fax 617 227-7251

617 227-2910
Call

or 1 800 443-1644

(Continued from p. 2.)
Schedule," and a "Selected Repertoire
Schedule" all make a complete history of
Elaine Brown and Singing City through
January 2, 1975.
• "Singing City: Celebrating 50 Years
(1948-1998)" is a program booklet of
the fiftieth anniversary concert to honor
founder Elaine Brown. This booklet pre-
sents the concert program of Singing City
and information about all those involved
with this special event and also displays
some beautiful photographs of Elaine
Brown's career. Interesting pictures include
Elaine Brown with Eugene Ormandy fol-
lowing a Singing City concert with the
Philadelphia Orchestra in the 1970s,
Elaine with Marian Anderson and the
Choir, Elaine with Martin Luther King,
Jr., after a Singing City concert in the late
1960s.
• "A Celebration of Life for Elaine
Brown" is a memorial brochure and a
tape recording of the service. Included is
a note from Helmuth Rilling in remem-
brance of Elaine and a poem for Elaine by
Allen Lannon, past president of ACDA
Eastern Division.
• An audio tape of Elaine Brown testi-
monials includes tributes by Eugene
Thank you, Janet, for this priceless gift.
It will ensure that Elaine Brown's legacy
will live on for future generations of cho-
ral directors.
Beginning on page 39 of this issue of
the Choral Journal, you will fmd a special
section containing preregistration infor-
mation and materials for the 1999 ACDA
National Convention in Chicago. I am
sure each of you has already marked your
calendar to be in Chicago, February 24-
27. By the time this issue reaches you,
you will probably have received a prereg-
istration packet in the mail. Please take a
moment and complete the preregistra-
tion form mailed to you and return it to

l\'UJSU:A~ Ormandy and Leopold Stokowski. Lis-

I\, () WI.t.\..NI(~.t~® .~
Your eXGlusive so urGe for FO:.omanian
Ghoral musiG and beyond._
~ CATALOG and
SAMPLER TAPE!
P. O. Box 27830
Seattle, W A 98125-2830
Phone· (206) 364-4225
Fax. (206) 364-4569
E-znail • MusiRozn@aol.cozn
tening to just part of this tape makes one
the ACDA National Headquarters. If you
have any questions concerning the con-
realize how much Elaine was loved, hon- vention, please contact the national head-
ored, and admired for her truly great con- quarters by telephone (580/355-8161),
ducting, for the founding of the Singing fax (580/248-1465), or e-mail
City Choir, for her strong sense of commu-
nity, and for her high level of excellence.
(acda@sirinet.net).
• A CD-ROM features Elaine Brown
and the Singing City Choir performing
Beethoven's Missa Solemnes in D major Gene Brooks
with the Philadelphia Orchestra, con-
ducted by Eugene Ormandy.

PAGE 6 CHORAL JOURNAL

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Leonardo Leo and
His Dixit Dominus
by Sharon Rae van Nest
Leonardo Leo (1694-1744), a leading Neapolitan com-
poser of the early eighteenth century, composed at least eight
sertings of the Dixit Dominus. Previously, it had been thought
that Leo wrote seven Dixit Dominus sertings, none in the key of
F. Three copies of a version in the key of F have now been
discovered. One copy was discovered by this author in the
Frank V. de Bellis Collection at San Francisco State University. I
Two other copies are presented in RalfKrause's 1987 disserta-
tion "Die Kirchenmusik von Leonardo Leo (1694-1744). Ein
Beitrag zur Musikgeschichte Neapels im 18. Jahrhundert"
(Regensburg, Germany).2
This article presents Leo's F-Major Dixit Dominus. The first
modern edition is in a dissertation by this author, Leonardo
Leo's F-Major Dixit Dominus: An Edition and Commentmy.3
The edition is based on the three extant copies and was based
on personal examination of each copy. No autograph score of
this Dixit Dominus has yet been discovered. The primary manu-
script used in the study is located in the Frank V. de Bellis
Collection. Both secondary manuscripts consulted are located
in England. One is in the Bodleian Library at the University of
Oxford; the other is in the Royal College of Music in London.
The copy in the Bodleian Library appears to be in the same
hand as the de Bellis Collection copy. One is most likely a copy
of the other because mistakes are duplicated exactly. The music
probably never was performed from these copies, since many of
the mistakes are severe (such as missing measures in some, but
not all, of the instrumental and vocal parts). All copies are
undated.
Sharon Van Nest is Director of Choral Activities at the
University of Hawaii, Hilo.
OCTOBER 1998
The de Bellis Collection manuscript consists of a title page
and 121 pages of music, three empty-staved pages, and one
blank page. All pages are approximately 24 centimeters high
and 29.2 centimenters wide. There are ten staves per page in
the second movement, and all other movements have twelve
staves per page. In general, the music and text are not difficult
to read. The complete designation of instruments and voices is
found only on the first page of the manuscript. Other move-
ments list instruments only occasionally. The Dixit Dominus is
scored for SSATB soloists, SSATB chorus, two oboes, two
violins, viola, two horns, and organ (Figure 1).
Clefs found in the score include the G clef for the violins,
oboes, and horns; the C clef for the cantos [sopranos], violas,
altos, and tenors; the F clef for the bass voices; and F and C
clefs for the organ. The score contains many notational con-
ventions that were time-saving devices, or were to conform to
the restriction of the space on the page. Often, only the viola
part "is given the instruction "col basso." While each violin and
oboe part has its own staff. the horn parts share a staff. Al-
though the first movement calls the lowest part in the ensemble
"organo," doubling by one or more fundamental bass instru-
ments was traditional and is implied by the addition of the
word Violonc., or Vio., in the score. These indications usually
coincide with changes from F clef to tenor C clef and vice
versa.
The figured bass notation is shown sporadically, although
the same, in the de Bellis and Oxford scores. The Royal College
of Music score shows many more figures in the bass. The de
Bellis and Oxford scores usually show the figures beneath the
organ part; the Royal College of Music score usually shows the
figures above.
PAGE 9

The de Bellis score was purchased from
H. Baron of Christchurch Avenue, Lon-
don, England, in February 1959.
Background
By the year 1700, Naples was the larg-
est city in Italy, perhaps the most popu-
lous city in all of Europe, and emerged as
a leading center for music. At that time
Naples was ruled by the Spanish, and
musical activity was mainly under the con-
trol of the Spanish viceroy. There were
four conservatories in the city, which pro-
vided a strong base for the formation and
growth of Neapolitan music. One con-
servatory that became famous in compo-
sition was the Conservatorio Santa Maria
della Pieta dei Turchini. This was due in
no small measure to the teaching of
Leonardo Leo, who specialized in fugue
and counterpoint. He was one of its most
successful students. In addition to teach-
ing and administrating at the Pieta, he
taught at the Conservatorio S. Onofrio.
Some of his most famous pupils were N.
Piccinni, P. Cafaro, N. Sala, F. Fenaroli,
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PAGE 10
and N. Jommelli. He was esteemed by his
students as a teacher, composer, and
friend. The eighteenth-century poly-
phonic "church style," with its modern
view of harmony, owed much to Leo's
influence, particularly through his pupils. 4
Leonardo Ortensio Salvatore de Leo
was born on August 5, 1694, at San Vito
degli Schiavi (known today as San Vito
dei Normanni), approximately twelve
miles from Brindisi. He lived his entire
life in the Kingdom of Naples.
After leaving the conservatory, he held
several official appointments in the city.
He was first appointed as an unpaid or-
ganist for the viceroy's chapel in 1713
and moved up through the various ranks
until he became maestro di cappella of the
royal chapel. He composed a series of
compositions for the use of the royal
chapel during Lent and reformed the royal
opera orchestra. Unfortunately, after only
nine months in office, he died, suppos-
edly while seated at his harpsichord. 5
Although his musical activity was pri-
marily confined to the city of Naples, he
WESTON NOBLE
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often received permlSSlOn to fulfill
commissions for work in other cities. He
traveled to stage works in Venice in 1723,
Rome in 1726, Bologna in 1737, Turin
and Milan in 1739-40, and Rome again
in 1741. His fame spread from Naples to
over twenty other Italian towns where his
works were performed. Sources indicate
there were performances outside of Italy
as well, in London, Paris, Dresden,
Innsbruck, Potsdam, Madrid, Lisbon, and
St. Petersburg. 6
Leo was a prolific composer, with com-
positions that include theatrical works,
liturgical works, oratorios, cantatas,
concertos, toccatas, and solfeggi and
partimenti for teaching purposes. It is per-
haps in the context of church music that
his name is known today. Among his sa-
cred works are settings of the Dixit Domi-
nus, Masses, oratorios, two Magnificats,
Introits for Lent, numerous motets, a Te
Deum, and the Miserere for double cho-
rus. Probably his most well-known sacred
works are the two oratorios La morte di
Abele and Sant' Elena al Calvario, both
premiered in Naples in 1732. Manuscripts
of his compositions are to be found in the
libraries, museums, and conservatories of
Europe and the United States.
The Dixit Dominus in
the Key ofF
The Dixit Dominus is a Psalm sung in
Latin during Vespers. This text is one of
the most mysterious of the 150 Psalms. It
describes the exaltation of the ideal king,
seated at the right hand of God, exercis-
ing worldwide rule from Zion. It also
describes the promise of God's gifr of
power, the king's priestly mission, and the
world dominion of the king in a violent
picture of death and destruction. The early
Christians added the Gloria Patri, also
known as the Lesser Doxology, to the
Psalms when they were used in worship.?
Description of the Music
Standing at the juncture between Ba-
roque and pre-Classical styles, most of
the surviving church music of Leonardo
Leo was written after 1730. 8 He wrote in
the full Baroque style for voices and in-
struments independently, and combined
contrapuntal procedures with harmonic
devices traditional for the time."Leo used
vivacious rhythms, contrasting textures
CHORAL JOURNAL
 J
t
and dynamics, and a definite tonal cen-
f'. ,.. ~;:::r
:EEHI
ter. In addition, he wrote in the pre-Clas- ~ 1;J,1;y,,, tZ,ka" .1 1 .1 r. ~I·

sical, or gallant style, which emphasized

the expressiveness of the melody.
~1 .. ... ~ ,..-, Ii:" ~.r

In general, the rhythms are simple and

the tempo constant within each section. ".-...
'1
-. M- ,...
The basso continuo gives a driving, almost
'fA I I f J 1 ) A
motoric, feeling in each movement. The I 1 .I
=t.::;.;
rapid changes in harmony produce an
II
. .
L

I r t r h " Ir r rtl (( {I 9 I
energetic harmonic rhythm. Virtuosity /J
'" r
and improvisation were important. Or-
namentation was an essential element,
Ii" J 'I 1 I 4 ( 'I

sometimes written into the music, but

I ,-
more often left to the performer to real- ,...... 1
I 1 I

Ize.
l 1
There are great contrasts in textures.
Small groups of singers or instrumental-
= /2

It.-
ists are contrasted with larger groups. ." "
Contrapuntal settings are contrasted with
homophonic passages. In solo sections, L n I

the bel-canto style of singing emphasizes

the beauty of vocal tone and brilliant florid -
{/
t.'J r. .... a j 1

technique. Chromaticism is evident but

(/
not excessive, as was the custom of the
times. Tempo indications are sparse; it
Figure 1. Dixit Domintls, page 1
was the Baroque practice to add dynamic
markings during rehearsals. 9 Dynamic

~
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sections (movements). With a fewexcep- 11'resser 1'1. Bryn Mawr I'A ; 19010-3490
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text repetition, repeating specific words
or phrases for emphasis. In addition, he
separates the first biblical verse into two
different movements and combines the
fifth and sixth biblical verses for his sixth
movement.
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OCTOBER 1998 PAGE 11

 The triadic theme clearly sets the key ofF movement continues the theme of the Movement II
major. Although there is some imitation, second section, now beginning in the alto Donec ponarn inimicos "While I make your
ruos; scabellum pedum enemies your
the first section is mainly homophonic. part. This section is also imitative. There ruorum fOO[5[ool."ll
The second section is more contrapuntal, are strong, regular rhythms and themes
with imitative entries. It begins with a that emphasize tonality. Vocal lines are In B~ major, the second movement is
new theme, in the bass line, doubled by often doubled instrumentally. for soprano solo, violins 1, II, viola, and
the organ. The third section of the organ. The expressive movement has florid

SI
@l
"/A

tJ
Allegro assai

Dix it Do-mi-nus Do
--- -mi-nus, Do - mi-no
melodies, ornamentation, chromaticisms,
and wide ranges (Figure 3). The lyricism
is enhanced by the flourish of rhythmic
groupettes. Contrasting dynamics are sup-
II
plied and add much interest, while the
S2
tJ I I steady continuo and strings support the
Dix it Do - mi-nus Do - mi - melody. There is an expressive, virtuostic
A
A cadence for the soprano soloist.
tll
Dix it 00- mi-nus, Do - mi-no me
- This movement is the soloist's conclu-
,. sion of the Lord's directive of the first
T movement: "while I make your enemies

B
" Dix it Do
~.
mi-nus Do

"
mi-no your footstool." With the small instru-
mental ensemble and expressive solo line,
the text is easy to hear.

Org.
"
V .;..
Dix it
~
Do-mi-nus Do
. Movement III
Virgarn virruris ruae, The scepror of your
" P
5 {Tas/o solo]
[nf)
5
f
(Tas/O solo] 5
3
6 9 3 4
2
6
5
3 4
2
emirrer Dominus ex sovereign might the
Sian: dominare in Lord will exrend from
media inimicorum Zion. The Lord says:
Figure 2. Opening statement of the chorus, Movement I marum. "Rule over your
enemies."12

ITill Andantino
';A r-- 6 ..,---, /L The third movement contrasts with
VIn.I the second movement in many ways. For
tJ L....J
,. ,
full chorus and orchestra, the effect is
Vln.II
ttJ· r ...-
-
"'-J 1--1
- ....... ........ ...........
powerful and moving. There is a dra-
matic and expressive use of dissonance.
While the main tonal area is the key ofD
VIa.
- --
~

r ---.. major, Leo uses minor keys, augmented-

----
-til-

Spp.
"
VII ~
sixth chords, and complex harmonies for
tension and dramatic effect.
-
~

r- ttJ r
~
-
V
:
sea - bel - -
. lum pe - dum tu -
-
- o - rum,
i""""'I
sea· MovementN
Tecum principium in Your princely power
Org

'"' r 1,......01 ~4
2
6 7 7 4 •
3
. die virruris ruae in
splendoribus sancrorum:
from rhe day of your
birth. In holy splendor

.;,.
~
/L
~ ~
.. .. .. ex urero anre luciferum
genui reo
before rhe daysrar,
like rhe dew I begor
you. 13
tJ
,. ,......, In virtuoso display, this movement is
tJ
~

- .,.. ~ ~
~

.,.. ~ ~
~

~
. . - for soprano and alto soli with strings and
organ accompaniment. This extremely
florid movement is in the key of G major.
r-
("r- - r---6- . .. ----~6- ,--6-----,
The violins and vocal soloists execute trip-
lets, trills, and appogiaturas. The organ
ttJ
bel - - - lum [pe)
. . -
•
- - - - - - -
provides a pulsating support with a con-
stant eighth-note beat.
:
'"'
- There are several striking effects. There
~ ~ ~

..... 6 6 L.,.....I
7
are contrasts in dynamics and echo effects
5 7
between different parts. Imitation is im-
Figure 3. Movement II (a) portant in this movement. Repetition

PAGE 12 CHORAL JOURNAL

L s
emphasizes the power of the words. The
insuumental pans have fermati, but the
vocal parts do not: it seems to be an
implied cadenza. The music is filled with
sentiment and personal emotion.
Movement V
Juravit Dominus, er non
poenirebir eum: Tu es
sacerdos in aerernum
secundum ordinem
Melchisedech.
De rorrenre in via biber, Who drinks hom me Royal College of Music score some time
proprerea exahabir brook by me wayside
capm. and mus holds high after the copy was made.
rhe head. IS In the key of A major, the movement
is dramatic and dissonant with chromatic,
Leo combines the fifth and sixth bibli- rapidly moving parts (Figure 5). There is
cal verses of the Psalm into this sixth much harmonic tension; yet there are also
movement. Although not specified for lyrical, ornamented solo lines. Points of
The Lord has sworn soloists, the movement is exuemely or- imitation are present, as well as contrasts
and will nor waver: nate and is probably intended for soloists.
"Like Melchizedek in dynamics.
you are a priesr "Quintetto only in 5 parts" has been
forever."14 added in pencil (in English) onto the

The entire movement is active, with

moving quarter-note runs, imitation, se-
III ...--..,.
-"fI
quential "spinning out" of the theme, sus- S1
~
pensions, and doubling of parts. There Ju - ra vit, ju - ra vit Do mi-
are two sections in the fifth movement. fI 1"'"0.
As in previous movements, Leo has set S2
~ -..;;;; I
certain words for emphasis, for example, Ju - ra vit, "*ju - ra vit Do - mi-nus,
in the first section (Figure 4), all vocal

.'..
fI
A
parts repeat the word "Juravit" ("has
~ "* p. r
sworn"). The repetition serves as a confir- Ju-ra- vit Do - mi - nus, ju - ra vit Do - mi-nus,
mation. fI

Movement VI
T
~
...
Ju - ra vit Do- mi-nus.
.. et non poe -
Dominus a dexuix mis,
confi-egir in dei irae suae
Ar your righr hand is
me Lord, who crushes B
~ ...
reges. kings on me day of r
Do - mi-nus, et non poe
Judicabir in narionibus,
implebir minas,
wrarh.
Who, robed in
splendor, judges Org.
I.- ..
Ju - ra
"Pc
vit
11> ...
oi -

conquassabir cap ira in narions, crushes heads I

rerra muhorum. across me wide earm. ""' 6 5
2
6 7 #6 5
4
3 5
4
3
6
3
5

Figure 4. Movement V

-"AJI." -fL .. .,ot.".

---
~ ~

Vln.I
~ ....... 1...-1 ""-l - ~'-""'" 11f

- - f ..
--
flJI..fI
~
.- .,ot._
V1n.I1
.. -
-
It! it-
~'-""'"
...
Via. I~
, ~
u

"fiJI, " r----- ~

~
u
S2 ~

-
It! 1...-1 ""-l r
0 - - - - - ni-bus, im - pIe - bit ru - i - nas.
~
AJI. "
u
A ~

It! li- p
it- -
0 - - - - - ni-bus, im - pIe - bit ru -
AJI. "
T
I I

"
I
0 - - - - ni - bus,

Org.
I.-

"'
- - ...
~6
4
5
#
JI,

~6
4
7
~~
~
i
u ~
-
6 -
-- 6 -
7

Figure 5. Movement VI (b)

OCTOBER 1998 PAGE 13

 Movement VII
Gloria Parri, er Filio, Glory be [Q the Father,
er Spirirui Sancro. and [Q the Son,
and [Q the Holy Spirit.
Sicur erar in principia, As irwas in rhe
e[ nunc, e[ semper, beginning, is now, and
er in saecula saeculorurn. ever shall be, world
Amen. witham end. Amen. 1G
Leo has set the Gloria Patri as a sev-
enth movement. The first section begins
in the key of D minor with the strings
and organ. With contrasts between soli
alto and soprano voices and rutti chorus,
between different dynamic levels, and be-
tween fast and slow sections, it is a dy-
namic concluding movement.
The fanfare-like arpeggiated theme re-
rums from the first movement. Through
124 measures of "Amen," the concluding
section is powerful. The music drives to
the end with hemiolas in the final mea-
sures for an exciting climax to the work.
Conclusion
The notes and the words of the Dixit
Dominus may have been last glanced at
by singers who had been taught to sing
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PAGE 14
them by Leo himsel£ While the perform-
ers of Leo's time may have known exactly
what he wanted, we must look at centu-
ries-old manuscripts and try to under-
stand his intentions, No autograph score
has been discovered, so the three extant
manuscripts are the only clues we have to
what Leo intended for his setting of Psalm
110. While there are some inconsisten-
cies in the copies, and some interpreta-
tion was required, the scores have enabled
this author to present a performable, mod-
ern edition of Leonardo Leo's Dixit Domi-
nus. It is hoped that the Dixit Dominus in
the key of F will be published and that
conductors will be able to present this
large work to their choirs for performance.
This Dixit Dominus is evidence that
Leo made meaningful contributions to
the development of sacred choral music.
There are other neglected works of sub-
stance by this composer, and further re-
search into his music seems warranted. In
addition to the many settings of the Dixit
Dominus, are Masses, motets, fugues, and
oratorios. There are three Miserere mei
Deus settings, three Laudate pueri settings,
a Pange lingua, Ave maris stella and other
titles too numerous to mention in this
article. For a catalog of sacred works, in-
cluding a numerical listing of each work,
see RalfKrause's 1987 dissertation on the
church music of Leonardo Leo.
NOTES
1 The Frank V. de Bellis Collection of the
California Srare University is a research
collecrion of Iralian civilizarion and
culture. Housed in the San Francisco
Srare University Library, rhe holdings
include rare music by various Iralian
composers.
2 Ralf Krause, "Die Kirchenmusick von
Leonardo Leo (1694-1744). Ein Beitrag
zur Musikgeschichre Neapels im 18
Jahrhunderr" (Gusrav Bosse Verlag
Regensburg, 1987).
3 Sharon Rae Shoblom Van Nesr, "Leonardo
Leo's F Major Dixir Dominus: An
Edition and Commentary" (D.M.A. diss.,
Universiry of Missouri-Kansas City,
1997).
4 Anrhony Lewis and Nigel Forrune, ed.,
Opera and Church Music: 1630-1750
(London: Oxford Universiry Press,
1975),391.
5 Richard John Bloesch, "The Eighreenth-
Century Iralian Magnificar: A Survey of
Represenrative Sertings (ca. 1700-1750)
With An Analysis and Edirion of Six
Works" (D.M.A. diss., University of
Illinois ar Urbana-Champaign, 1971),
187.
6 Graham H. Hardie, "Leonardo Leo (1694-
1744) and His Comic Operas Amor vuol
soJferenza and Alidoro" (Ph.D. diss.,
Cornell University, 1973),5 .
7 Willi Apel, Harvard Dictionary of Music
(Cambridge: The Belknap Press of
Harvard University Press, 1972),246.
8 Bloesch, "The Eighreenth-Century Iralian
Magnificar," 189.
9 Roben Doningron, A Pe/fonner's Guide to
Baroque Music{New York, 1973),291.
10 The rranslarions presented in rhis arricle are
by Ron Jeffers, compiler and annoraror
of Translations and Annotatiom of Choral
Repertoire (Corvallis, Oregon: Cascade
Printing Co.), 126.
11 Ibid.
12 Ibid.
13 Ibid.
14 Ibid.
15 Ibid.
16 Ibid.
17 Krause, "Die Kirchenmusick von Leonardo
Leo (1694-1744)."
-CJ-
CHORAL JOURNAL
Norman DelIo Joio's
Secular Choral Music:
Conversations with the
Composer
by Lee Egbert
I love the sound of choral music ... of voices in harmony,
and that to me is an ideal in which music the An can pit
voices in different lines that make a whole sound ... the
ethical thing involved here, the personal relationship
established with people making music together. It creates a
bond that no other An does. It's that miracle which happens
when you tell the central idea, with the complexities of
our Western music, making the whole function in terms
of pleasure for the individual within the choir, derived not
totally from the music, but [from] the establishment of the
relationship with another in harmony. I
Nomzall Dello Joio, 1989
For more than fifty years Norman Delio Joio (b. 1913) has
written prolifically for orchestra, solo voice with piano, cham-
ber ensemble, television and flim, concert and symphonic band,
ballet, and choir. He is a first-generation American born to an
Italian heritage of more than one hundred years of musicians-
composers and organists. (Pietro Yon, organist at St. Patrick's,
was his godfather.) Influenced by a family of church musicians
and by harmony and piano studies with his father, Casimiro,
Delio Joio became an organist in New York City. This liturgical
experience provided a profound sense of the aesthetic of chant.
This became part of his musical spirit, influencing both his
choral and instrumental compositions. His improvisation and
keyboard performance skills became increasingly known. Early
Lee Egbert is Director of Choral Activities at Colorado State
University, Ft. Collins, where he conducts the Chamber Singers
and University Singers. He is also conductor of the Alpine
Chorale, Denver, Colorado.
OCTOBER 1998
experiences in his musical memories include opera singers at
his home at all hours (Casimiro was an opera coach), organ
lessons with his father, the sounds of Catholic liturgy and New
York City Jazz. Jazz rhythms pervade his orchestral and choral
works and often serve as a backdrop for his melodic gift.
Delio Joio studied at The Juilliard School with Barnard
Wagenaar. From 1941 through 1942 DelIo Joio made a weekly
commute to Yale for study with Hindemith also. In Hindemith,
he found a kindred spirit who shared the strong belief that the
listening public should be considered an equal party in the
loop of shared musical experiences.
DelIo Joio notes: "Hindemith insisted that I be disciplined,
and I hated it at the time." Hindemith said, "You know there
are only twelve tones, and they must be treated very carefully.
You have this Italianate kind of heritage [so] don't deny it.
Don't shy away, don't try to sound modern [merely] to sound
modern."2
That hit me like a ton of bricks. And he talked about the
ethics of being a composer. It's not just self-indulgence. I
asked, "Do you ever write final sections prior to writing begin-
ning ones?"
Well, yes. I have the whole structure pretty much in mind
before putting down notes. If I were ro show you my
original score [one] couldn't make heads or tails of it. I
know exactly how I will treat the text, for example, in
Songs of Walt Whitman. I know final sections before
writing beginning ones. Yes. 3
DelIo Joio seldom works on more than one score simulta-
neously, except when writing documentary flim music and
ballet. The absence of indecision in his compositional process
PAGE 15
 serves well the discipline required to write
for specific timings. Sometimes tagged as
craftsman or a people's composer, he pro-
duces a musical language of strong emo-
tion, one that is straightforward, direct,
and from the heart.
His life of composition divides gener-
ally into phases of development and in-
terest, rather than periods. While he may
agree that those separate decades of and
following the 1940s, 1950s, and 1970s
signaled refined modifications and differ-
ent media, he also suggests that organiz-
ing his works into periods might be little
more than an exercise in untidy inven-
tion. His sryle changes are more easily
seen by grouping certain works into
phases.
The 1940s
Vigil Strange (1941), A Mystic Ti'um-
peter (1943), A Fable and A Jubilant Song
(1946), and Madrigal (1947) established
early a popular sryle. There is merit to
Baumgardner's insight that DelIo }oio co-
incidentally framed a trilogy usmg
Whitman's poetry for early, middle, and
late events of World War II. These works,
Vigil Strange, A Mystic Ti'umpeteJ; and A
Jubilant Song 4 explore respective combi-
nations of grief, hope, and joy, exhibiting
picturesque, sometimes impressionistic,
text painting. (Following Song ofthe Open
Road in 1952, he did not return to
Whitman until 1966.) Other choral char-
acteristics include use of syllabic settings
contrasting lyric melodies (especially in a
minor key), unpredictable yet logical har-
monic schemes, fast-moving rhythms, and
powerful accompaniments. Jubilant Song
contains fragments, thematic suggestions,
and organization that returns sporadically
throughout his later works.
The 1950s
The 1950s and 1960s were a time of
experimentation. Opera, television, mm
music, and several of his best-known cho-
ral works appeared. These years exhibit
his most varied writing. Song of the Open
Road (1952) and To Saint Cecilia juxta-
pose lyrical and driving melodies that call
us to adventure. Open Road's trumpet call
complements the text, "Hello, hello,
Whoever you are?" It shows an instinctive
prosody and demonstrates a highly imagi-
native style. Both works may be consid-
ered pivotal in his relaxation of formal
and contrapuntal techniques of the 1940s.
Shortly thereafter an increasing number
of tritonal chords and other extended har-
monic schemes began appearing. The
longer, yet faster-moving works of the
1950s begin to mark his style with an
even sharper (and sometimes busier)
prosody. However, in spite of an increas-
ing enharmonic tonal language with se-
rial chromatics, his works remain
primarily tonal in construction, melodic
in appeal, and they feature accompani-
ments that are interesting, strong, and
demanding. His shorter pieces increas-
ingly demonstrate a more compact,
clever craftmanship where repetitive in-
tervals ingeniously appear as motives
in miniature: examples include The
Bluebird (1950), Song of Affirmation
(1953), "Somebody's Coming," and "Sweet

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PAGE 16 CHORAL JOURNAL

L
Sunny.. (both from the 1950 opera, The
Tall Kentuckian), and Adieu, Mignonne,
When You Are Gone (SSA, both 1954).
Melodic narratives between paired voices
appear in tonal and bitonal settings, pro-
ducing elements of triadic and quartal
harmonies. An increasing number of com-
missioned works by both amateur and
professional groups helped confirm the
value of his compositions. Several of his
works were written for the Shaw Colle-
giate Chorale.
The 19608
A wider chromatic and more avant-
garde style begins appearing in his works.
Fantasy and Variatiom (1962), the serial
Colloquies for Violin and Piano (1963),
and the Emmy Award-winning Scenes
fi'om the Louvre for Band (1 964) are set in
a different medium that better serves a
more chromatic style. An intense sched-
ule of writing for film and television fails
to diminish his choral output, and major
Whitman settings appear during this de-
cade: Three Songs ofChopin (1964), Songs
of watt Whitman (1966), Proud Music of
the Stonn (1967), and Years ofthe Modern
(1968).
The last three are closely related to the
He is emphatic about not
subscribing to any
particular harmonic
system or ofbeing
enslaved to any
particular key.
deadline for that school's performing
group(s). The project's thesis was consis-
tent with his own well-known sentiment,
i.e., that music written for specifrc cir-
cumstances (or groups) could be written
for amateurs or professionals, in an acces-
sible language, and without compromise
of quality or craft. He speaks with pride
about CMP's success:
T • H • E
During the course of that project
about 75 composers were placed,
some of them very distinguished
names roday, such as Schickele,
Beglarian, Diemer. I think a great
many composers came out knowing
how to meet a deadline, and with a
sense of responsibility for whom
they were writing.'
The 19708
Dello loio continued a rigorous sched-
ule of writing during the years he served
as Dean of Boston College's School of
Music (1972-78). These works began
with Evocatiom for Chorus and Orchestra
(1970), along with several shorter works
of continuing popularity, including 'Of
Crows and Clusters and Come to Me, My
Love (both 1972), Leisztl'e (1973), Poet's
Song(1975), Notesfi'om Tom Paine (1975),
and As ofa Dream (1979). Each exhibits
mature, melodic writing of an unashamed
Romantic capable of artistic simplicity.
Here he seems to have bridged a style of
lyric simplicity and light dissonance.

OHIO Vocal Performance at

spirit of the earlier Jubilant Song, yet are
longer and noticeably more episodic be-
5WE
UNNERSI1Y The Ohio State University-
cause of the nature of Whitman's poetry. A Comprehensive Curriculum for Training the Choral Musician
Even those "la, la, la" passages first heard
D.M.A., M.M. in Vocal Performance and Conducting
in Jubilant Song (Dello loio's interpola-
Ph.D. in Choral Music Education ~ M.A. in Vocal Pedagogy
tions rather than Whitman text) express
B.M. in Vocal Performance ~ B.A. in Music ~ B.M.E. in Music Education
both the composer's love of dance and the
joy of singing so obviously inherent in FACUlJ'Y For information on 1998-99
Whitman's texts. Such nonsense syllables, Karen Peeler, voice, Noel Koran, director of audition process, contact:
heard also in To Saint Cecilia, attest to pedago gy, area head opera
Hilary Apfelstadt, Patrick O'Donnell, coach! Hilary Apfelstadt
Dello loio's willingness either to abandon coordinator of graduate accompanist phone: (614)292-9926
or interject text to secure a more emo- conducting Robin Rice, voice e-mail: apfelstadt.l @osu.edu
tional, direct expression. Moving to a freer Eileen Davis, voice Loretta Robinson, voice
harmonic treatment and relaxed structural Jinl Gallagher, pedagogy, PatrickWoliver, voice
use of both a melodic and harmonic director of choral
activities
tritone, his style waxes less Romantic dur-
ing these years yet remains very emo-
tional in an increasingly personal
language. He is emphatic about not sub-
scribing to any particular harmonic sys-
tem or of being enslaved to any particular
key.
In 1964-65 he was appointed Chair-
man of the Contemporary Music Project's
(CMP) "Project Policy Committee" that
placed young composers in selected school
systems to write specifically and with a

OCTOBER 1998 PAGE 17

These twelve-tone and polytonal sounds
used in a controlled manner alter his style
little more than to color his tonally based
musical style of the 1970s and 1980s.
The 1980s and 1990s
Written in a relaxed but emotionally
direct manner, his recent works, such as
the very romantic Love Songs at Parting
(1982), are among his personal favorites
and are set to his own text. Of them he
says, "They're very beautiful. They make
people cry."6
I Dreamed of a City Invincible and A
Proclamation (both 1990) and his recent
Whitman-like Song; ofMemory (1995) all
feature text solely by the composer, who
notes his debt to Walt Whitman. In Songs
of Memory Dello Joio observes a nation
undaunted by its failure to fulfill its des-
tiny. He writes sadly yet warmly with
harmonic introspection that is less circui-
tous than in earlier works. The last move-
ment ("My City") contains a return to his
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PAGE 18
familiar "la, la, la" refrain, which also ap-
pears in his 1995 Songs ofMercy and The
Quest.
Published in three separate movements
(I. "The Oak Tree," II. "Love Song," and
III. "My City"), Songs ofMemory summa-
rizes some of the warmer elements of his
earlier styles. He breaks no new ground
here but suggests that Whitman's proph-
ecy still remains a challenge to mankind
(and composers). From acknowledging
the "oak tree" standing alone and the
"reaching for the sky" of our own fledg-
ling democracy, to the more enigmatic
"Love Song" (reminiscent sounds of Come
to Me, My Love), and finally to "My
City," where he speaks of a "City no longer
oEJoy," the composer poses the question:
"Where have you gone with the dreams
of a boy?" Each is compelling and des-
tined to become popular. Except for The
Quest (from Edgar Allen Poe), all the texts
used thus far in the 1990s are his own.
5TH B lEN N I A L
GOLDEN GATE
International Children's
Choral Festival
Robert Cean), Artistic Director
June 21 - 26, 1999
Warm hospitality in beautiful
Northern California.
Competitions in general,
folk/popular, and contemporary
music categories.
Applications due Nov. 1, 1998.
401-A Highland Avenue
Piedmont CA 94611
Tel: (510) 547-7721
Fax: (510) 547-7449
e-mail: singers@hooked.net
website: www.hooked.neti-singers
Delio Joio's Poets,
Short Works, Mottos, and
Text Painting
Several of Dello Joio's more emotional
and personal works are set to the poetry
of Christina Rossetti, Vachal Lindsay, John
Payne, Richard Hovey, Robert Hiller, and
John Dryden. In spite of his preference
for the musical references in Whitman's
poetry, however, he is quick to name his
cantata, To Saint Cecilia, from an adapted
text of Dryden, as another of his favored
works. Of his secular works twelve of them
(and often the largest) are adapted from
the poetry of Whitman. These include:
Vigil Strange, A Jubilant Song (from
Whitman's "Songs of Joys"), The Mystic
Trumpeter, Song of the Open Road, Songs
of Walt Whitman (I, II, III, IV), Proud
Music of the Storm, Song of Affirmation
(recast from his Symphony for Voices and
Orchestra), lean of the Modem, Sing a
Song Universal and I Dreamed of a City
Invincible, The Proclamation, and The
Vigil.
Dello Joio acknowledges an early pref-
erence for Whitman texts and musical
allusions-his "singing" vision that pro-
claimed the destiny for mankind. For
Dello Joio, Whitman insists that music,
and especially singing, provides that great
moral force that embraces us all in a spiri-
tual and social democracy. Whitman's
words, "Come on, come on, Whoever
you are. Corne travel with me," epito-
mize the poet's challenge to look to the
future. In speaking of the beauty and po-
tential inherent in a Whitman text, the
composer says:
He epitomized In terms of his
writing a transcendental envelop-
ment of mankind. In orher words,
he had a vision in terms of man.
And everything-every human
being was significant to him. He
wasn't being judgmental. And [to
him]music wasn't judgmental ...
[it is] rhe Art which is trying to
make a statement whereby one
knows somerhing truthful is being
said; when you bring to the central
rhought of rhe poet like Whitman
rhe dimension emotionally rhat this
vision gives-is somerhing rhat no
other An can do?
CHORAL JOURNAL
............................--------------
~
Three strong characteristics of the
composer's style result from (1) the natu-
ral inclination toward melodic line (the
music of Puccini and Verdi are emotional
favorites), (2) an acute, often humorous
sense of prosody, and (3) an ever-present
bass line.
I take great care that when I write,
I try to set everything so that each
[choral] line is very clearly [and]
distinctly delineated so it has its
place toward completing the idea. S
Several Whitmanesque call-like words
of periodic appearance in DelIo Joio's
works provide him with near career-long
"mottos" (the composer's word), ulti-
mately becoming motivic. Two obvious
examples of the composer's prosodic re-
sponse to Whitman's lines are found in
Open Road (Figure 1) and Jubilant Song
(Figure 2). These well-defined, syllabic
mottos often appear set against an homo-
phonic accompaniment, in alternation
with fuller textures, or functioning as a
motive in a longer line. Moreover, these
mottos are easily employed imitatively
throughout the texture. Several notable
melodies, especially in his Whitman set-
tings, show an obvious pentatonic em-
phasis by ignoring the seventh scale
degree. And in DelIo Joio's hands an an-
gular, powerful style derives from this con-
struction that, with an aggressive
accompaniment, suggests open spaces and
bold adventure.
I never fracture words. I think very
much in terms of prosody. As a
matter of fuct, my ideas (very often)
come from the rhythmic inflection
of the prosody. With the opening
of Open Road, in setting the natural
inflection of the word, there is no
mystery, no groping for clariry, no
pretense in its setting. Take "Lis-
ten" (from}ubifantSonJj. That has
already determined what I would
do. It's the way one says the word. 9
Both mottos shown above later appear in
their respective works as more fully devel-
oped main themes, as well as transformed
melodic construction in other works. The
resemblance of melodic motives in Fig-
ures 1, 2, and 3 is more than passing. The
OCTOBER 1998
texts found in Figures 1, 2, and 3 are all
Whitman senings. Taken as a whole, the
similarities in these combined melodic
motives constitute a recognizable stylistic
signature. A final relationship of melodic
motives and accompaniment and voice
line may be seen in Figures 1 and 4,
energized by DelIo Joio's own "la, la, la"
text.
DelIo Joio returned to Whitman's po-
etry in Songs ofWalt Whitman as a reaffir-
mation of his faith in Whitman's capacity
for expressing the inexpressible. Its four
movements are published separately: (I)
"I Sit and Look Out," (II) The Dalliance
of Eagles," (III) "Tears," and (IV) "Take
Our Hand, Walt Whitman." Of the
Whitman texts set by DelIo Joio, only
that employed in "Tears" is unaltered.
Each movement features somewhat wider
than usual splashes of chromaticism while
still providing a tonal framework for
voices. In concerto fashion, the moods of
each movement are alternated successively
as movements I and III deal with aspects
of grief and regret, and movements II and
IV exude hope and joy. The 1970 Evoca-
tiom contained two separately published
movements, "Visitants at Night," and
"Promise of Spring." The latter, as a state-
ment about the war in Southeast Asia,
calls for a very singable and exciting des-
cant-like two-part chorus of a young
people's high-school chorus. Preferably the
youth chorus is to be scattered through-
out the audience for their part. This a
powerful work scored for both concert
band and orchestra.
In both movements of Evocations fre-
quent harmonic and melodic turns of
phrase generate from chords whose roots
are a tritone apart, e.g., an H-major triad
Figure 4. AJubilant Song, mm. 127-129.
Come to me
PP
B . u
Come to me
Figure 5. Come toMe, My Love, mm. 12-13.
stacked and inverted on a C-major chord
either successively or simultaneously.
(Similar bitonal writing appeared earlier
in his instrumental and solo keyboard
writing, becoming a stylistic sound in his
tonal language.) Melodic fragments of
these tritonal chord configurations also
may appear in either choral parts or ac-
companiment. This enharmonic writing
appears forbidding but is singable and
effective-reiterating his insistence "that
student and adult performers can deal
with the challenges of contemporary cho-
ral music when written with care and
restraint." 10
Aside from the Hovey poem of Evoca-
tiom, other non-Whitman poetry also of-
fers intimate attention to mood expression
and sensitivity. The sensuous first-line
opening of Come to Me, My Love (Figure
5) appeals to both direct and a more sub-
liminal poetic reference of yearning.
Bass
ffi p a tempo
r:'p ~ prHel-lo! Hel-lo! Who-ev-er you are,
Figure 1. Song ofthe Open Road, mm. 13-14.
Lis - ten to a ju-bi-lant song, _ __
Figure 2. A Jubilant Song, mm. 53-54.
Alto p -===
[~ - t J IjM" )p~,_))lt I
I give you my hand. _ _ __
Figure 3. Song ofthe Open Road, mm. 158-
160.
in the night, _ _
."---'"
in the night, _ _
PAGE 19
 In contrast to the halting, intimate style and written in mock style. Initially con- opening two measures feature a bass line
of Figure 5, a more direct writing appears sidered too difficult by the publisher, the ostinato, although the work is ultimately
toward the end of Come To Me, My Love composer added supportive yet sparse ac- through-composed and sings as such. At
(Figure 6). Dello Joio has released an un- companiment, providing the work with times reminiscent of the swagger heard in
bridled Romantic statement in the sim- more manageable sections of vocal parts. Of Crows and Clusters and other works,
plest of scalar passages. The melody is Here is the story of a mouse who began Fable is shifting and harmonically pro-
joyfully repeated in harmonic thirds. his task in life-that of gnawing the oak vocative in combining both major and
Interspersed throughout his career, tree down. Presented first in imitation, relative minor keys simultaneously. The
other smaller works of wonder, wit, and the "mouse" appears in the narrative parallel choirs at "the forest rooflet in the
sharp vocal characterization reveal his in- through paired voices (SIT andNB). The sky" provide another example of colorful
genuity with forms where dramatic sto- poem's namesake is first revealed homo- text painting making this work masterful
ries must be told. These storied and often phonically, followed by unison octaves and in both insight and expression.
madrigal-like works are accessible and a subsequent fanning out to an F-major The triplets in Madrigal (1947) pro-
well-written. His insights into the rela- chord. That he "began his task early in vide motion yet relax into a combination
tionship of text, voices, and accompani- life" is then repeated until the women's of homophonic duple and triple rhythms
ment become readily apparent. These voices complain "he had not time to take to serve a syllabic texture. Common two-
short pieces encourage younger singers. a wife." Men's voices, of course, explain part imitative writing (SIT and NB)
His capacity for vocal dramatization, text away in uncertain, if not resentful, hu- quickly becomes predominantly homo-
painting, and syllabification, which ap- mor that their acquiescence lies in the phonic in this setting from a Christina
pears in sharper focus in his shorter works, fact that "he kept so busy with his teeth." Rossetti poem. Its text-"when I am dead,
reveals his career-long affinity for sensi- DelIo Joio suggests the light tenor solo my dearest, sing no sad songs for me"-is
tive text settings. effectively could be sung in a tiny, mock- both nostalgic and sad. It is more musi-
The intense, witty, and fragile A Fable like voice. (The obvious characterization cally restrained than either Fable or Of
was adapted from Vachel Lindsey's "The of Fable encourages us to see similar Crows and Clusters, exhibiting a reaching,
Mouse That Gnawed the Oak Tree Down" dramatic potential in other works.) The yearning melody similar in spirit to Come
to Me, a choral gift dedicated to his wife,
f con illtellsitli
Barbara. The accompaniment in Madri-
s
gal is more interlude-like than consis-
Yet corne to me in dreams that may live my life a - tent and sparsely frames DelIo Joio's
COil illtellsiui
f enharmonic yet tonal writing. At the cli-
A matic text "I shall not hear the nightin-
Yet corne to me in dreams that may live my life a - gale singing as if in pain, as if in pain,"
the emotional, compelling writing is set
Figure 6. Come to Me, My Loue, mm. 36-37.
in close block and parallel seventh-chord
~ _ '"" J ~
harmonies.
, , '<dJ - NEW ER@Nf S<B.tm.E~R@Mrl?RESS ~
Form and Design
A BEGINNING SINGER'S GUIDE DelIo Joio's secular choral works reveal
a general preference for tripartite, or gen-
Richard Davis
erally rounded, designs. The composer
1998 224 pp. 0-8108-3555-X $45.00 cloth 0-8108-3556-8 $26.50 paper more aptly responds to the potential for
This new vocal pedagogy has four practical uses: sensitive mood swings, text painting, and
• A collateral text for studio voice lessons. the sense of drama inherent in the text.
• A primary text for undergraduate vocal pedagogy classes. His intense involvement in shaping (i.e.,
• A practical guide for new voice teachers.
adapting) texts produces a wide range of
• Exploring subjects not usually covered in music pedagogy books, such as notes
on working with a pianist, improving memory, common acting terms, subtexting, designs. Most texts are subject to at least
and methods for alleviating performance anxiety. minor adaptation on his part. It is note-
worthy that all of Whitman's poems set
The sequence of the book follows the natural sequence of learning to sing. The
book is rounded out with line ao."1 of the vocal mechanism, musical examples, by DelIo Joio are drastically altered. Com-
tables outlining the musculature of singing, practical forms, and a bibliography. paring original Whitman texts to DelIo
Richard Davis (Baritone, D.M. in Music Performance, History, Literature and Pedagogy, Joio's textual adaptations, however, con-
Indiana University) is an Assistant Professor of Voice at Pittsburgh State University. He has sistently reveals the composer's overriding
sung with regional symphonies and opera companies in Atlanta, Rochester, Columbus, concern for shaping dramatic import, pre-
Wolf Trap, Chautauqua, and New Orleans.
serving the spirit of the text, and melodi-
. . To order, call 1-800-462-6420 cally finding the best syllabification. Thus
~ Scarecrow Press. 4720 Boston Way. Lanham, MD 20706 a greater role in shaping the w6rk's formal
design and characterization is assumed by

PAGE 20 CHORAL JOURNAL


Dello loio. Whether setting or adapting
larger or smaller, more manageable texts,
he ultimately seeks opportunities for well-
crafted, expressive text painting. When
guided by a lengthy original text or ad-
venturous interpretation, he often em-
ploys a sectional or "episodic" design
featuring an obvious return or further the-
matic development. Double bars or tempo
and mood changes often separate these
sections, resulting from Dello loio's inspi-
ration either to reassemble or re-write the
poetry. Such sectional changes often are
dramatically introduced with compelling
rhythmic accompaniments that flow with
ease into and imaginatively support the
vocal parts. Regardless of whether motivic
material is returned, a "through-com-
posed" effect usually is felt. This frequent
multi-section structure then offers the
potential for wide narrative characteriza-
tion as the work unfolds dramatically.
Normal imitative devices (augmenta-
tion, diminution, etc.) usually serve a va-
riety of textures. In the 1950s and 1960s
his favored homophonic, syllabic settings
were interrupted by two degrees ofimita-
tion: those ofshort dialogue between char-
acters or voices and transformed primary
melodies.
Accompaniments
Of his more than forty choral works,
most require some kind of accompani-
ment, usually keyboard. Longer works,
and especially Whitman settings, often
indicate keyboard or some combination
of brass (and percussion). Woodwinds are
used (thus far) only with strings and usu-
ally in larger works. While his accompa-
niments are varied, they consistently: (1)
share in motivic manipulation, especially
in imitative textures; (2) support rather
than dominate choral textures, except
when appearing as introduction or inter-
lude; (3) exhibit strong rhythmic inde-
pendence, he! ping produce an
ever-changing depth of textural perspec-
tive; (4) share an equal role in dramatiz-
ing the text and its potential for text
painting. Sharing the role of textual char-
acterization, thus, his accompaniments
may be intermittent, providing both sup-
port and dramatic commentary.
I don't have instruments going all
the time . . . bur rather a purely
OCTOBER 1998
practical use in my mind. Many
non-professional groups sing [my
works], and I use the accom-
paniment in terms of giving them
something to hold onto while not
dominating the texture. [I] arrempt
not to overwhelm the chotus [with
Saint Cecilia, for example].11
His keyboard accompaniments are of-
ten demanding (and he can play every-
thing he writes) yet idiomatic for the
instrument. Dello loio is quick to suggest
substitution of keyboard accompaniment
if other prescribed resources are unavail-
able. For him, a creatively altered perfor-
mance of his (or anyone else's) music is
better than no performance at all due
merely to a lack of composer-prescribed
accompaniment.
Other Style Traits
In retrospect, his stylistic development
appears in conrrast to younger composers
who moved in mid-century toward a mild
avant-garde expression seemingly in search
of a style. With Webern and Schoenberg's
influence in the early decades of the twen-
tieth century and Stravinsky's increasing
change to a semi-serialism, Dello loio's
musical language appears conservative (to
an extent, along with Barber, Schuman,
and others). His is an expanded conserva-
tism, however, because of a language that
ranges from a quartally altered tonal style
to outright serial construction (found in
several significant orchesrral and keyboard
works). Perhaps that very facility inspired
the consistency of his style in the decades
just after mid-century. His body of choral
compositions provides important works
of undeniable, unpretentious quality.
There are many dissonances in what
I write, but they're not there
capriciously ... [they are there] to
create more tension, to release more
tension. In rwelve-tone writing I'm
writing not in keys bur rather
tonalities, which keeps me from
being enslaved to a key. I start in
some keys, end in others. I can see
some twelve-tone composers being
very faithful to their system, and it's
perfeccly logical on paper. Bur rarely
am I moved to use such a system. 12
In whatever way posterity might de-
scribe his style, the heart and soul of his
choral music combines a proclivity for
powerful, descriptive poetry and the abil-
ity to capture and portray musically those
emotions and special characters. His craft
is remarkable enough to mark his choral
output as enduting and significant. His
style is direct and compelling and features
a highly charged combination of stylistic
elements from most corners of this cen-
tury that simply sound like "Dello loio."
That's the nature of my style of
writing. It's entirely charged with
emotional relationships to the text
(in discussion of a Whitman text).
Take the lines "0 to realize space,"
"sing, dance, exalt"-these are only
words. Bur when music comes into
the picture it epitomizes for me
everything that one is feeling to an
exuaordinary extent. Even with its
complications, it can say something
very fundamental all the time; and
I derive (emphasis his) my feelings
as a musician from this central
thought that brings what I believe
only music could· do. And that is
bring the un-expressible to the
expressible. 13
He urges us to get inside the music
and not shy from expressing the senti-
ment suggested by the poem and its tex-
tual mood. He has few inhibitions where
the employment of our creative and in-
terpretative possibilities are concerned. For
example, he suggested that some (of his)
music could be effectively choreographed
if desired; that expressing sentiment is
not banal and ultimately practicing the
process may deliver us to a dramatic truth;
that his popular Psalm of David might
serve a compendium to his style; that
Jubilant Song is usually taken too fast;
that he prefers writing about high spirits,
and the ideals of mankind.
Dello loio constantly emphasizes his
love and concern for others. For conduc-
tors of this and the next century, he urged
that:
They [we] refrain from trearing
contemporary choral music with the
kind of reverence that means they
[we] perform it with a meuicality
that impairs phrasing, breathing,
PAGE 21
 CURRENT CATALOGUE OF CHORAL WORKS
For this survey, both selected secular and' popular sacred works . are TIored. Publisher"
http://www.ChoraIWeb.com abbreviations: .GS-G. Schirmer;CF-Carl Fischer; EBM-Edward B. Marks; AMP-
(208) 882-6760 Associated Music Publishers; TP:""":Theodore Presser. Note: All. o~tavos published by GS,
EBM, and AMP areavai13.ble only through Hal Leollard. . .
Choral Music Through the Internet
View, Usten, Purchase and
VOICING'
Download Choral Music over
SATB Merryrnount'
the Intemet
SATB, french hoin GS
New this fall .... SATB,pi:lll0 c::F
Solo Vocal Music and Handbell Music SATB,SSA< GS
SAtE, piano CF
SATB, strings, orass
SATB,piaito
and the bending of the phrase. They
SAT~, pianolirp.
[we] should simply treat music of . SA-TB,orchesrra
contemporary composers as music SATB,piano
and approach it as they would any .SATB, otchesrra
other piece of music they liked. 14 SATB, piano'

NOTES
I Norman Dello Joio, taped interview by
author, 1989, East Hampton, NY.
Pulirzer Prize-winning composer Norman
Dello Joio was honored at the 1989
National ACDA Convention in
Louisville, Kentucky, where rwo
performance sessions of his music
provided an exciting review of his
contribution to American choral
composition in this century. Along with
Barber, Copland, Piston, and Schuman
as "Artists Who Create the Nation's Besr
Serious Music" (National Observer),
Dello Joio is nored as one of America's
important composers in this century. His
comments quored here were graciously
given and taped at the composer's home SATB; piano
where I enjoyed the kindest hospitaliry .. 4-hand or orchestra'
SATB,brass &" perc.
of Norman and Barbara Dello Joio.
SA'fB, brasS & organEBM
2 Norman Dello Joio, raped interview by SATB,orchestraor
author, 1989, Easr Hampron, NY. piimo
3 Ibid. SATB,piano .
4 Thomas Baumgardner, Norman Delio Joio SATB, piano
SATB, rrumper
(Bosron: Twayne Publishers, 1986),30 £
SATB,.piano
5 Norman Dello Joio, raped interview by SATB, piano
author, 1989, Easr Hampron, NY. SATB, cantor;
6 Ibid. congregation,
7 Ibid. organ 'AMP
8 Ibid. SATB; cantor,
"congregation,. organ AMP
9 Ibid.
SATB, orchesrtaM.1P
10 Ibid.
II Ibid. SATE, piano AMP
12 Ibid. SATB; orchestra
13 Ibid. SATB; piano
SATB,band
14 Ibid.
Si\TB, piano
-C]- SATB;piano

. SATB,.pi:lll0
.' .TTBB; piano

PAGE 22 CHORAL JOURNAL

................................................
~

CORAL RIDGE PRESBYTERIAN CHURCH

FORT LAUDERDALE, FLORIDA
TWENTY"" FOURTH ANNUAL

CHURCH
MUSIC
EXPLOSION
JANUARY 1999 6~10,

FACULTY AND WORKSHOP FEATURES

• Alice Parker opens the annual Church Music Explosion with one of her
well-known and wonderful "hymn sings." In addition to her hymn sing,
Miss Parker will teach classes on composition and arranging for choirs.
• Allen Crowell will teach classes in choir techniques and conducting.
• Acclaimed virtuoso organist, Olivier Latry, Titular Organist of Notre Dame
Cathedral in Paris, France, will teach masterclasses and workshops. Olivier
will conduct four master classes on repertoire, as well as playa concert
on Friday evening. Resident organists of Coral Ridge Church will teach
service repertoire and service playing techniques.
• Madeline Bridges will teach the classes on children's choirs-teaching
techniques, voice building, repertoire, etc.
• All facets of youth choirs will be taught by Terry Goolsby.
• Classes in the art of handbell ringing and the Performing Handbell choir
will be conducted by Arnold Sherman.
• Robert Rucker will prepare and lead the daily chapel services for the CME,
as well as teach classes in the philosophy and practice of church music,
hymnody and drama, as it relates to contemporary church musicians of
all worship traditions.
• David Schwoebel will teach classes in piano and choral arranging.
• "Meet the Composer" sessions will highlight the personalities and the
music of Alice Parker, Randol Bass and David Schwoebel.
• Closing "Festival of Praise", conducted by Allen Crowell, features the com-
bined Coral Ridge Chancel Choir (John L. Wilson, Director of Music) and
workshop choirs, brass and handbells. Repertoire will include "Gloria" by
Randol Bass, and conducted by the composer.
• Five Choral Reading sessions, fellowship, wonderful food, Florida sun,
AugsburgiFortress Bookstore, exhibits, and much more.
The Choral Music of
Hugo Wolf
by Peter Pocock
As a child, Hugo Wolf (1860-1903) loved celebrations.
One of his favorite festivities, the evening of Epiphany, in-
volved the children dressing in costumes representing the Kings
of the East and traveling from door-to-door singing for coins.
Wolf later employed the song they sang, a Styrian Christmas
carol, as the predominate theme of his choral/orchestral work
Christnacht (Night of the Christ Child) (no opus). The young
Wolf grasped the idea that music could dramatize and convey
thoughts through language. Eric Sams writes:
Wolfs mind was early concenuated on musical techniques
of characterization and aunosphere as well as expression.
His creativity was deeply divided between the large-scale
forms such as opera, tone poem, symphony, and the
smaller song-forms perfected by his great predecessors. 1
Music historians later connected Wolf with Schubert and
Schumann as one of the finest composers of the solo song.
Wolf's creative output, however, encompasses several genres
other than the Lied. His compositions include piano works,
accompanied and unaccompanied choral music, opera, sym-
phonies, chamber music, and large choral/orchestral works.
His choral writing, covering three periods of creative activ-
ity, features, among other compositional devices: homophonic
Peter Pocock, Director of Music Ministries at the United
Methodist Church of Valencia, Valencia, California, received
the Doctor of Musical Arts and Master of Music degrees in
Choral Music from the University of Southern California. Dr.
Pocock has conducted and lectured throughout Australia,
England, Canada, and the United States.
OCTOBER. 1998
and syllabic text setting, limited repetition of phrases, voice
pairing, selection of the best poetry, sensitivity to the text as a
basis for form, chromatic inflection, and extreme dynamic
contrast. Wolf's interest in choral music stemmed from a back-
ground in church and school choir and a logical extension of
his fascination with German poetry and song. The numerous
choral works he composed reflect his attraction to that me-
dium, beginning with his experimentation in choral composi-
tion during his student days.2
The Student Years (1875-76)
This short period produced over forty-five compositions,
including piano works, a symphony, numerous songs, an op-
era, and almost a dozen choral pieces. Choral settings of two of
his songs, based on texts by Goethe, number among the earliest
of these student compositions: wanderfied (Wanderer's Song),
op. 4, no. 1 (1875, lost) and Aufdem See (On the Lake), op. 4,
no. 2 (1875, lost). The following year he wrote Die Stimme des
Kindes (The Child's Voice), op. 10, for male chorus with piano
accompaniment. At the request of Wolf, Hans Richter, a con-
ductor of opera, offered him some practical advice on the
composition. He then reset the work for mixed chorus and
plano.
That same year (1876) he wrote three other pieces for male
chorus: 1m Sommer (In Summer), op. 13, no. 1; Geistesgruss
(Spirit's Greeting), op. 13, no. 2; and Maified (May Song), op.
13, no. 3; and dedicated them to Philipp Wolf (his father).
Then followed wanderer's Nachtlied (Wander's Night Song) (no
opus) (lost) and Die Schone Nacht (The Beautiful Night) (no
opus) (lost) also for male chorus; together with 1m Stiffen
Friedhof(In the Quiet Graveyard) (no opus); Froh/iche Fahrt
(The Merry Journey), op. 17, no. 1; Grablied(Grave Song) (no
PAGE 25
Kapellmeister Choir Stools opus); and Gottvert1Yluen (Trust in God) works than he did in his songs and his
, __ Custom Designed & Built (no opus) for mixed chorus. later choral works.
In these student works, regarded by In 1878 Wolf commenced his first
Choir Stools many as immature, we see the "Wolf of composition for soli, chorus, and orches-
the Lied" as we know him today. Wolf's tra, Die Stunden Ven-attschen (The Hour's
early compositions reveal at least three Rustle By) (no opus). He never completed
significant features: his keen interest in it. Scored for soprano and tenor soloists,
the text, his choice of quality poets and four-part mixed chorus, and large orches-
poems, and his use of chromatic inflec- tra (3222 4230 percussion and strings),
Kapellmeister Enterprises, Inc. tions as a coloristic device. He used chro- the manuscript ends at measure 173 with
59932 Tamarack Dr.• St. Helens, Oregon 97051-(503) 397-4773 maticism to a lesser extent in his earlier only half the words set.
In the spring of that same year he met
Vally Frank. Wolf fell instantly in love.
For Vally, however, love did not go so
deep. She liked to be courted and wooed,
Recently published by popular demand, but never wished love to become a source
A CAN£4£4 FOR EASTER AND ASCENSIONTIDE: of pain or grief She had no use for con-
stant self-sacrificing love. Despite Wolf's
THE unusual and sometimes objectionable de-
meanor, a strange and unstable relation-
RESURRECTION ship developed between them, lasting
almost three years.
AND ASCENSION The Post "Frank" Years
OF OUR LORD (1881-1883)
In late March or early April 1881 Vally
Words and Music by Canadian Singer and Composer Frank wrote to Wolf terminating their
REX LE LACHEUR three-year relationship. Wolf suffered in-
tensely. Walker comments:
This melodious setting of the Easter story from the arrival of
the women at the empty tomb to Christ's triumphant ascension Almough he had not seen Vally for
into heaven is scored for organ and piano, SATB chOir, me past six monms he was so far
a combination of four female and three male soloists plus a spoken
from forgetting her mat me shock
Evangelist. Several shorter sections within the work are suitable
for use independently during Easter or at other times of the year. of his dismissal almost drove him
out of his mind. Heartbroken, he
During his lifetime the composer had over 100 published works, packed up wim tears her letters and
both sacred and secular. As a singer, voice teacher and choral a few pitiful souvenirs and posted
director, Rex Le Lacheur was dedicated to providing music that mem to Vally, receiving in return
would satisfy his singers and move his audiences. his own letters to her, which he
This Cantata is a wonderfully spiritual experience and has been
burnt. 3
performed in Christian Churches of all denominations.

Available in il1usic Stores across Canada A few days later Wolf set six Eichendorff
$7.95 a copy. $5.50 in u.s. currency poems for mixed chorus. The deeply mov-
ing Sechs Geistliche Lieder (Six Sacred
Each order includes one CD or one cassette
Songs) (no opus) reflect the pain and suf-
Ont: Leslie Music Supply Inc. Oakville (905) 844-3109 fering he was feeling at this time. The
St.]ob/l's ii'Iusic lld,TolVnto (416) 785-5000. Granata Music, Ottawa (613) 727-0727 choruses form a cycle "within the frame-
Que: Arcbambault Musique, Montreal (514) 849-6201
Nfld: Fred's Music, St.]ob/l's (709) 753-9191. N.S: Lawley's Music Stand, work of declaration, Aufblick, and a reaf-
Halifax (902) 455-1928. N.B. Monis Music, St.]olJn (506) 672-5556 firmation, Erhebung, of religious faith."4
M"n: Canadian Choral Centre Inc., Winnipeg 1-800-665-8995 In the next to last piece in the cycle,
S&lSk: Cobb Swanson Music, Regina (306)56~3255 Ergebung (Submission) (no opus) Wolf
Alta: Scott's Music Centre Ltd., CalgaJJ' (403) 24~9 191. finds solace and submits to the will of
Rideau Music Ltd., CalgaJJ' (403) 26~6062. Oliver Music Co. Ltd., Edmonton
(403) 454-3594. B.C. Ward Music, Victoria (250) 385-3413 God:
Ward ii'Iusic, Vancollver(604) 682-5288.
Thy will, oh Lord, be done!
The land is dark and silent. -

PAGE 26 CHORAL JOURNAL

~""""""""--------------------~1
In the swirling winds with
shuddering,
with shuddering I behold your
hand.
0, take pity on us sinners,
take pity at the judgment!
In deepest pain I bow,
In deepest pain I bow my face to
the dust!
Thy will, 0 Lord, be done!
Walker concludes "this was the piece
which was sung behind the altar of the
Votivkirche, with shattering effect, as
Wolf's own mortal remains were con-
signed to the earth after intolerable suf-
ferings."5
The Sechs Geistliche Lieder end with
Erhebung (Exaltation) (no opus):
Let the surf come in and break as it
desires,
you need only say one word,
and the abyss becomes still.
And breaks the last bridge,
to you, faithful who stand,
prayer alone lifts me above hardship
and happiness.
The text affirms the power of prayer to
heal the wounds oflife.
Despair still evident in his life in Sep-
tember 1883, Wolf writes to a friend,
Henriette Lang:
Oh, I shall learn yet to despise
mankind, and with good reason.
Lies and deceit, professional
jealousy, against which the devil
himself cannot make his way, turn
our to be my dear, kindly disposed,
helpful, self-sacrificing friends. 6
The subconscious limitations of these
years of indecision reflect in Wolf's re-
duced output. In addition to the Sechs
Geistliche Lieder, he composed only a
handful of songs, a canon, and W"ahfspruch
(Motto) (no opus) (1883?, lost). Late in
1883 he again turned his hand to com-
posing for orchestra. Penthesilea (no opus),
a symphonic poem after the tragedy of
Heinrich von Kleist, was completed in 1885.
OCTOBER 1998
The Years of Fulfillment unfinished), Der Feuerreiter (The Phan-
(1886-92) tom Rider) (no opus) (1888, orchestrated
A rich output of songs and numerous 1892), E/fenlied (Fairy Song) (no opus)
choral/ orchestral works characterize the (1889, orchestrated 1891), and Dem
years of fulfillment. Vater/and (The Fatherland) (no opus)
In the winter of 1886 Wolf began his (1890, orchestrated June, 1890, revised
first major choral/orchestral work 1894, 1897, and 1898).
Christnacht (Night of the Christ Child) Christnacht takes its text from a com-
(completed 1889). Then followed plete poem of the same name by August
Wiichterlied aufder W"artbUlg(Watchman's Graf von Platten (1796-1835). Wolf's
Song of Wartburg) (no opus) (1888, friend, Friedrich Eckstein, suggested that
proud(1' prl'selll.~
is an unforgettable artistic experience!
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Mar 28 - 31 Hungary 7'h In!,1 Choir Competition. Budapest
Apr 6 - 11 Italy lSI Int'l Choir Festival Grado. Adria
Jun 3-6 Germany 2nd Int'l Mendelssohn-Bartholdy Polhcilll
Jul I-4 Hungary Int'l Music Festival Eger (Competition
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.Jul 2-6 Hungary Int'l Gospel-Festival Eger Budapest
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Jul 14 - 18 Italy 2nd In!,1 Choir Festival" Giuseppe Verdi.
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PAGE 27
 Wolf should "write a work similar in its
festive mood to Johann Sebastian Bach's
Christmas Oratorio."7 He started sketch-
ing the parts on Christmas Eve, 1886.
Wolf wrote to another friend, Oscar
Grohe, a few weeks before the premiere
performance of April 9, 1891, telling of
the principal themes of Christnacht. He
describes the theme depicting Christ(Fig-
ure 1) and the Styrian folksong, childlike
in character, appearing in the woodwinds,
later picked up by the chorus of the faith-
fol(Figure 2). Wherever the Christ theme
appears in the opening few measures of
Christnacht, the faithfitl theme follows it
at two-measure intervals. Wolf concludes
by telling Grohe how the work builds to a
thundering conclusion. "With the full
weight of the orchestra, it unfolds with
tongues of flame the dogma of God made
man, and of salvation."8
Scored for soprano, alto and tenor so-
loists, double chorus and large orchestra
(3222 4331 rimpani, harp, and strings),
Christnacht comprises only one move-
ment, divided into seven secrions or scenes
corresponding to the divisions in the text.
Based on a section from the second act
of Shakespeare's Midsummer Night's
Dream, Elfenlied (Fairy Song) (1889-
1891), Wolf's second composition for so-
loists, chorus (SSAA) and orchestra,
Horns
I~t J
Figure 2. Faithful
Table 1
Key-related "song motifs" in the Introduction
Measure # 1-24 25-33
Harmonic
Structure A:V N6
Actual Keys E B~
I Tritone I I Augmented triad
Motif 5-Unease 24-Light (I)
PAGE 28
This work shows Wolf
creating amusement with
conversation and clever
inflections depicting the
nymphlike character of
the poetry.
depicts a fairy (soprano soloist) engaging
in a discussion or dialog with the chorus.
The fairy sings the verses, and the chorus
sings the refrain. This work shows Wolf
creating amusement with conversation
and clever inflections depicting the
nymph-like character of the poetry. This
was a side of Wolf seen rarely in his songs
and not at all in the other choral works.
In 1888 Wolf composed Del" Feuel7"eitel"
for soprano soloist and piano. Because
this setring appeared extremely taxing for
soloist and pianist alike, in 1892 he set it
for SATB chorus and large orchestra, com-
parable to that used in Chl"istnacht. The
transcription follows the original setring
almost bar-for-bar with a few changes
made to the text and vocal line. Del"
Feuen·eitel"'s success is probably due to the
fact that it is a transcription of a Lied. By
now Wolf was very comfortable with the
Lied as a composirional genre.
The Song Motifs
As Wolf's composirional style matured,
he developed and adapted a series of mo-
tifs, or compositional techniques, evident
34-49 50-55 60-95
IV VI I v. ....V I
D o (H) E Euphoria. For the purposes of this article
IG~ (H) I
40-Euphoria
throughout his songs. In The Son%! of
Hugo Wolf, Eric Sams identifies more than
forty of these techniques. They range from
specific associations with individual keys,
chordal progressions, and tonal structures
to those elements expressing emotions,
nature, music, and light. 9
Sams proposes the patterns have two
main funcrions: to symbolize feeling and
to create structure. Several complicarions,
however, arise:
1. Definition of the motifS becomes
difficult.
2. Certain motifs evidence Wolfs
very personal style, while others
originate in well-established
musical tradition.
3. In particular circumstances, clear
relationships exist berween the
motif and the text; in different
cases the motifs seem be-
wildering. 1o
Sams suggests that "each is open to
verification by direct experience of the
music, and all are worth close attention
for whatever they can tell us about the
meaning or interpretation of a particular
song."ll
If Wolf used these compositional tech-
niques extensively, the motifs should con-
ceivably be found in his compositions of
other genres. Since Sams restricted his
study to the solo vocal genre, a compari-
son can be made with only one other
vocal genre, choral music.
To investigate the occurrence of these
motifs in genres other than the Lied, I
examined Wolf's choral/orchestral work,
Chl"istnacht, discovering within the the-
matic and harmonic material seventeen
of the forty motifs evidenced in the songs.
The song motifs found in Chl"istnacht
include Worship, submission, and self-
surrender; Smallness; Laughter; Unrest or
unease; Freedom or release; Contentment;
Singing; Love; Companionship; Mystery;
Narration or reflection; Light (two differ-
ent forms); Soothing and stroking; Wield-
ing or carrying; Serenity or assurance; and
I will refer only to a selecrion of the mo-
tifs.
The harmonic structure of the intro-
ducrion demonstrates several-of the mo-
tifs. As did Schubert and others, Wolf
CHORAL JOURNAL
regarded specific keys as creating certain
moods and effects. Sams indicates Wolf
regarded A major as a bright, or spring-
like tonality. The principal key of
Christnacht, A major, does not occur un-
til the entrance of the shepherd's theme
by the orchestra at m. 120. 12
Opening in E major (the dominant of
A), at m. 25 Wolf moves briefly to B~
major (the Neapolitan sixth of A and a
tonal progression of a tritone). The key
changes to D major and then G1 major
within another twenty or so measures (G~
major is the enharmonic equivalent of H
major and the chord obtained if you sub-
stitute a major chord for the H minor
chord, the sixth degree of the scale of A
major). Returning to the dominant, Wolf
uses extensive chromaticism as a transi-
tion to the first entry of the soloist and
the end of the introduction. This tonal
progression, important for the use of song
motifs, reveals:
Motif 24, Light (I).The use of
passages with tonal progressions
spanning an augmented triad. The
movement through the keys of BI
major, D major and 0 (H) major
(an augmented triad) berween mm.
25 and 50 of the introduction,
follows the pattern of Motif 24,
Light (I).
Motif 40, Euphoria.The use of 0
(H) major at m. 50 evokes feelings
of "Euphoria" or "Extreme
Elation." Sams characterizes this
tonal motif as "wholly personal and
peculiar to Wolf."
A second form of Light used by Wolf
portrays light emitted at the same level of
intensity by using high sounds, hovering
motionless at the same level. The text of
the third section of Christnacht suggests
this form of Light. A lone shepherd, sur-
rounded by representations of Light (the
1st violins sustaining open octaves on e2
and e3 , moving to ~ and ~ four measures
later), opens the scene singing:
What do I see?
Around me hovers a dizzying vision,
A glowing band of light
moves through the azure of eternity
OCTOBER 1998
A similar instance of Light, found a few that I consider as worthy of motivic sta-
measures later (mm. 180), corresponds tus. Towards the end of the Christnacht,
with the text: "a star raised up over all the Wolf brings back a textually based idea
world." Here the sopranos and violins seen briefly earlier:
rise to b 2 and b3 , respectively, for three
measures, while the flutes play in the up- Already I read in the distance the
per reaches of their register. Both of these fear of the coming day,
examples conform to Sams' description I hear peoples tread the way,
ofMotif25, Light (II). Destruction burdens every breath.
The final example of the use of song
motifs corresponds with Motif 1, Wor- The key signature changes to B~ minor
ship, submission, and selfsurrendel: Imme- (m. 310), the relative minor ofDI major,
diately following the previously and the "Angel" (narrator) returns, telling
mentioned representation of Light, Wolf of the fear and destruction "burdening
introduces the "Choir of the Shepherds," every breath," beneath which a rhythmic
changing the register from the highest ostinato motif is introduced signifying the
end of the female vocal range to that of "peoples tread" (Figure 4). This pattern,
the male. The text suggests worship: ''As augmented by two additional patterns in
though from the gates of heaven they the horns (Figure 5) and the timpani
bow low to touch the earth." The cello (Figure 6), builds to a tremendous climax
and double-basses play the equivalent of
Cello
Motif 1, Worship (Figure 3).
While examining the harmonic and 17)= #l#
melodic content of Christnachtit becomes
HEll ttl IT ttl ttl r
evident that Wolf used other techniques Figure 3. Worship
Figure 4. Peoples Tread
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PAGE 29
 from mm. 324-330, then dying away for Coupled with the song motifs docu-
the next entry of the ''Angel'' at m. 333 mented by Sams, those found in
singing the text: Christnacht give evidence that Wolf con-
Figure 5. Horns sistently applied these motifs from his
The tired earth desires a fresh songs to his choral music. Many of them·
morning. have their roots in the poetry; others sim-
Timpani At this child's command, ply create a mood, feeling, or atmosphere.

19: t J. OJ J. OJJJJ. o I "Become,"

the earth springs into youthful
In these works the mature Wolf appears
lll:

blossoming.
1. the accompaniment medium
Figure 6. Timpani
Following the text "desires a fresh morn- (whether orchestra or piano) that
ing," the key changes from B minor to A complements the vocal lines to
major (the keys Sams suggests Wolf re- produce an inseparable whole,
'r J'JUSU:A~ gards as a bright tonality or springlike). 2. the inter-relationship of the

l\.() 1l1.L~I (~.L~® .~ While all of these compositional tech-

niques have their roots in the text, none
poetry and the music,
3. the extensive use of chro-
Your exc:.lu=ive =ourc:.e for ~omanian maticism, and
c:.horal mu=ic:. and beyond_
of those mentioned fall within the pa-
rameters set by Sams as being "song mo- 4. the economic, yet creative use of
~ CATALOG and
,r. "
tus.
Within this later section of Christnacht,
thematic material.
SAMPLER TAPE!
two compositional techniques-the por- This article gives an overview of the
P. O. Box 27830 trayal of a large body of people walking or choral music of Hugo Wolf and reports
Seattle, W A 98125-2830 briefly on the close examination of one of
Phone· (206) 364-4225 treading and the changing of key to cre-
Fax. (206) 364-4569 ate a feeling ofbrighrness-reflect a small his significant choral works, Christnacht.
E-m.ail • MusiRom.@aol.com.
sample of Wolf's tools-of-trade. Many of his compositions, outside the
genre of the Lied, await those seeking an
interesting, worthwhile study.

NOTES
I Eric Sams, The S01lgs ofHugo Wo(f(London,
Eulenberg Books, 1983),2-3.
2 Lothar Hoffmann-Erbrecht, "Wolf, Hugo
MUSICA
A collection of a cappella music by American composers, (Filipp Jakob)," in The New Grove
including Rene Clausen, Randall Thompson, Dictionary ofMusic a1ld Musicia1ls, 1980,
Morten Lauridsen and Charles Ives, 482.
and featuring "Musica" by John Alexander and 3 Frank Walker, Hugo Wolf A Biography
"Come to Me in the Silence of the Night" by James Hopkins (Princeton, NJ: Princeton University
(both premiered atACDA's National Convention in March, 1997) Press, 1992), 113.
4 Ibid., 114.
Also available -
5 Ibid., 115.
And-
6 Ibid.
Just in time for the Holidays!
7 Hans Jancik, trans. Eugene Hartzell, score
I N G
.. notes of Christnacht by Hugo Wolf,
DEL (Vienna: Musikwissenschaftlicher
Verlag), XI.
8 Ibid., XI.

9 Sams, 18 passim

With Brass ensemble and
Can (714) 662-2345 Today!
email: sing@pacific-chorale.org
10 Ibid., 18.
II Ibid.
"Songs of Eternity" 12 Ibid., 12.
(presented at ACDA 's Western Regional
Convention in March, 1996)
-CJ-
web site: _.pacific-chorale.org

PAGE 30 CHORAL JOURNAL

~"------------------------------~4
!

1999 ACDA NATIONAL CONVENTION

CHICAGO - FEBRUARY 24-27

C
HICAGOANS HAVE spent generations creating the most beautiful parks and lakefront recreation areas, designing an
awe-inspiring skyline with some of the world's tallest buildings, supporting history-making sports teams and world-class
symphony and opera companies, and giving theater professionals known throughout the world a place to call home.
Chicagoans also have actualized big plans by opening the finest universities, medical facilities, museums, and cultural institutions.
In keeping with this tradition of excellence, Chicago will make no small
plans when it comes to hosting the 1999 ACDA National Convention, ' ,._,
February 24-27.
Located in the center of the U.S. on the shores of Lake Michigan,
Chicago is a vibrant, world-class city rich in history. Chicago is easily
accessible by air through O'Hare International Airport and through Mid-
way Airport. O'Hare International Airport greets passengers in seventeen
different languages and processes 4,000 arriving passengers each hour, mak-
ing the city a hub for international commerce. Famous for its abundance of
museums, zoos and cultural attractions, the city boasts 54 museums, from
art to aquariums to science to a multitude of ethnic museums. There are
more than 120 theaters and musical/performance venues in Chicago. For
the sports lover, Chicago is home to the NBA Champions-the Chicago
Bulls-as well. as the National Hockey League's Chicago Blackhawks. State
Street-that Great Street, located in the "Loop," a distinct area of down-
town Chicago surrounded by elevated train tracks-is known as one of the
world's most famous shopping districts. For more shopping there is the
Magnificent Mile of North Michigan Avenue, or the North Pier, a reno-
vated warehouse featuring a complex of unique specialty shops, diverse
restaurants and night-
clubs located on the
Chicago River near
Lake Michigan. Or
try Oak Street, where
North view along Lake Shore Drive. Courtesy of the
more than 70 exclu-
Chicago Convention & Tourism Bureau, Ron
sive boutiques and sa- Schramm, photographer.
lons feature the latest
fashions from Paris,
London, and Milan.
Chicago's lakefront was developed as park space and has become the
world's loveliest lakefront park system, dotted with cultural attractions. The
city boasts 360 first-class hotels throughout the metropolitan area, with
more than 26,000 sleeping rooms in the downtown area alone. The Hyatt
Regency Chicago, headquarters for the 1999 convention, is in a prime
downtown location near the breathtaking shores of Lake Michigan. It
stands at the heart of transportation, commerce, entertainment, and shop-
ping in the city. With over 200,000 square feet of public function space,
including sixty meeting rooms and a 70,000-square-foot exhibit hall, it is
an ideal site for our national convention.
The convention ... you'll not want to miss! The overall quality of the 29
auditioned choirs has never been better. Chosen by taped audition from
some 300 entries, the choirs are representative of the best of the choral art in
the U.S. and Canada. Three Honor Choirs will showcase the talents of
Picasso sculpture. Courtesy of the Chicago selected singers, directed by outstanding conductors. The Women's Honor
Convention & Tourism Bureau, Michael W.
McQuerry, photographer. Chorus, a first for our national convention, will be co-directed by Morna
Edmundson and Diane Loomer. The Boys' Honor Choir will feature 250
boys selected from some 500 auditionees and will be directed by Harvey
Smith. The High School Mixed-Voice Honor Choir will be directed by Jing Ling Tam. These 250 singers were selected from an
incredible field of 1,700 candidates.
(Continued on p. 64.)

OCTOBER 1998 PAGE 31

,
.i
 IN MEMORIAM
RED BOCK, nationally known
F composer, publisher, arranger, or-
ganist, and choir director died July
31, 1998, at the age of fifty-nine from
complications of emergency kidney sur-
gery. At the time of his death, Bock was
music director at First Presbyterian
Church of Hollywood, a position he held
for more than fifteen years. Prior to that
he was music director at Bel Air Presbyte-
rian Church for fourteen years.
Born on Long Island, New York, Bock
received a B.S. degree in Music Educa-
tion from Ithaca College, Ithaca, New
York, and an M.M. degree in Church
Music from the University of Southern
California in 1962. In 1986 he was
awarded a Doctor Musica Honoris Causa
degree from Taylor University, Upland,
Indiana.
A prolific composer and arranger with
more than four hundred compositions in
print, he composed choral music as well
as instrumental music for keyboard and
other media. An expert on church music,
Bock was editor and publisher of Hymns
for the Family o/God, first issued in 1976.
The nondenominational songbook,
popular for its inclusion of traditional
hymns such as "How Great Thou Art"
and "In the Garden," has sold more than
three million copies. Bock also edited the
hymnal Worship His Majesty (Gaither
We ore a Vienna-based group tour organi-
zation specializing in customized concert
tours for American choirs and choral groups
in Great Britain and Central and Eastern
Europe. MUSIC AROUND THE GLOBE combines
mission with the enjoyment of cultural and
musical highlights.
For more information, please contact our
MAG European office in Vienna, Austria:
Fax 011-43- 2243-37731
or our U.S. representatives at:
3 Sweet William Retreat
Savannah, GA 31411
Telephone 912/598-0285
Fax 912/598-3746
c",'(;, Allo~
~BI'~
~ \ ',I~
~-G'LO~
PAGE 32
Fred Bock
(March 30, 1939-July 31, 1998)
Music Company), and with his wife, Lois,
wrote Creating Four-Part Harmony (Hope
Publishing Company).
His involvement with choral music
publishing began in the 1960s when he
worked for Word, Inc. After his tenure
there he founded several publishing com-
panies of his own. The first, Gentry Pub-
lications, continues to publish choral
music for schools. The Fred Bock Music
Company publishes church music for
choir, keyboard, and other instruments.
During his lifetime Bock also owned
Raymond A. Hoffman Co., which
published operettas for elementary
schools, and H. T. fitzSimons Co., pub-
lisher of Gabriel Faure's Requiem.
Bock served as president and secretary
of the Church Music Publishers Associa-
tion and was on ASCAP's Writer's Advi-
sory Board. He was also a member of the
American Choral Directors Association. approach to life. Fred lived every
It would be difficult to find an Ameri- day "on purpose.... " Fred would
can church musician who has not been walk around a convention, a trade
affected by Bock's work. According to show, or a city, and would always
Timothy Sharp, editor of the Choral say to me, "There is an idea here,
Journal's Hallelujah! column and a long- somewhere." This was the creative
time Bock friend, he was a musician who church musician I knew in Fred
knew the value of diversity. This diversity Bock. May his ideas and
is evidenced by the fact that both Ralph lighthearted seriousness live on
Carmichael and Paul Salamunovich at- with us as we remember his spirit
tended his memorial service and that trib- and draw from his enormous
utes to the Bock legacy came from the creativi ty.
Theodore Presser Music Company and
Bill and Gloria Gaither. In a tribute to Fred Bockis survived by his wife, Lois;
Bock appearing in the August 1998 issue his two sons, Stephen and Jonathan; his
of Sacred Music News & Review, Sharp mother, Louise Bock; and a sister, Karen
wrote: Kimbrough. Contributions to the Fred
Bock Memorial Fund may be made to
It was Fred's lighthearted approach The Center for Worship and Arts, Fuller
to most evety siruation that will live Seminary, 135 North Los Robles Avenue,
on with all of us. Even in Pasadena, California 911 0 1.
confrontation, Fred's winsome
personality and sense of fairness
always seized the moment and the
day. A phone call from Fred would
begin with a joke on his end, and
thanks to that Long Island accent
of his, he never had to identify
himself.... Fred taught me many
lessons, not only about publishing,
but more importantly, about an
CHORAL JOURNAL
 We were privileged to share in his faith and his gift of song.
And although we will miss him greatly, we rejoice in what he has left behind,
his musical and spiritual legacy.

The family has created a memorial fund in Fred's honor at Fuller Seminary.
Contributions may be made to
The Center for Worship and Arts, Fuller Foundation: Fred Boell Fund
135 North Los Robles Ave. • Pasadena, CA 91101.
Ch ral Conductors
Haydn has
a few choice words l&tly I would a6k you to ob6erve 6trictly the tempi

ob all the aria6 and recitative6 ... 2 nd1y bor the overture

all you need to play i6 an allegro and arraclante~ ..

he'd like to share 3 rdly you mu6t ob6erve that the acco~pani~;mt
with you ... 6hould not enter untilthe6inger ha6 quite;bini6hed
-
hi6 text. even though the 6core outen6ho¥J6the contrary ...
.

4 rth1y the borte6 and piano6 are writtehsorrectly throughout.

and 6hould be ob6erved exactly ... 5thf, "

\'~~y. I have oUten
been annoyed at certain violini6t6 in variou6 c0l1celt6,

who ab60lutely ruined the 6o-called tie6 ... 6thLy I would

]osephHayd'n a6k you to U6e two player6 on the viola part throughout ...
AND THE CLASSICAL
CHORAL TRADmON 7thLy. ib.you have to copy two 6et6 ob Jiolin part6.
the copyi6t 6hould 6ee that they do not fum their page6

at the 6ame time ... 8 th1y I 6ugge6t tlwtthe two bOy6

in particular have a clear

9thly I hope bor at lea6t tJ:t~e:{t,j;

a week bor the entire work ... 1():.;..",
the bUMoon can be omitted ib ab~ti~~L_
/:illt I would rather have itpre6ent.".·~'fnfitLy· I a6k
~'''''- ~-; "-:;" "/'~'>'~' " '

everyone, a rr d'e6pecially;the mu6i~(. ....•

:: '~;:<--:.:""·2;~,' ~

my reputation a6. well a6 rhe[(bui~;'f?;b};J;~';;'0;

Joseph Haydn
And the Classical
Choral TraditiiJ'Ii
-by Lawrence Sc:hehbe~k
ISBN 0-937276-17-0 (softcover) '.- 514 pp;-
Hinsha\v Music, Inc - HMB~194 -$45

Published ill cooperation. . .' ..

lvith the Research and Publications. Cimmiittee
. of thcAmel'icall'Ch01'alJ)irect01'SAssoci~tiim
~
-\

I
I

REHEARSAL BREAKS
The Good-Hearted Cantor
by Margaret Boudreaux

EPERTOIRE SELECTION is a terrifying that a large number of audience How involved are our audiences, re-

R lifelong adventure. In many ways

it is the most important thing we
do. The quality of our repertoire defines
not only the quality of our programs. For
better or worse, repertoire selection will
profoundly affect the attitudes and aes-
thetic feelings of our singers and audiences.
This is not only true during the short time
spent in performance, but can color the
ways in which people respond to music
(and each other) for years to come. With
that in mind I would like to share a few
thoughts I have collected over the years.
According to Bulfinch's Mythology, a
chorus of fIfty performers representing
the Furies in a play by Aeschylus were so
members fainted or had convulsions. This
resulted in a subsequent ban on such per-
formances. That's not only a very effec-
tive chorus, but a very involved audience.
Not many of us have had general faint-
ing or convulsions in our audiences be-
cause of our terrifying performances.
Perhaps a few choristers have fainted over
the years from standing too long under
hot lights, but the sort of audience reac-
tion described by Aeschylus might be
more expected at rock concerts than a
choral presentations. Not that we would
want to have an ambulance ready every
time we perform, bur the thought does
fire the imagination.
ally? Just what is it in which we wish
them to be involved? How effective are
we? What are we trying effectively to do?
Are we even thinking of our audiences?
Why do choruseslcb,Ciirs exist and per-
form? What is theii- 'function in society?
As choral directors, What is our function
in society? Do we have a function? Do we
ever think about that? What is our place
in our specific community? Do we have a
community, or do we find ourselves in a
context impossible to define? Have we
tried to understand our context?
The choral experience is by nature a
community event. It possesses similarities
to the sacred concept of communion, a

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OCTOBER 1998 PAGE 35

shared meal representative of mutually
accepted beliefs and deeply personal hopes
and desires. The choir "serves" music and
words from a nearly limitless expressive
fountain of human cultures and historic
eras. The audience "receives" this banquet
and may respond as one body with emo-
tional demonstrations ranging from open
weeping to ecstatic applause. Each indi-
vidual member of the audience takes
home that which is most valuable for that
person at that time. Individual choral
members orren experience these same
things, though more intensely. Singers
(and orren audience members) exposed
to quality choral situations will never for-
get specific songs and moments as long as
they live. However, they seldom can
(Continuedfrom p. 3.)
0) Service to chapter members
through projects that directly benefit
the student members in developing
the insights and skills necessary for a
successful choral musician. (2) Ser-
vice to choral music through activi-
ties that in some way advance the
field of choral music, either as a di-
rect benefit to choral musicians, or to
the public perception and under-
standing of choral music. (3) Service
to the institution that enhances and
strengthens choral music education
within the institution or in some way
benefits the educational program on
the chapter's campus. Nominations
for the Outstanding Student Chapter
should be submitted in writing no
later than January 1, 1999, to Scott
Dorsey, National Chair, Youth & Stu-
dent Activities Committee, Depart-
ment of Music, Mount Union
College, Alliance, Ohio 44601. Ad-
ditional information and details can
be found in the August 1998 issue of
the Choral Journal, page 43.
The National R&S Chair is elected
by the membership to a four-year
term of office. This fall the member-
ship will receive mail ballots to select
the person for this position, with the
new term of office beginning July 1,
1999. The nominees for National
R&S Chair are William McMillan,
EI Paso, Texas, and Barbara Tagg,
Syracuse, New York.
James A. Moore
PAGE 36
. . . while these poweiful
''musically empathic"
experiences might be
expected at outstanding
peiformances, they are
just as prevalent (if not
more) at rank amateur
situations.
clearly explain why those experiences were
so powerful.
One fascinating aspect of this phenom-
enon is that while these powerful "musi-
cally empathic" experiences might be
expected at outstanding performances,
they are just as (if not more) prevalent at
rank amateur situations. This is particu-
larly true in small churches or communi-
ties where a deeply spirited enthusiasm
can playa far more important role than
musical accuracy. In other situations the
choral experience can be bland and dry,
leaving both audience and singers with
the vaguely guilty sensation that they
"ought to have liked this." Deep down
inside though, they all know that nothing
really happened. This is not hard to un-
derstand when something goes badly. But
what causes audience (or singer) emo-
tional indifference when the concert was
performed well, at least technically?
The answer lies in the relationship of
the choral organization to the community
in and for which it sings. The search for
that sense of community, the desire for a
communion with other people or with a
power outside of normal human sensa-
tions, is perhaps the prime reason why
people sing, or why they play instruments
and dance and recite poetry. That musical
search is as ancient as can be imagined, as
evidenced by Psalm 150:
Praise him with the sound of the
trumpet: praise him with the
psaltery and harp.
Praise him with the timbrel and
dance: praise him with stringed
instruments and organs.
Praise him upon the loud cymbals:
praise him upon the high-
sounding cymbals.
Let every thing that hath breath
praise the Lord. Praise the Lord!
To achieve that sort of intensity in
their diverse venues, choral musicians for
centuries have searched for appropriate
literature and programming formats. Any-
one who has done this for very long knows
it is not easy. Effective programming and
repertoire selection requires patience, sen-
sitivity, a willingness to maintain enough
humility to have an accurate sense of one's
own place in the community (which can
be a challenge), and a good sense of humor.
Michael Praetorius 0571-1621)
understood the crucial role that reper-
toire and musical flexibility played in
building a healthy choral community. In
the final years of his life Praetorius wrote
extensively and published numerous vol-
umes of motets in an attempt to help his
contemporaries understand the new (Ital-
ian) styles and how they might best be
used in their own situations. Although
his instructions were exhaustive in detail,
he made a point of capturing the most
vital aspect of a choral director's personal-
ity with a simple phrase in his introduc-
tion to the Polyhymnia caduceatnx(1619):
Hopefully the good-hearted cantor
and musician will remember the
best of these methods and take
them as suggestions and directions
how other (similar) concertos may
be performed. (Translation by this
author)
Today, just as then, the key words are
"good-hearted cantor." I would suggest
that community involvement, a sense of
communion, can be achieved in choral
programming if the "good-hearted" con-
ductor is willing to (honestly) ask two
questions:
1. What is this community? Who are
my singers? What are their backgrounds?
What can I musically learn from them as
they learn from me? Who comes to my
concerts? (Ask the same questions as
above.) Every time we prepare a concert
CHORAL JOURNAL

we must ~k if the repertoire is truly serv-
ing the community as well as it might.
We have an obligation to expose our sing-
ers and audiences to the best literature
available for their abilities, so they might
learn and grow. We must also learn from
them, or we will never actually be a part
of the community ourselves.
2. What is the meaning and value of
"professional" and "amateur" musician-
ship in this community? Professionalism
is valuable and provides high levels of
challenge and exciting discoveries as we
explore new, difficult styles and selections.
But there are a lot more musical amateurs
than professionals our there, and their
love (amator = lover) for music is no less
sincere. In many ways perhaps it is more
heartfelt. This is not a new observation:
Certain merchants are now arising
amongst the populace. They turn
fine gold into lead and exchange
sweet-smelling flowers for foul
odors. These men are called, if I
am not mistaken, professional
singers. When they see some great
man in public, they look for their
best song, one that they really like.
Then they sing it with a great
proliferation of little notes and
boast of their singing.
(Anonymous, c. 1400)
For that which does not come from
the heart does not easily reach the
heart. G. J. Quantz, On Playing the
Flute}
The arts, like sex, are too important
to leave to the professionals.
(Attributed to Robert Shaw)
Never underestimate the musical
power of inspired amateurs! We must se-
lect repertoire that helps our singers to
grow both as musicians and in their mu-
sical tastes, bur do we always seriously
consider their limitations when selecting
music? Do we make an effort to find
good literature that can be learned
quickly? Do we occasionally let our desire
to impress our peers with the difficulty of
our repertoire slip into our selection pro-
cess?
The Latin word canto means song, bur
it also means enchantment or incanta-
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munion in that magical moment of song.
As "good-hearted cantors," part of our
job is to make that magic happen. Failure
to recognize this aspect of our profession
too often leaves singers and audiences feel-
ing they "ought to have liked this" bur
vaguely resenting what they sense was a
waste of their time. If we can rise to this
challenge, to this opportunity, if we ask
ourselves these questions each time we
turn to the task of repertoire selection, we
will continuously provide unforgettable
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PAGE 37
 WHY ACDAs ENDOWMENT WORKS
John and Mary have been giving to
the American Choral Directors Associa-
tion endowment for years. In fact, we
have grown downright dependent on their
annual generosity. We have become true
partners in this great enterprise. Conse-
quently, when they are gone, the absence
of their giving will be felt.
John and Mary know this and are do-
ing something to make sure their giving
never runs dry. They are taking steps,
through their wills, to create the John and
Mary ACDA Endowment Fund. A por-
tion of their estate will be set aside for a
special fund that will generate annual
gifts to continue the giving they are doing
now.
Endowments work well for people like
John and Mary ... and here are three
reasons why:
Endowments are perpetual.
Like an artesian well, endowment
funds keep giving and giving. They allow
people like John and Mary to "lock in"
their giving. Buildings may crumble and
ACDA members will come and go, but
endowments last.
Each year in the future, family mem-
bers such as children and grandchildren
will be reminded of John and Mary's in-
volvement with the American Choral Di-
rectors Association and the value of
making regular gifts to support the choral
art. What a wonderful legacy to leave
behind!
Endowments are protected.
Endowment funds at the American
Choral Directors Association are set aside
and kept separate from operating and
capital-fund accounts. John and Mary
have the assurance that their endowment
fund will be secure. The written agree-
ment will be on file, and the terms will be
followed carefully.
Endowments are personal.
While it is possible and sometimes de-
sirable to create an unnamed, unrestricted
endowment fund, many people want their
fund to bear a person's name. Moreover,
they want to tailor the purpose of their
endowment to benefit a specific area of
interest. They appreciate the flexibility and
the opportunity to personalize their "ar-
tesian well."
The American Choral Directors Asso-
ciation Endowment Trust has developed
sound policies for creating and managing
endowment funds. This information is
available upon request. Our Endowment
Officer, Joey Windham, is able to show
you a variety of ways you can use the
tools of gift planning to make an endow-
ment dream come true-whether now
through a current gift or later through
your estate plan. He will be happy to visit
or correspond with you about this excit-
ing area of philanthropy.
The response form below will let us
know how to assist you. If you fill it out
and send it in, we will respond immedi-
ately. Or if you would rather call, contact
Dr. Windham at the Endowment Office,
706/556-0079, or e-mail acdatrust@
aol.com.

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PAGE 38 CHORAL JOURNAL

REPERTOIRE & STANDARDS COMMITTEE REPORTS
College & University
Choirs
Choral Tone: A Decision
T IS the first thing you
WE hear when a choir sings? Tone!
To a great extent, one's opin-
ion of any ensemble is decided at that
moment.
For those of us who "grew up" in
Southern California and had the pleasure
of knowing and learning from Howard
Swan, his words leap off the page in Con-
science of a Profession: Howard Swan
(Hinshaw Music, 1987). In chapter three
Swan defines the "Three T's" for musical
success. Those "T's" were tone, technique,
and tradition (p. 95). In my conducting
classes I combine technique and tradition
into a category loosely called "style."
Therefore, I tell my students there are
only two things in choral music-tone
and style. Over simplified, certainly, but
convenient for categorization.
I would like to quote Howard Swan
again, but this time from Choral Con-
ducting: A Symposium, edited by Harold
Decker and Julius Herford (Prentice-Hall,
1973). He wrote:
perhaps there is no subject more
important to satisfactory
performance and at the same time
more difficult to discuss than that
of choral tone. (p. 4) Choral tone
JACKHIBER
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OCTOBER 1998
is dictated by (a) the conductor's experience, I find today that his words
knowledge of the singing voice; (b) ring with more truth than I realized.
preference for blend, rhythm, While the choral tone of our most
phrasing, balance, dynamics, or successful choirs certainly differs from
pronunciation; (c) interpretation
and style; and (d) the conductor's
ability to communicate. (p.5)
Several years ago I came across Timo-
thy Caldwell's book, Expressive Singing
(Prentice-Hall, 1995), and used it in a
column to support my point about the
lack of musicality in the choirs I had been MUSIC READING c
hearing. On the subject of rone, Caldwell
relates the story of a fellow choir director UNLIMITED Level 2,
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is immediately elated to hear his ideal
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concepts to the high school choir.
159). Score $39.95 Student $9.95
I venture to say that virtually none of
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that we needed to decide what it was we e-mail:
did best and stick with it. As a young smcinfo@southemmusic.com
conductor, I rebelled against the idea that "" ~":)'" ~ , .'
my choices in choral tone would limit me ,"'ISH)} UJS IDNl JFI1E~'~YEB!
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PAGE 43
each other, we can be certain each con-
ductor has consciously made the deci-
sions needed to produce a tone satisfactory
to his or her ear. At the same time, it is
obvious to listeners that not all stylistic
periods of music are conducive to all the
differing ideas of choral tone we hear.
Does this mean we should limit ourselves
to the Renaissance or the Romantic pe-
riod but not do both with our choirs?
Absolutely not! As educators, we must
bring to our singers all styles of music.
In Choral Conducting, A Symposium,
Swan identified the characteristics of
, , mhe lfempowatch
The Tempowatch tells you
what the tempo
is while
you are
conducting,
teaching,
listening or
composing.
choral tone as blend, balance, intonation,
diction, and rhythmic vitality (p. 41). The
emphasis or weight given to various char-
acteristics will then influence the tone
and affect the style of our repertoire. Dif-
ferent style periods require different em-
phasis of the characteristics mentioned
above. As conductors, both new and ex-
perienced, we benefit from ongoing evalu-
ation of those emphases. We are constantly
listening to our choir and other choirs to
evaluate our philosophy. From that self-
examination, we adapt, change, or grow
as needed to bring all music alive to our
singers, our audiences, and ourselves.
So, what is your philosophy of choral
tone?
Bill McMillan, National Chair
College & Univmity Choirs
Women's Choirs
music based on them are appearing on
recent ACDA division conferences, in-
cluding a sturming performance of Caritas
Abundat by the Western Division
Women's Honor Choir under the direction
of Dr. Patricia Hennings. Articles about
her are being written in a wide variety of
magazines and journals. California musi-
cologist, concert pianist, and Hildegard
scholar, Dr. Nancy Fierro, presents well-
attended lectures, seminars, and weekend
retreats around Hildegard's life and teach-
ings. Entire conferences on Hildegard are
being offered through the United States
and abroad during her nonacentennial.
Contemporary composers, drawn by
Hildegard's music, write compositions of
their own based on her texts and melo-
dies.
Why has Hildegard become so popu-
lar in this century? What does she offer
that is so compelling? Why are such di-
verse groups interested in her?

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"Build a fabulous
I
N THIS her 900th anniversary year,
Hildegard von Bingen (1098-1179)
has sparked a contemporary fascina-
tion for mUSICIans everywhere. Due in
part to the resurgence of interest in chant
during the last several years and to the
efforts of women's ensembles such as
Anima, Anonymous 4, Sinfonye, and
Tapestry, the CD bins are full of record-
ings of Hildegard's music. Her chants and
Hildegard was mystic, poet, artist, sci-
entist, theologian, politician; musician
and more. She wrote three major books
based on her "visions," as well as books
on science and medicine. Perhaps one ex-
planation for the resurgence of interest
in Hildegard in this country is the hunger
for inner values and a kind of "spiritual-
ity" that we're ofren told is missing from
today's society. June Boyce-Tillman is
founder of the Hildegard Network, an
organization that brings together people
interested in the links between spiritual-
ity, healing, and the arts. She writes about
Hildegard:

choral library instantly! I came to the conclusion that she

The Augsburg Choirbook
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From a long and respected tradition of choral
publishing, this collection of 67 anthems, represents
the gems of twentieth century music. These well-
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world and see it whole.'1
There is no doubt those who hear or
perform Hildegard's music are moved, not
only by her powerful evocations of text,
but also by the sheer beauty of her chants
alone.
Hildegard describes music as the means
of recapturing the original joy and beauty
of paradise and says that music was in-
vented and musical instruments made in
order to worship God appropriately. Her
Symphonia armonie celestium revelationum
(Symphony of the Harmony of Celestial

PAGE 44 CHORAL JOURNAL

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Revelations) contains seventy-seven songs,
(she did not call them chants), sixteen of
which are addressed to the Virgin Mary.
K. Robert Schwarz remarks in his notes
for the CD Monk and the Abbess:
Not surprisingly, a pioneering
woman like Hildegard was drawn
to feminist figures. Many of her
chants and poems are addressed to
rhe Virgin Mary. . . . Nearly as
many ponder the martyrdom of
Saint Ursula, who was murdered in
Cologne along with the 11,000
virgins in her community.2
In the March 1998 issue of Gramophone,
arguably the best classical music maga-
zine available, CD reviewer, Mary Berry
proposed that Hildegard may have been
the original feminist:
Hildegard was somerhing of a law
unto herself; those in aurhority did
not always approve of her goings-
on. Let us not forget, rho ugh, that
in our own day she has been
adopted as the patroness of
Women's LibP
Contemporary composers, beguiled by
the music and theology of this amazing
woman, are using Hildegard's works as
the basis for their own, building a bridge
between the historical Hildegard and the
modern world. Elizabeth Austin of the
University of Connecticut writes regard-
ing her Homage to Hildegard, premiered
in Mannheim in June 1997:
The natural predilection to
Hildegard's musical is first and
foremost the truly original and
unique quality of her writing: her
musical lines are unlike anyrhing
rhat had been written up until rhat
time, as far as we know. The
pungent "aroma" of her highly
personal settings invite a
comparison to the much later
Machaut. Her use of musical
"affections" in setting a text
precedes the Baroque period by
about 600 years!'
Hildegard wrote in the plainchant tra-
dition of a single vocal melodic line, with
texts rich in metaphor and her own "spin"
on the theology of the time. Her texts are
unmetered and often move one sub-
ject to another, just as they move from
one mode to another, without the ex-
pected transitions. Composer Frank Ferko
notes:
One thing about Hildegard's music
that I find truly fascinating is her
mixing of modes wirhin a single
composition. This was not done in
the twelfth century, but
Hildegard-possibly because of her
lack of solid music education-
used mixed modes in a way rhat
colors the texts very, very
effectively. People who have
studied and "lived wirh" each mode
and absorbed its characteristics
understand that each mode is
unique and almost a living thing
in itself. The Greeks understood
this and wrote about it in their
musical commentaries. Medieval
people, I am sure, were also aware
of rhe characteristics unique to each
mode. Hildegard went a step
further rhan orher composers and
used rhe modes coloristically in a
much more specific way (one mode

l OCTOBER. 1998 PAGE 45

 for (his phrase of a piece, and
anomer mode for me nex( phrase)
(han her con(emporaries or her
predecessors. 5
Hildegard's metaphorical prose, unlike
the rhymed poems typical of the medi-
eval period, are rich with vibrant descrip-
tions of color and light, which also occur
in her visionary writings. Her music, with
an average range of nearly two octaves, is
filled with unexpected vocal leaps, runs
and turns. The nuns in the convent she
founded were obviously skilled singers.
Today's conductors will find the chants of
Hildegard both challenging and reward-
ing, providing an excellent body of work
for developing blend and ensemble of
equal voice choruses.
Conductors interested in performing
the chants of Hildegard will find them in
the catalogue of Hildegard Music Press. 6
Treble Clef Music Press publishes 0
frondens virgo, with accompanying
plainchant Magnificat, edited by William
Flynn, a medievalist at Emory University
in Atlanta, Georgia. The purpose of this UK.
edition, according to publisher Mary E-mail: junebt@Virgo.wkac.ac.uk
Lycan, is "to put the antiphon into its
liturgical context, with enough support- The Lord's Prayer
ing commentary so that non-medievalists SATB
can perform it with some confidence."7
Below are some contemporary choral The Call ofthe Ancestors
compositions based on the writings or SATB Choir
chants of Hildegard, both for equal and Brass quintet (2 trumpets, 3rd trumpet
unequal voices. Bold entries are suitable using only three notes, horn, bass
for women's voices. trombone, tuba, three Improvlslllg
groups) 20 minutes
Elizabeth Austin
Homage to Hildegard Exiles
(based on Cm·itas Abundat) Music Theatre Piece (2 hours) bringing
SB, percussion, manuscript together Julian of Norwich and Hildegard
h rtp: I Iwww.amc.net/mem berl of Bingen and including a shortened
Elizabeth_Austin/home.html E-mail: version in translation of Ordo Virtutum
austin@uconnvm.uconn.edu as the middle act
SATB, 12 soloists
June Boyce-Tillman 2 flutes, clarinet, 2 cellos, plano,
All are published by the Hildegard Press percussIOn
and the Association for Inclusive
Language. o Fiery Spirit
Dr. June Boyce-Tillman Adaptation of 0 ignis Spiritus.
108 Nimrod Road, London SW16 6T(1 Unison, unaccompanied, ca. 5 minutes.

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PAGE 46 CHORAL JOURNAL

Flourishing Branch Steven Paulus All ofCreation is a Song ofPraise to God
(metrical version of 0 viridissima vi1-ga) Visions from Hildegard (Parts I, II, and SATB/ organ or piano
SATB Hymn III). SSAATTBB. Flute, oboe, timpani,
percussion, brass quintet, and organ Robert A. M. Ross
Fountain ofWisdom Paulus Publications, 1719 Summit Ave., Antiphon for the Holy Spirit
SSAA. St. Paul, MN 55105 (based on De Spi1i.tu Sancto)
A Life Apart-Hildegard von Bingen (612) 644-6274; (612) 647-6488 fax Ralamar Sparks Enterprises
Music Theatre Piece for soprano and E-mail: shpaulus@ibm.net E-mail: RobertamR@aol.com
piano with audience participation, ca. 40
minutes, recorded on British Music Label Wayland Rogers Anna Rubin
BML022 I am that great andfiery force. Manuscript. Hildegard's Pmlogue. Manuscript
http://pwl.netcom.com/ ~wrogers3 Commissioned by Jo Scheir for the
Singing the Mystery
28 Litw-gical Pieces by Hildegm'd of
Bingen
MllSic is Your SpecialtX. • •
"Musicis Our Specialtx. • •
In Fact • • •Jit's "All
Dol'
LET'S WOR~ TOGETHER! '"~"
wi
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Unison, unaccompanied • ,,' ,,' y - "'

Sophia, Wisdom ofEm"th Y£e q;~ ~ ~//'~r uni~~~:i~~g~~:~:

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ca. 10 minutes
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Hildegard 'Hiptych
SATB/SATB, unaccompanied
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SATB (No. 8 of 9 IS TTBB), un-
accompanied
ECS ~;: .. :~m,,:5 l!:::~it:=d;;m~ Canterbury Cathedral

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ECS David Davidson, Director of Music, Highland Park Pres. Church, Dallas,
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Randall Giles
o factum dei
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Barbara Kolb David Flood, OrganistlHaster of the Choristers, Canterbury Cathedral
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commission for Indiana University , Britis6~Eu"QP'ean Specl"I~ mOltrs " ~
Chorus (PA), Jim Dearing, Conductor, Street Address: 2.60 South "First ~t., Suite #6,' ZionsvillE!,' IN !'I§077, '
SATB, unaccompanied Mailing Address: P.O. Box ~78193, Indianapolis, :IN. 46278-0 t 93,
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OCTOBER 1998 PAGE 47

Urban Sky Consort of women's voices Jeanne E. Shaffer Conductors interested in recordings con-
E-mail: airubin@dobro.princeton.edu Cm·itas taining me chants of Hildegard performed
SSAAJ keyboard by women's vocal ensembles can select from
Naomi Stephan Company Press any of me fine recordings listed below. A
Hodie E-mail: DocShaffer@aol.com more extensive discography of music for
SSSAA,unaccompanied women's choruses may be fOund via me
Treble Clef Music Press Janika Vandervelde web site for me ACDA National Repertoire
o Viridissima Vi/go & Standards Committee on Women's
Ideo. Manuscript SATB/ST/dumbek or tabla drums Choirs: http://www.cco.caltech.edu/
E-mail: nstephan@unca.edu Earthsongs ~mhubbard/acda_rs/index.shtml.

Circle ofWisdom

'., em1-Q<'
.2) .- ._
".--
.....
.--
,~.' -~-' ~-~ ~ -
., .... '"' .
.TN
http://www.demiq.com
Call Toll-Free (888)204-4440
Music celebrating me 900m anniversary
of Hildegard von Bingen
Anima
CDANM002
Choral & lnstrumental Sheet Music on the lntemet
Secular Chrishnas Choir & Orchestra
Sacred Music ofthe Middle Ages
Christmas Boogie SATE - BarbeylMarsh What a Joy! (Selections from "Die Hildegard von Bingen and others
Christmas 5/4 Time SA(T)B - BarbeylKraintz Fledermaus") - Strauss
The Sound of Christmas SATE - BarbeylKraintz Va, Pensiero (Chorus of the Hebrew Anima
Sing Noel SATE - BarbeylKraintz Slaves, from "Nabucco") - Verdi Straight Arrow Recordings CD SAPOO 1
Sacred Sacred Christmas St. Johnsbury, Vermont, USA. June 1994.
Healing Prayer SATE - Kysar From Christ Mass SATE a cappella - Isaacs
Glory to God SATE - Marsh - Benedictus (0 Come, Emmanuel)
Spirit of the Lord - Bayne - Agnus Dei (Silent Night) with Audience
11,000 Virgins
Anonymous 4
Anywhere in the world! - Order Today, Rehearse Tomorrow!
Music of Hildegard von Bingen inspired
by me legend of St. Ursula
Harmonica Mundi CD HMU 907200;
CHRISTMAS CASS 407200
1997
THE CAROl OF THE DANCE, Noel Goemanne
SA, keyboard, opt. timpani and flute Elektra WOmens Choir
Contains compositions by Hildegard,
DEO GRACIAS, Jim Leininger
SSA, optional hand drum
Verdi, Durufle, Luengen, Schafer,
Fletcher, G. Holst, Tavener, Kostiainen,
LULLY, LULLAY, Michael Mendoza Tormis.
SSA a cappella Elektra Women's Choir, Morna
I WONDER As I WANDER, arr. Michael Weber Edmundson & Diane Loomer, Co-
SAB, keyboard Directors
Skylark CD 9202
LO, HOW A ROSE E'ER BLOOMING, Carlton Young
SAB, handbells Vancouver, Be, Canada. 1995_

ADAM LAY YBOUNDEN, Hubert Bird Feminea Forma Maria

SATB a cappella Hildegard of Bingen, Johannes Berchman
CHRISTMAS, Carlton Young Goschi
SATB, piano or organ 12 Marian songs from me Dendermonde
Codex, sung by me II-woman Ensemble
MARIA WALKS AMID THE THORN, arr. William Hunt
SATB a cappella Mediatrix. Song texts in Latin and
German only; liner notes in English and
SEE THE LITTLE BABE, Dan Schwartz German. Mediatrix CALIG 50 982. 1996.
SATB a cappella

WELCOME, ALL WONDERS, Michael Larkin Alleluia Psallat, The Joys 'of Christmas
SATB a cappella Medieval to modern Christmas music,
including Hildegard von Bingem, Britten,
Chambers, Handel, Bach, and Mechem,
ALLIANCE MUSIC PUBLICATIONS, INC.
(713)868-9980 FAX (713)802-2988 Peninsula Women's Chorus, Patricia
p.o. Box 131977 • Houston. Texas 77219-1977 Hennings, Conductor

PAGE 48 CHORAL JOURNAL

\!

Location bigital Recording LDC-1001
Direct CD order ($18.00): 2360 Emerson
St. Palo Alto, CA 94301
Hildegard ofBingen: Symphonia (part 1)
Symphony of the Harmony of Celestial
Revelatiom
Telarc CD 80448
Lenox, MA 1995
Song ofSongs
Tapestry, Laurie Monahan, Director
Hebrew Cantillations, Latin Chant,
Hildegard, Contemporary compositions
For further reading in addition to
encyclopedic references:
Fierro, Nancy
Hildegard ofBingen and Her Visions ofthe

~
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Dr. Charles K. Smith, Director of Choral Activities
Dr. Jonathan Reed, Associate Director of
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• Master's and doctoral degrees

• Chamber choral ensembles available to graduate
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• Teachin-g Assistantships
• Application deadline for 1999-2000 academic year-
December 1, 1998

For further information contact:

Director of Choral Activities, Michigan State University,
East Lansing, MI 48824-1043
517/355-2140, http://www.music.msu.edu

OCTOBER 1998 PAGE 49

 Feminine Alliance of Women in Music: http://
Kansas: Sheed and Ward. 1994. 150.252.8.92/www/iawm/historicall
FREE
catalog and
hildegard.html
Flanagan, Sabina Monica J Hubbard, National Chair
fabric samples.
Hildegard ofBingen: A Visionary Life. Committee on W'Omens Choirs
Since 1955 ... New York: Routledge. 1989.
LYRIC NOTES
CHOIR GOWN co. Neuls-Bates, Carol, ed. I June Boyce-Tillman. Singing the Mystery-
P.O. Box 16954-AZ
W'Omen in Music: An Anthology of Source Hildegard Revisited, liner notes. British
Jacksonville, FL 32245 ReadingsfiYJ1n the Middle Ages to the Present Music Label CD 022. May 1997.
CALL TOLL FREE Boston: Northeastern University Press. 2 Monk and the Abbess. Mwic ofHildegard of
1-800-847-7977 Revised Edition, 1996. Bingen and Meredith Monk. Musica Sacra.
Richard Westenburg. Conductor. Liner
Newman, Barbara notes. K. Robert Schwarz. Catalyst CD
Sisters ofWisdom: St. Hildegard's Vision of 09026-68329-2. BMG Music. 1996.
the Feminine. 3 Mary Berry. "Hildegard of Bingen,"

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1987.
Gramophone, (March 1998): 93
4 Elizabeth Austin, e-mail to author, February

areJfeard Ohanneson, Joan

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5 Frank Ferko, e-mail to author, January 8,
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6 Hildegard Music Publishing, Box 332, Bryn
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PAGE 50 CHORAL JOURNAL

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 HALLELUJAH!
Timothy W Sharp, editor

Rehearsing the Volunteer Church Choir: Principles and Techniques

by Lee Hinson

Editor's Note: Every week a large to sing in public every week. The director In addi tion, people, particularly young
volume of music is rehearsed and does not have a semester to work out all adults, are more conscious these days of
performed by church and synagogue the kinks in a piece, establishing good value. If you ask them to come to a meet-
choirs all over the country. Of ACDA's balance and blend before trotting a work ing or rehearsal, you'd better make it worth
18,800 members in 1997, more than out in concert. their while. & one director quipped,
5,800 indicated they directed a choir of The lives of the choir members also "They don't have to come."l
this type. This is the single largest area affect rehearsals. Volunteer choir mem- Good choral technique is desperately
of professional activity within the bers tend to be busy folks, taking on sev- needed by these volunteer choirs. Direc-
organization. This article by Lee eral other responsibilities at church (some tors must hold that ideal of choral sound
Hinson, Small Church Consultant for of which may cause irregular choir atten- out before them, striving for what may
the Baptist Sunday School Board, dance). Since there is usually only one never be achieved. James Woodward said,
addresses the unique challenges of the opportunity for rehearsal each week, dis- "We must change the things we can, tol-
volunteer church choir. ruptions and personal problems can have erate the things we can't change, and have
a pivotal effect on the sequence of the sense to know the difference."2
rehearsals. Rehearsal attendance may
The Challenge of not reflect performance attendance.
Volunteer Choirs
Volunteer religious choirs present
unique challenges to conductors. In fact,
it may take greater professional skill and
creativity to accomplish musical goals with
limited resources and time.
Although some religious choirs are
supplemented with paid singers, a signifi-
cant number do not use paid vocalists.
These choirs function on the principle of
volunteer service that grows out of a deep
personal religious conviction and a desire
to serve. In some cases only a few of the
volunteer singers read music well. The
interpersonal and musical dynamics of
the volunteer group can be very different
from one with paid singers.
Many student conductors or school
choir directors have found themselves in
front of such a choir each week. Direct-
ing a choir at a church or synagogue can
be a great way to gain conducting experi-
ence and earn extra income. However,
most choral pedagogy and rehearsal tech-
niques taught in college are based on the
assumption that the director will have
several days each week over several
months' time to accomplish their musical
goals. But these volunteer choirs, no mat-
ter what size, are hemmed in by time
constraints and pursued by the pressure

OCTOBER 1998 PAGE 53

 Basic Principles of what they learn. Repeated practice over
Directors of volunteer religious choirs a five-to-eight-week period is usually
should plan and execute rehearsals with needed to get non-reading choir mem-
two underlying principles. bers and uncertain singers ready to per-
1) The Need for Repetition Over form a piece. Given enough repetition,
Time. Choir members who take a stab at they will sing with more confidence and
a piece only once a week will forget some responsiveness. The choir director should
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not spend too much time on one piece in
rehearsal, but should budget the time so a
variery of music can be sung. The more
music sung in rehearsal and the faster the
pace, the more interest will be generated
among the singers.
2) Awareness of How the Singers
"Get" Their Parts. Although these vol-
unteer choirs may have few music read-
ers, they may have several good ears! There
is often a keen sense of relative pitch and
a vague understanding of notation via
hymnic part-writing. For example, a bass
or alto who grew up singing gospel hymns
will quickly learn a new anthem if their
part is consistent with the part-writing
found in many hymns ftom the turn of
the century. Simple SAB arrangements
can be difficult for the basses because the
baritone line does not generally contain
root movements. Pieces that take the
melody away from the sopranos (espe-
cially if it is a well-known hymn tune)
can create consternation for ladies accus-
tomed to singing that melody. Sometimes
the means to the end is proper seating.

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PAGE 54 CHORAL JOURNAL

Uncertaln singers may need to be placed
as far away from another part as possible,
or at least seated next to section leaders.
Knowing how the choir members "tick"
musically will aid the conductor in choos-
ing repertoire and devising a rehearsal
strategy.
Techniques
Keep as Many People Singing as Pos-
sible. The longer a section sits idle, the
more likely it is to start talking (and,
thereby, stop listening). After working one
part alone, keep them singing while bring-
ing in another section. Look for "duets"
between the sections, such as parallel
sixths or echo parts. Rehearse similar or
repeated musical sections in groups. Even
music. Don't feel compelled to sing all
the way through every piece at every re-
hearsal. Turn a difficult phrase into a
melody, then have all the sections sing it
in unison. Repeat passages several times
in succession. Use clapping, body move-
ment, or neutral syllables on tricky
rhythms. Work a difficult passage at dif-
ferent dynamic levels and tempos. In gen-
eral, difficult pieces should be placed
about one-third of the way through the
rehearsal when the choir still has the en-
ergy for some hard work.
Know When to Quit. There will be
times when the rehearsal plan does not
work out. Perhaps the day was too long,
and everybody is tired, or the section lead-
ers did not show up. Whatever the rea-
that the social aspects of the Qrganization
are very important to the continued
growth of the choir. Sprinkle the rehearsal
with humor. Volunteer choirs that have a
good time at rehearsal have more consis-
tent attendance patterns. Take time to do
things as a group away from the rehearsal
setting. Visit in the homes of the choir
members. End rehearsals with a sense of
satisfaction. Get caught up in the joy of
making music.
NOTES
1 Terry York, "They Don't Have to Come:
Thoughts About Rehearsal Planning,"
The Church Mllsician (September/
October/November 1988): 4.
2 James D. Woodward, What To Do in Case

if the only difference is the key signature,
the music may look different to the sing-
ers. Don't work on parts in the same or-
der all the time. Let the music determine
the order.
Don't Depend Totally upon the Key-
board for Support. Choir members can
rely too heavily on the accompanying in-
strument. Drop away the accompaniment
son, don't continue beating a piece until of a Choir Rehearsal (Nashville:
it is dead. When the momentum lags in a Convention Press, 1972), 18.
rehearsal, move on to something else.
Make a fresh start on that music the next -C]-
week. If an anthem is consistently diffi-
cult to rehearse, consider that it may be
inappropriate for the ensemble. Don't be
afraid to remove it from the schedule.
Be Organized, but Have Fun. Have

after chasing notes awhile. Occasionally,
struggle through a passage without ac-
companiment, no matter how bad it
sounds. Program more unaccompanied
pieces into the repertoire.
Use Recordings Judiciously. Con-
stantly working with a recording would
be counter-productive. However, record-
ings can really jump-start work on a hard
piece or bring the singers back to reality
after several weeks of picking parts.
Insist that the Singers Follow the Con-
ductor. If the choir does not respond to
the conductor, consider the cause. The
pattern may not be clear or may be full of
meaningless motions. Amateur musicians
simply may not know how to interpret
the signals of conducting. Singers might
have their heads buried in the music.
When a clear pattern is established and
the signals are understood, demand to be
followed.
Work Difficult Passages Early. Since
most arrangements tend to be progres-
sive, the last thing the audience hears is
often the most difficult. Spend signifi-
cant time on the hard spots and the
"seams" of the music where the musical
sections connect. Often this means start-
ing in the middle or at the end of the
~
the music ready to go. Provide a list of the E NEW! 1999
rehearsal pieces. Print a choir newsletter Lent & Easter
PACKET!
or bulletin that is handed out at rehearsal Choral Music
and then mailed to absentees. Contact Theodore Presser Co. : Dept. 10e
absent choir members quickly. Keep so- 1 Presser PI. BIY" Mawr PA . 19010-3490
or: E-mail p!e~ser@presser.com
cializing to a minimum, but remember
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OCTOBER 1998 PAGE 55

 11t~ e. PeVzee SdMd ~ 11teuk eued 'P~;-im
... nowaccepting registration for admission and scholarship auditions

Audition Dates
November 20 & 21 , 1998
February 26 & 27, 1999
March 27, 1999
Stephe,J) Coker, DMA • Director of Choral Activities
Chamber Choir • Women's Choral Union • University Singers
Fou{Fully Staged Opera/Music Theater Productions and
.. Two Staged Readings Annually
Composers' Writings,
For additional information regardIng degree Interviews &Reviews
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or email to: music@frodo.okcu.edu

Lifelong Friend
WHERE WORDS FAIL, MUSIC SPEAKS
Each day, we celebrate strong relationships in our lives, whether dromatic or
understnted, whether spoken or unspoken, whether romantic or filial. The men
of Turtle Creek Chorale have put these celebrations into song. .:. Seven of the pieces
belong to composer David Friedman, best known for his arrangements for Disney films
I
and his colloborotian with the late Nancy laMott. The other pieces ore all by friends of
the TCC: Marvin Gospord, Jane Marshall, Robert Seeley, and Joseph Jennings.
TCC hos also made a music video of "listen to My Heart."
The music tells our story. Perhaps it tells your story.

FOR MORE INFORMATION

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214-526-3214 PHONE II 214-528-0673 FAX II 1-800-746-4412 TOll-FREE
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PAGE 56 CHORAL JOURNAL

 COMPACT DISC REVIEWS
Richard J, Bloesch, editor

Editor's Note: This month Weyburn absolutely solid on the Shakespearean texr
Wasson reviews a selection of compact set by Lindberg. Their intonation is al- RECORDING
discs featuring Scandinavian composers ways without flaw. COMPANIES THIS ISSUE
and choirs. The pieces are performed in their origi-
Grammophon AB BIS
nal language, but some of the works are (address not available)
Arstider • Seasons available in English translation. Publish-
choml music a cappella ers of all pieces are listed in the CD book-
Naxos
Prins GllStaf: Glad slisom figeln; Frederik let. This CD is highly recommended.
Naxos of America, Inc., agent
Kuhlau: Majsang; Otto Lindblad:
8440 Remington Road
Dingtan till landet; Eric Jacob Arrhen
Pennsauken, NJ 08110
von Kapfelman: Va rsang; David Lars-Erik Larsson
Wikander: Dofta, dofta vit syren, FOl-kiadd Gud (God in Disguise)
Forvarskvall' WIlhelm Peterson-Berger: Hilding Rosenberg
QuattroAS
Varm kom m Vlborgsnatt; Jacob Axel Den Heliga Natten (The Holy Night) (address not available)
Josephson: Varliga vindm-; Sven-Erik Amadei Kammark6r; John Erik Eleby,
Bade Varen; Hildor Lundvilc Det jdrsta conductor
. van'egnet, Verlaine-Stamning, Som ett Svenska Kammarorkestern; Petter
Uppsala Domkyrkokor
blommande mandeltrad; Hans-Ola Sundkvist, conductor
Odinslund 3
Ericsson: Under lindm; Veljo Tormis: Recorded 1996
SE-753 10 Uppsala
Kihnu Pulmalaulud, Sugismaastikud,' Naxos 8.5537.38 [DDD] 61 '01"
Sweden
Karin Rehnqvist: Bam du gar ovel'

mm'kerna; Nils Lindberg: Shall I com-
pal'e thee to a summer's day;
Sommmpsalm; Hakan Parlanan: Titania;
Knut Hakanson: Stjarngossm~' Sven-Eric
Johanson: Vintervisa, Snabbt jagar
st01'men vara ar; Traditional: Till
Osterland.
Allmanna Sangen; Cecilia Rydinger Alin,
conductor
Recorded 1998
Grammofon AB BIS, Djursholm, CD
934 [DDD] 70'21"
T
HE TWO WORKS on this CD
are by two of the more famous
Swedish composers of the older
generation of twentieth-century masters:
Lars-Erik Larsson (1908-86) and Hilding
Rosenberg (1892-1985).
Larsson, who is most often determined
to be a neo-classist, shows a more Ro-
mantic side in this cantata-like work writ-
ten in 1940 on a contemporary text by
the Swedish poet Hjalmar Gullberg.
Scored for orchestra, choir, baritone and
soprano soloists, and narrator, the work
year disguised as a peasant to show how
poetry must serve in the fight against evil.
Written after Europe had been plunged
into world war, the cantata seeks to soothe
the beast of evil with pure beauty. The
narrator recites the poetry of Gullberg,
which is then sung by soloists and choir.
It is, especially for Larsson, a lush work
with a great deal of melodic inventive-
ness. The performance is at once sensitive
and powerfully voluptuous.
The Christmas oratorio Den Heliga

T
HIS CD can be considered an
anthology of Scandinavian music
with a bias toward twentieth-cen-
tury Swedish music. The choir is the stu-
dent choir ofUppsala University; Sweden's
oldest University. It is by all standards an
excellent choir.
Much of the early music on the re-
cording is of the folk variety. The choir
performs this music with great elan and
gusto. Yet, they are equally comfortable
and at home with the more difficult works
byTormis and Lindberg and display great
maturity in their conceptions of these
works. They sing with great pleasure and
with complete attention to the tonal color
of the text. Their diction in all pieces is
impeccable and, indeed, they sound
relates the old Greek myth of how Appollo Natten is arguably Rosenberg's most ac-
was sentenced to wander the earth for a cessible work. It is still (after sixty-two
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OCTOBER 1998 PAGE 57

years since its composition) very popular
and is played over Swedish Radio every
Christmas Eve. Scored for orchestra, choir,
soprano, mezzo-soprano, baritone and
bass soloists, and narrator, it recounts the
LUMINA MUSIC
Featuring enduring, meaningful texts
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THE INSTITUTE OF SACRED MUSIC
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Nativity story juxtaposing Gospel ac-
counts from Luke, Matthew, and John
with the poetry of Gullberg. The Gospel
stories are recited by the narrator in the
style of the melodrama. (One should re-
member here that the melodrama was a
very popular form of nineteenth-century
music wrinen for narrator and orchestra
or piano on dramatic texts; both
Mendelssohn and Liszt, to name but two
wrote melodramas). In all but one
instance, the words of the narrator are
A Cross-Disciplinary
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heralded by brass fanfares with strings
and winds accompanying the narration.
This, too, is a very pleasant work, and it
is easy to see why it remains popular as a
yearly tradition. It, like the Larsson, is
extremely melodic and Christmassy
sounding without quoting any familiar
Christmas tunes. The choir is used less in
this work; the men sing a shepherd's cho-
rus, and the full choir accompanies the
end of the first solo and sings the finale
"Song of the Star." There are solos for
each of the four soloists and an orchestral
"March of the Three Kings."
The performances of both of these
works are lovingly done by ensembles who
know them well and perform them
equally well. The choir is beautifully shim-
mering, and the orchestra sure-footed and
sensitive. This CD gives a glimpse at works
that deserve to be equally lauded outside
of Sweden as they are in Sweden.
The only drawback is that the CD has
been issued only in Sweden and therefore
has only Swedish in the CD booklet. An
international release is being considered,
with an expanded booklet in other lan-
guages, but a date has not as yet been set.
Those wishing to obtain this CD may
contact: Naxos Sweden, Kryptongatan 6,
S-703 74 Orebro, Sweden. E-mail ad-
dress: mats@naxos.se

PROGRAM IN CHORAL CONDUCTING Grex Vocalis

CRUX'20th Century N01wegian Choral
Faculty Music
Marguerite Brooks ~ David Connell Edvard Grieg: Fire Salmer, op. 74; Knut
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Degrees Offered through the Yale School of Music Lamentationes; Trond H.E Kverno: Cor-
Master of Music ~ Artist Diploma pus Christi Carol. Ave Maris Stella, Missa
in Sana Tubae, Stabat Mater Dolorosa
Master of Musical Arts ~ Doctor of Musical Arts
Grex Vocalis (Oslo, Norway); Carl
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Double Majors may be obtained through the School of Music.
Recorded 1997
Joint Degrees are offered concurrendy with Yale Divinity School. Quanro AS QCD 9308 [DOD] 69'32"
Scholarship awards are based on need and merit.
Prizes in Organ Performance and Choral Conducting

A
FINE CHOIR performs some
are available for qualified applicants. masterworks of the Norwegian
twentieth-century choral art.
Address inquiries to: Office of Admissions, Yale Institute of Sacred Music While the works by Grieg and Nystedt
are familiar, the works of Kverno (except
409 Prospect Street, New Haven, CT 065II
for his Ave Maris Stella) and Nordheim
PHONE 203-432-5180 FAX 203-432-5296
are less well known.
E-MAIL ruth.lackstrom@Yale.edu
The performances on this CD are sure
WEBSITE http://www. yale.edu/ism
and solid. One might wish for-more con-
trast in the tone quality. The choir seems to

PAGE 58 CHORAL JOURNAL

sing with'only a rather plain forward char- Uppsala, also the home of Sweden's oldest Sandstrom's 0 Guds Lamm is the fi-
acter that doesn't always express the and most prestigious university. The CD nale from the Mass Ordinary, which he
darker, more melancholy aspects of the includes performances of standards of composed for the Uppsala Cathedral
texts. Part of the problem may be what is Scandinavian repertoire; the works by Choir in 1992. The mass setting itself is
perceived to be a rather close placement of Kverno and Nystedt, as well as perfor- scored for choir, brass quintet, congrega-
the microphones to the choir, which mances of new works by Lindberg and tion, and two organs. The finale ( 0 Lamb
doesn't allow for any inflection of the tone. Sandstrom. a/God) is unaccompanied. It is a moving,
The performance of the Grieg Psalms
compares favorably with the earlier Nor-
wegian recording by the Oslo Cathedral
Choir under the direction ofTerje Kvam. Sacred SilTB
However, one does wish the soloist on
this recording (NjaI Sparbo) was as good Nobody Knows - MF 2135
as the baritone on the earlier recording arr. David T. Childs for SATB div, reh kybd
(Hlkan Hagegard).
Creating God - MF 2136
Nordheim's Hes Lamentationes were
by Robert Benson for SATB, org
commissioned by Grex Vocalis in 1985.
They are neo-expressionistic in style and The Lord Is The Everlasting God - MF 2137
depend upon pungent harmonies to ex- by Kenneth Jenning for SATB, reh kybd
press the dolorous texts. FREE references copies available upon request.
The conductor's affinity for the music
of Kverno is evident in his performances po Box 4012, Champaign, IL 61824-4012
of these works. Two of the works, Ave Phone (BOO) 359-1386 or Fax (217) 398-2791
info@markfostermusic.com
Maris Stella and Missa in Sana Titbae, were muSIC comPRnr http:/twww.markfostermusic.com
commissioned by Grex Vocalis and re-
ceived their premieres with this group.
Stabat Mater Dolomsa was commissioned
for Europa Cantat 1991 at the urging of
Maestro Hogset. The performances of
these works are beautifully crafted. The
choir sings with immaculate intonation,
balance, and attention to nuance. Again,
however, one might wish for more tone
color contrast.

Uppsala Domky1'kokor
(Uppsala Cathedral Choir)
Knut Nystedt: Sing and Rejoice, Mise7'ere,
op. 140; Nils Lindberg: Har du din
lampa redo, 0 Gud som allt med vishet
Sty1; Hoga Visan; Trond Kverno: Ave Lincoln Center NYU • Churches of New York
0

mm'is stella; S. D. Sandstrom: 0 Guds 1999 Faculty

Lamm; Gregorian chant: Gaudeat eximiis Weston Noble· Moses Hogan· Gregg Smith
Upsalia, Antifon and Psalm 117 (l2th
century)
Uppsala (Sweden) Cathedral Choir; Milke ****BY AUDITION ONLY. LIMITED TO TWELVE CHORAL GROUPS****
Falck, conductor
Recorded 1998 "An intensive program of performance, workshops,
Uppsala Domkyrkokor, CD 9801 [DDD] sightseeing, Broadway shows and educational exchange"
60'23"
• GREAT PERFORMANCES· MUSICAL EXCELLENCE· AFFORDABLE VALUE·

T
HIS IS a remarkable recording by
a choir that is not well known in 1-800-922-3976
the United States. The thirty- WORLD PROJECTS, INTERNATIONAL MUSIC PRODUCTIONS
four-voice choir is the main liturgical Contact: Lawrence Hansen
group for Sweden's oldest Cathedral in

OCTOBER 1998 PAGE 59

 Madrigal Costumes
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~ 941-939-0885
rae
A repository of historical material related
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SOLID OAK
CHOIR CHAIR
quiet, languid, harmonically interesting
expression of this ancient text.
-:'fIIIIIIIIIII A newer work by Nystedt, Miserere,
,,~ op. 140 (1995) is also included in the
program. It is vintage Nystedt and will
appeal to those who are fond of this
composer's work.
Lindberg's Hoga Visan (Song of Songs)
is a four-movement work with the text
being love poetry from the Bible's Song of
Songs. The work is scored for choir, so-
prano soloist, and jazz trio: piano, so-
prano saxophone, and string bass.
Lindberg uses the jazz trio primarily for
preludes, postludes, and interludes and as
accompaniment for the soloist. The ex-
tended choral sections are basically unac-
companied, except for some bass and
piano support in all movements and the
entire trio in movements three and four.
The work is heavily influenced by jazz
and Swedish folk music. The sultry and
bouncy jazz introductions are echoed by
the choral sections, although the harmonic
idiom for the choir is less jazz-based than
the instrumental sections. It is a very ef-
fective work and one that is well within
reach of college and advanced church
choirs. I have been unable to determine if
the piece is published. It remained un-
published when I was in Sweden in June
1998, but may now be published. The
original text is Swedish, although an
English translation is provided in the CD
booklet.
In addition to the recorded music on
the CD, there is also a CD-ROM track
that can be viewed and heard with a
network browser. This track has inter-
views with the conductor and composers,
examples of the scores, pictures of the
composers and choir, and a pictorial tour
of the Uppsala Cathedral complete with
narration in both Swedish and English.
This new technique of encoding both
rypes of CD images on a CD is some-
thing that will undoubtedly begin appear-
ing with more frequency on classical CDs.
The performances on this CD are ex-
ceptionally good. The choir is well-trained
(Falck was a conducting student of Eric
Ericsson), and the sound is enhanced by
the marvelous acoustics of the Uppsala
Cathedral, which has a reverberation time
of approximately five seconds. I recom-
mend this CD highly to those interested
in hearing qualiry recordings of impor-
tant Scandinavian choral works.
Weyburn Wasson
First Christian Church
Iowa City, Iowa
-C]-

with:
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PAGE 60 CHORAL JOURNAL


Sharon A. Hansen
Helmuth Rilling: Conduct01'-Teacher
Dayton, Ohio: Roger Dean Publishing
Company; 1997.243 pp. $30. ISBN: 0-
89328-150-6 (Softcover)
N JUNE 1970, I had the opportu-
I
nity to study, perform, and even
briefly socialize with Helmuth Rilling
at Temple University's Ambler Festival.
His rehearsals were imbued with a sense
of mutual respect and cooperation, yet he
achieved quick results through efficient
problem solving and precise technique.
During the period 1992-94, Sharon
Hansen spent considerable time partici-
pating in classes, rehearsals, concerts, and
tours led by the conductor. Based on her
observations and frequent conversations
with Rilling, she has produced a well-
organized and clearly-written book pro-
viding important facts about his
education, the positions he held, and his
endeavors in establishing the Bach Festi-
val in Oregon, as well as the development
of Stuttgart ensembles (notably; the Bach-
Collegium) and organizations. Perhaps of
even greater significance is her extensive
compendium of Rilling's thoughts on con-
ducting, rehearsal technique, score prepa-
ration, and interpretation. Although this
last topic revolves around Bach's music
(and reveals the conductor as an earnest
scholar), his more general conducting and
rehearsal ideas are applicable to other com-
posers and styles.
For those fascinated with conducting
methodology, a comparison with Kurt
Thomas's Lehrbuch der Chodeitzmg (pub-
lished as The Choral Conductor by Associ-
ated Music Publishers in 1971 and offered
as a special issue of the American Choral
Review that same year) seems appropri-
ate. Both conductors began their careers
as German church musicians and Bach
specialists. The Lehrbuch is a manual of
great detail emphasizing conducting pat-
terns and oriented toward unaccompa-
nied music; Rilling's more general yet
clearly articulated concepts and ideas ex-
tend beyond basic pedagogy and include
important advice for working with
OCTOBER 1998
BOOK REVIEWS
Stephen Town, editor
instrumentalists. His discussion about
"what to say" during rehearsals is particu- BOOK PUBLISHERS
larly insightful: THIS ISSUE
Cambridge University Press
It is in the way you talk to people-
Press Syndicate of the
it is all in the way you treat them. University of Cambridge
Encourage them-never let them
40 Wesr Twentieth Srreer
forget that it is a joy to make music! New York, NY 1O01l
Never forget why you yourself
became a musician-because you
Roger Dean Publishing Company
love music. How many times do we
Lorenz Corporation, agent
professionals forger thar? (p. 75) P.O. Box 802
Dayton, OH 45401
Hansen's book also contains appendi-
ces listing publications by Rilling and the
Clarendon Press
Bach Summer Academy. It is the last ap-
Oxford University Press, Inc., agent
pendix, Rilling Discography, which helps 198 Madison Avenue
to put the conductor-teacher's importance New York, NY 10016
in perspective. Listed are several hundred
works, including the complete Bach can-
tatas, albums featuring Rilling as organ- Saint Joseph's University
ist, and recordings of such diverse Philadelphia, Pennsylvania
composers as Handel, Haydn, Brahms,
Faure, Distler, and Penderecki. Sharon John Morehen, editor
Hansen has written an important book English Choral Practice, 1400-1650
about an influential musician and his wis- Cambridge: Cambridge University Press,
dom. 1995. 246 pp. $59.95. ISBN: 0-521-
Lewis W Gordon 44143-9 (Hardcover).
Simply . .. the best!
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PAGE 61
T
HIS SCHOLARLY volume, con-
sequent to a lecture series orga-
nized by the late Peter LeHuray,
was written by eight authors. Each looked
at a particular facet of English choral prac-
tice or area of historical interest. This is
not a comprehensive volume in any way,
bur rather a compilation of scholarship
centered around choral music in England
between 1400-1650. Therefore, any
single performer or scholar may find ele-
ments of interest only in certain chapters.
This is not a survey or an instructional
method book. It serves to raise issues and
questions and thereby helps inform and
engage our thought processes regarding
the music.
None of the eight authors saw each
other's work before publication. Hence,
in keeping with healthy scholarship, there
are some disagreements-such as the is-
sue of proper performing pitch. While
such disagreements may not immediately
aid performers, they help us understand
the range of options open to us and help
us ask the right questions along the way.
The New John Rutter
Compendium!
Now two of English Composer John Rutter's most frequently performed
and requested compositions, Requiem and Magnificat are available on one
recording (CD or cassette), sung by The Cambridge Singers and available
in the USA exclusively from Collegium Records, 800-367-9059.
PAGE 62
In chapter one, Roger Bowers addresses
"To chorus from quartet: the performing
resource for English church polyphony, c.
1390-1559." He concludes that during
the fifteenth century, standard practice
grew from men singing plainsong and
polyphony to full choirs, including boys,
singing in an established SATB voicing
that is with us to this day. He also ad-
dresses sounding pitch, vocal scoring, and
the development of repertory for full cho-
rus.
Roger Bray addresses "Editing and per-
forming musica speculativa" in chapter
two. He defines musica speculativa as
"music that is conceived and presented in
an esoteric format for academic presenta-
tion" (p. 48). While his exhaustive dis-
course will be admired by fellow scholars,
most performers will find only the end
result useful: a readable, decoded score.
Alison Wray contribured chapters three
and four, "The sound of Latin in En-
gland before and after the Reformation"
and "English pronunciation, c. 1500-c.
1625." Performers and scholars alike will
follow her writing with interest. She ex-
plains the difficulties of establishing his-
torical pronunciations, especially for very
specific places and times, and then ex-
plains the methods used to achieve the
best possible estimation. Regarding Latin,
we "experiment with different methods
in the hope of achieving something that
makes sense at as many levels as possible"
(p. 89). Her arguments and conclusions
have the stamp of logical reasoning. Re-
garding English pronunciation, she states
that in the sixteenth century, singing vo-
cal production approximately equalled
speaking vocal production. Modern sing-
ing, based on bel canto, alters the lan-
guage sounds away from spoken sounds.
She contends this would not have been
done in sixteenth-century England and
that to approximate their vocal color we
move away from bel canto toward a vocal
production nearer speech.
David Wulstan's chapter on "Byrd,
Tallis, and Ferrabosco" addresses the mu-
sical influences on Byrd, particularly
Alfonso Ferrabosco. He also presents sig-
nificant computer analysis of pitch, range,
and clef patterns, contending that both
English and Latin church music of the
time would have been sung at a consis-
tent pitch, "which was slightly below a
minor third above present-day 'concert
pitch' (a=440)" (p. 110).
David Mateer addresses "John Baldwin
and changing concepts oftext underlay."
Baldwin was a late Elizabethan scribe.
Topics include text underlay in long
melismatic passages, questionably re-
peated textual phrases and the proper in-
terpretation of the ditto sign in
Elizabethan scores.
In "Sacred song in the chamber," John
Milsom regards chamber performances of
pre-Reformation Latin sacred music in
the late sixteenth century. He concludes
that such polyphony was sung by "con-
sorts of solo voices (and of instruments)"
(p. 179) and that therefore such perfor-
mances today would be both appropriate
and desirable.
Janes Flynn details "The education of
choristers in England during the sixteenth
century," chronicling the changes in their
curricula and priorities.
John Morehen concludes the volume
with "The 'Burden of Proof': the editor
as detective." He "addresses a sample
CHORAL JOURNAL
selection of such areas of concern" (p.
200) as music and verbal text, composi-
tional structure and performing practice.
He gives clear examples of such "detective
work" and the processes therein.
While this volume is valuable for the
insights it gives into the process of explor-
ing our repertoire, much of it is not of
immediate use to choral performers. Its
multifaceted approach is both bane and
blessing: few will be interested in every-
thing here, but many will benefit from
certain aspects. For performers I particu-
larly recommend Alison Wray's chapters
on pronunciation and John Milsom's ap-
proach to consort performance.
Mark M Ring, DMA
Moorhead High School
unaccompanied Amen, Miserere and Totus
Tum. The numerous folk-song arrange-
ments and shorter sacred pieces, many of
which remain unpublished, are also dis-
cussed. G6recki made this shift in com-
positional style:
in his own time and for his own
reasons: to harness his discoveries
to overtly expressive and somecimes
highly personal compositions. An
integral part of this new focus was
G6recki's wish to return to the
human voice. (p. 70)
The author also includes comprehen-
sive repertoire lists, a discography, and
bibliography.
and early music, all of which are explained
thoroughly.
His seminal works, including the
Credo for piano, choirs, and orchestra,
set tonal and atonal forces in confronta-
tion. After this composition Pan, like
G6recki, went through a tremendous
change of style and began composing
pieces titled "tinntinnabuli." He made this
change by:
'learning how to walk again as a
composer.' With Gregorian chant
as his source, he studied how to
write a single line of music. Writing
semi-automatically, page after page,
flliing book after book, he sought
to enter a different sense of time, 0

Moorhead, MN Paul Hillier takes a compositional, to fully assimilate all that might be
rather than a biographical, focus in his meant by the idea of "monody." In
volume on the Estonian composer. In dis- this way he sought to steep himself
Adrian Thomas cussing Part's music, the author gives four in a new tradition, not artificially,
Gorecki topics that are essential to the understand- but assimilating it bit by bit,
Oxford: Clarendon Press, 1997. 187 pp. ing of his writing: music and spirituality pulling it gradually to the surface
$19.95. ISBN: 0-19-816616-8 (with special reference to Russian Ortho- in such a way that it might become
(Softcover) doxy), the sounds of bells, minimalism, second nature. (p. 74)

Paul Hillier
Arvo Part
Oxford: Clarendon Press, 1997.219 pp.
$19.95.
(Softcover)
ISBN: 0-19-816394-0 The New Pendereclci
Credo!
B
OTH OF THESE soft-cover
books are from the Oxford Stud-
ies of Composers series of twenti-
eth-century composers published under
the Clarendon Press imprint. The authors
have personal relationships with their
composer and have given the musical
community documents that serve as com-
mendable musical and biographical in-
troductions. Each book discusses the
composer's compositional journey, from
early avant-garde pieces to the miminalist
works of recent years, and has extensive
musical examples and detailed theoretical
analysis of repertoire. The highly acclaimed finale of the July 1998 Oregon Bach Festival was
Adrian Thomas organizes his text chro- the world premiere of KrzysztofPenderecki's Credo, conducted by Helmuth
Rilling and recorded on the Hiinssler Classic label. It is now available in
nologically, tracing G6recki's music
the USA exclusively through Collegium Records, 800-367-9059.
through life experiences, which include
debilitating illnesses and an early life-shap-
ing experience at Auschwitz. The reader
is given an in-depth look into his compo-
sitions, from the avant-garde (including
the choral works Epitafium, Ad mattem,
and the Second Symphony) to the

OCTOBER 1998 PAGE 63

 The basis of Part's tintinnabuli style is
a two-part texture consisting of a "me-
lodic" voice (the M voice) moving mostly
by step from or towards a central pitch,
and a "tintinnabuli" (T) voice sounding
the notes of the tonic triad. The author
explains in detail the construction of each
voice and gives lengthy analysis of the
first seven of these pieces composed in
1976. Also examined are the Passio (pas-
sion), Te Deum, Stab at Mater, Miserere,
and Litany, as well as shorter works (in-
cluding The Beatitudes and Magnificat).
The chapter on performance practice
will be of great assistance in the prepara-
tion of Part's scores. The author also in-
cludes a list of works, bibliography, and
discography.
Conductors planning to present reper-
toire by either composer should consider
these books as required reading in the
preparation of their scores.
Gregory M. Pysh
First Presbyterian Church
MidlandTX

-CJ-
(Continued from p. 31.)
The concert venues for the conven-
tion are the historic Medinah Temple and
the highly renowned and recently reno-
vated Orchestra Hall. Following the tra-
dition of the last several national
conventions, coequal Gold and Platinum
tracks will accommodate the first five
thousand anticipated registrants. Regis-
trants beyond the first 5,000 will be is-
sued a Blue badge. On Wednesday and
Thursday evenings the Gold and Plati-
num badge holders will alternate hearing
a performance of Brahms's Requiem, per-
formed by the Chicago Symphony Or-
chestra and Chorus, and the International
Night, featuring the Children's Choir of
Moscow Musical Pedagogical College, the
Boys' and Youths' Choir of the
Ekaterinburg Municipality, the Chamber
Choir of the Krasnoyarsk Pedagogical
College, and the Inner Mongolia Youth
Chorus. Blue badge holders will not hear
Brahms's Requiem, unless they attend a
complete run-through dress rehearsal on
Tuesday evening. In addition, Blue badge
holders will hear all other concerts in the
Medinah Temple.
(Continued on p. 77.)

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

1/

CORAL RIDGE PRESBYTERIAN CHURCH

, FORT LAUDERDALE, FLORIDA
TWENTY"" FOURTH ANNUAL
I
CHURCH
MUSIC
EXPLOSION
JANUARY 6.. 10, 1999

FACULTY AND WORKSHOP FEATURES

• Alice Parker opens the annual Church Music Explosion with one of her
well-known and wonderful "hymn sings." In addition to her hymn sing,
Miss Parker will teach classes on composition and arranging for choirs.
• Allen Crowell will teach classes in choir techniques and conducting.
• Acclaimed virtuoso organist, Olivier Latry, Titular Organist of Notre Dame
Cathedral in Paris, France, will teach masterclasses and workshops. Olivier
will conduct four master classes on repertoire, as well as playa concert
on Friday evening. Resident organists of Coral Ridge Church will teach
service repertoire and service playing techniques.
• Madeline Bridges will teach the classes on children's choirs-teaching
techniques, voice building, repertoire, etc.
• All facets of youth choirs will be taught by Terry Goolsby.
• Classes in the art of handbell ringing and the Performing Handbell choir
will be conducted by Arnold Sherman.
• Robert Rucker will prepare and lead the daily chapel services for the CME,
as well as teach classes in the philosophy and practice of church music,
hymnody and drama, as it relates to contemporary church musicians of
all worship traditions.
• David Schwoebel will teach classes in piano and choral arranging.
• "Meet the Composer" sessions will highlight the personalities and the
music of Alice Parker, Randol Bass and David Schwoebei.
• Closing "Festival of Praise", conducted by Allen Crowell, features the com-
bined Coral Ridge Chancel Choir (John L. Wilson, Director of Music) and
workshop choirs, brass and handbells. Repertoire will include "Gloria" by
Randol Bass, and conducted by the composer.
• Five Choral Reading sessions, fellowship, wonderful food, Florida sun,
AugsburgiFortress Bookstore, exhibits, and much more.
 Orchestrating a concert tour requires years of experience.
Our staff of music and travel professionals pay constant attention
to the coundess details that spell success.
We provide appealing venues and all the necessary publicity.
Central Holidays Concert Tours has offices both in the USA and
Italy. So you can expect unparalleled service for a song.

Guest Conductors to be announced

(3 Central HolidaYS
CONCERT TOURS
Call your travel agent or 1.800.935.5000 ext. 365 or fax Ida Dunham at 617.566.3262
e-mail: idunham@aol.com
~-------------------------------
CHORAL REVIEWS
Corydon]. Carlson, editor

Editor's Note: In this issue we review PUBLISHERS THIS ISSUE

choral works from the Jewish tradition,
in a variety of voicings. Boosey & Hawkes LDDM Gordon V. Thompson Music
35 Easr 21sr Srreer Laurendale Associates, agem Warner Boot!=; Music PublicaIions,
New York, NY 10010 10535 Wyandorre Sueer agenr
Ai shlosha d'varim Van Nuys, CA 91405 15800 NW Fony-eighrh Avenue
Allan E. Naplan Neil A. Kjos Music Company Miami, FL 33014
4380 Jucland Drive National Music Publishers
Two-part treble, piano San Diego, CA92117 16605 Townhouse Drive TransconrinenraI Music Publicarions
Boosey & Hawkes, OCTB6783, $1.10 T uson, CA 92680 838 Fifrh Avenue
law.;on-GouldMusicPublish=,Inc. New York, NY 10021
Alfred Publishing Company, Plymouth Music Company
Allan Naplan's At shlosha d'varim is a agem 170 NE Thiny-rhird Sueer World Music Press
remarkable achievement. Its lyricism and P.O. Box 10003 Fon Lauderdale, FL 33334 P.O. Box 2565
overall musicianship, its textual integrity, Van Nuys, CA 91410 Danbury, CT 06813
Theodore Presser Company
and its accessibility to young singers at all Presser Place
levels ensure that it will undoubtedly be- Bryn Mawr, PA 19010
come a standard in the repertoire for
children's choirs. The Hebrew text is taken
from Pirkei Avot Qewish morality laws)
but is essentially secular: "The world is
sustained by three things: by truth, by VOCAL RANGES
justice, and by peace." No singing trans-
lation is provided or needed; even choirs c c
unaccustomed to Hebrew will have no
trouble learning to pronounce the two
phrases of this text.
The piece begins in AI> major with a
soloist or unison group singing the first quietly. The vocal writing in this piece is the overall beauty of the piece. (A pianist
half of the text twice; the simple but paired with an accompaniment that pia- with secure technique and a great deal of
lovely melody has an antecedent/ conse- nists will truly enjoy and that enhances musicianship will be needed.)
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vides into two parts, and the two melo-
dies introduced earlier are combined in
"partner song" style, although that term
does not really do this piece justice. (Un-
like many such pieces, the listener does
not see the "partnership" coming several
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 Allan Naplan is to be congratulated, a young choir who would not fall in love an adaptacion of an 1890 poem by Mor-
not only for writing one of the loveliest with this piece. Highly recommended. ris Winchevsky titled ''Akhdes'' (Unity)
two-part pieces published in recent years, Corydon J Carlson published in a monthly journal of Yid-
but also for demonstrating that a piece of dish culture, In the 1920s this was con-
music can be of the highest quality with- sidered the most popular folk song in the
out being inaccessible or too difficult for old country. Each time it was sung, some-
most children's choirs. Al shlosha d'varim Ale brider thing was added by each singer extempo-
is worthy of performance by festival Joshua Jacobson (arr.) raneously.
gtoupS and other outstanding choirs (it SATB, piano This arrangement is set for solo
was written for Janet Galvan's Ithaca World Music Press, #30, $1.50 (middle or low voice) and chorus. The
Children's Choir), but its "partner song" accompaniment is merely a suggestion,
structure also makes it accessible to gtoUpS This lively, Eastern European folk song and the pianist should feel free to impro-
singing in two parts for the first time. It is a welcome addition to the repertoire. vise in a "joyous pesante" style. The cho-
is difficult to imagine either a director or Sung in Yiddish, the song is derived from rus consists of "oy, yoy, yoy" vocables
typical of the Hassidic style. Since the
choral response is simple in melody and
SMOKY MOUNTAIN harmony, audience parcicipation may be
a natural response! A pronunciation guide
MUSIC FESTIVAL 1999 and a literal translation are included in
this fine edition. The text loosely trans-
2 or 3 nights in
lates to mean "We are all united, whether
GATLINBURG, TENNESSEE we have much or little," This arrange-
April 16-17 April 30-May 1 May 7-8 ment, also available for SA voices (#31),
Competition in: is easily accessible and would make a won-
Concert Choir. Men and Women's Chorus derful closing number to a folk-song set.
Madrigal Choir • Jazz Choir • Show Choir Iris S. Levine
Festival Director: Dr. W J Julian
Director of Bands Emeritus: University of Tennessee. Knoxville
1-800-553-1032 (423) 693-5470
(423) 938-0246 (fax) E-mail: HunterSMMF@aol.com Am Yisreal chai!
Call between the hours of John Weinzweig
9:00 a.m. - 5:00 p.m. Eastern SATB, piano
In our 17th year, the experienced, permanent staff insures a Transconcinental, 991448, $2.50
smooth-running weekend in the heart of the beautiful Smoley
Mountains. The festival includes either a two or three night Commissioned in 1953 by the Cana-
package with accommodations in afirst class Gatlinburg motel; dian Jewish Congress in Toronto for its
adjudication by nationally Imownjudges; trophies to winning Jewish Music Festival, this setting of
groups; and plaques to all participating groups. Malka Lee's Yiddish poem Israel Lives! is
TOTAL COST: $100 per student (2 nights package) an affirmation of faith, hope, and soli-
$125 per student (3 nights package) darity in the face of continued and hos-
tile oppression. The work's general
Adjudicators will be chosenfrom thefollowing:
Dr. Anton Armstrong. Dr. Charles Ball. Duncan Couch. accessibility--there is a considerable
Dr. Eph Ehly. Dr. David Greenlee. Craig Jessop. Weston Noble. amount of unison writing and canonic
John Ribble. Dr. Charles Smith. Dr. Robert Stoll. polyphony-is enhanced throughout by
Dr. David Stutzenberger and Dr. Eric Thorson. variations of meter, dynamic, tempo, tex-
ture, and accompaniment. A singing
Areas of Interest: translation is printed below the Hebrew
( ) Concert Choir ) Madrigal Choir ) Men's Chorus
( ) Women's Chorus ) Show Choir ) Jazz Choir text, and a satisfactory combination of
( ) Senior High School ) Junior High School ) Middle School the two is possible, if desired. A compre-
( ) Elementary School
hensive pronunciation guide is included.
___________________________________________
W~kffidmterest~:

In light of the circumstances surround-

Nmne ___________________________________________________
ing its composition the spirit of Am Yisrael
School _________________________________________
chai!would probably best be served by a
Address ___________________________________________
large (or massed) choir, where delivery of
unisons and vertical sonorities will have
Phone _________________________________________________
maximum and intended impact. If pro-
Mail to Dr. WJ Julian, 601 Westborough Rd.. Knoxville, TN 37909 grammed within the context of a secular

PAGE 68 CHORAL JOURNAL

concert 'or festival, some tambourines and the coming of the Messiah"-is suitable
hand-clapping would certainly add to the for large or small choir (within the con-
celebratory nature of the piece. text of a liturgical service), is not vocally
The initial melodic statement, a rhyth- or technically demanding, and could be
mic ascending, descending line, is cast in performed unaccompanied. The piece is
the minor mode and becomes the "cell" concise, lasting two minutes, fifteen sec-
from which the rest of the composition onds, and beautifully proportioned-
evolves. The poetry dictates the param- choir vs. cantor, traditional harmonic
eters of each new section as well as musi- relationships, symmetric repetition. This
cal shape and substance. Tessituras are is an eloquent example of a non-intrusive
comfortable, lying well within the range musical setting where the composer cre-
of high school singers, and the sight-read- ated around the text a perfect musical
able accompaniment is both supportive ambiance, in this instance one of un-
and independent of the choral parts. equivocal supplication and trust. With
Stephanie A. Hemy the exception of the middle cantorial solo,
the full choir sings throughout in a lilt-
ing, syllabic fashion.
Biographical notes about composer
Anima'amin William Sharlin (b. 1920) reveal a long,
William Shadin fruitful career in the study, writing, and
SATB, cantor, keyboard performance of sacred music. A literal
LDDM (Laurendale, agent), CH-1207, translation is included, but there is no
95¢ singing translation; a pronunciation guide
is also included.
William Sharlin's setting of Genesis Stephanie A. Hemy
49:12-"1 believe with perfect faith in
Dona, dona
Sheld01l Secunda
Ruth Dwyer (arr.)
Two-part treble, piano
Plymouth, HL-525, $1.35
Dona, dona is another excellent
children's choir piece from the Henry
Leck series. The original song was com-
posed in 1940 for the Yiddish musical
theatre and has since been adopted into
the Jewish folk tradition. The piece is in
verse-refrain form with three verses, each
in unison. The refrain moves into a simple
two-part texture, setting the title word
"Dona." With its modal mixture and up-
beat, syncopated character, it is very simi-
lar to the Naplan Hine rna tOY reviewed
below. The secular English text is a mod-
ern fable about attaining freedom, ap-
propriate to its historical context.
Elizabeth Schauer

(Jet tliere in 1999 uJitIi

:Peifvrmingfirtsfibroad
Sunshine Parades International Music Festival of the Ozarks
French and Italian Riviera and Athens April 30-May 2 and May 14-16
held annually at Year End; Sydney and
Blue Ridge Music Festival
Hong Kong held annually at Easter
April 16-18 and May 21-23
h MusicFest USA Festival of the Rockies
MUSlc:r=...5TOrlaijdoJ"7JOtidaarea
.,U~, . Mar-i:hJI-i\pril4, . May 28-30 and June 4-6
/".M~sit:FestCamlda ........'::' Hawaiian Festival of Music
··~Toronto'0ntarib,: . ,.:.:.;. :. . '. . . April 6-13
'May 17-24 " ' , Toronto Music Festival
.......,.... ;./..:.. ;...... ,.~-..: ...
"" "\" April 23-25
/
...- New Orleans Music Festival
April 30-May 2
Chicago Music Festival
April 16-18,April 30-May 2 and May 14-16
Festival of the Nations
Aprill6-18and May 7-9
Festival of Music: New England
April 16-18 and May 7-9
Fiesta de San Francisco
April 23-25

OCTOBER 1998 PAGE 69

Esa einai the beauriful, lilting melody, as well as to
Shlomo Carlebach sing contrapuntally conceived counter-
Samual Adler (arr.) melodies. While the melody is fairly
SATB, keyboard straightforward, the countermelodies
Transcontinental, 991456, $1 have slightly challenging intervallic skips.
While the ranges are generally comfort-
This lovely setting of Psalm 121 gives able, the opening soprano descending line
an opportunity for all sections to carry is slightly tricky as it begins on f and
occurs on an off-beat. The Hebrew text is
not difficult, bur a pronunciation guide
DIRECTOR OF would have been helpful. Because it is set
MUSIC MINISTRIES in d minor, some may consider the mood
of this piece to be somber, bur the overall
E IGHT HUNDRED-plus-member church
seeks full-time DIRECTOR OF MUSIC message is one of hope. This piece is
MINISTRIES to help create, plan, and lead wor- recommended for synagogue/church
ship. Qualificacions include: a belief in Jesus Christ
as personal Savior; saong vocal and organ skills;
choir, high school, college, or commu-
ability in contemporary, informal, and traditional nity choir.
styles; giftedness in direccing vocal and handbell Iris S. Levine
choirs of all ages. Training and experience required.
Send resume to: Chairperson, Search Commirree,
Director of Music Minisaies, First Presbyterian
Church, 505 S. Dewey, Barrlesville, OK 74003.
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PAGE 70
Hakotel
Dov Seiter
Joshua R. Jacobson (arr.)
SATB, keyboard
Transcontinental, 991452, $1.70
Jacobson's arrangement of "Hakotel"
(The Wall) is an eloquent tribute to the
sentiments and the message contained in
the poignant lyrics of Y. Gamzu: "The
Wall is covered with hyssop and sorrow /
The Wall is covered with bullets and
blood. / Some people have hearts of stone;
/ some stones have human hearts." One
of four songs in the set Israeli Songs of
war and Peace, Hakotel was written in
1967 after the Six-Day War and refers to
what is left of the ancient Sanctuary in
Jerusalem, which was destroyed by the
Romans in 70 C.E.
The strophic setting takes its point of
departure from Dov Seiter's haunting
melody, which is prominent throughout,
harmonized sparingly by sustained chord
tones, and supported by an independent
keyboard part. The most forceful four-
part writing (eight parts are cued) is re-
served for the text quoted above, used
here as a metaphor for the power con-
tained within this Holy Place. A literal
translation of the Hebrew text is included,
revealing a brief but extremely moving
poem of two individuals at The Wall,
one royalty, another the mother of a de-
ceased infantryman.
The overall dynamic of Hakotel is pi-
ano, the mood one of reverence and re-
flection; the independent accompaniment
is augmented by optional electric bass.
The vocal lines are beautifully wrought
and easy, the tenors gl and the basses &1
occurring only twice. Divisi is both cre-
ative and optional, making this arrange-
ment accessible to choirs of all sizes and
resources.
Stephanie A. Henry
Hallelujah
Andrea Jill Higgins
SATB, keyboard
Transcontinental, 991342, $1.20
This easy, majestic setting of Psalm
150 is a welcome addition. to the reper-
toire. Thematic material presented in the
CHORAL JOURNAL
women's voices is answered one measure
later by the men, creating an antiphonal
feel. Set in ABA form, the B section calls
for a soprano solo answered by the entire
choir. This builds to a final A statement,
which is set homophonically rather than
antiphonally.
The text is in English; the ranges are
moderate, and no real difficulty is pre-
sented in this piece. Recommended for
synagogue/church choir, high school, or
community choir, Hallelujah is a quick
study and a good opening selection.
Iris S. Levine
Hayom t'amtzellu
Joseph Leonard
SATB, cantor
LOOM (Laurendale, agent), CH-13U,
95¢
Joel Pressman has edited this
marchiike, yet plaintive selection from
the Jewish liturgy for the High Holy Days
(Rosh Hashanah and Yom Kippur). In its
Hebrew text, the prayer asks for God's
blessings and that He inscribe us in the
Book of Life for the coming year. The
chorus introduces the melody in the first
Gf two verses, joined by the cantor's en-
uance in the latter part of this short work.
The harmonic underpinning emphasizes
constant eighth-note movement, giving a
sense of energy to a fairly straightforward
tune in AB form. A piano reduction is
provided, as is a pronunciation guide.
The absence of an English text tends to
limit its usage to the synagogue and spe-
cial concert occasions, yet it is an effec-
tive setting within the reach of most
choirs.
Michael Braz
Hine ma tov
Allan E. Naplan
Two-part treble, piano
Boosey & Hawkes, OCTB6782, $1
This is a lively syncopated setting of
Psalm 133, "Behold, how good it is for
brethren to dwell together in peace," pre-
sented in two contrasting sections. The
first is a spirited refrain on the syllable
"lai." The second section includes the
text of the psalm set in F major, contrast-
ing with the O-minor mode of the re-
frain. Both the refrain and the verse are
first presented in unison. The piece is
then extended through a repetition of
each in a simple two-part texture. The
upper and lower voices each take a turn
providing the harmonizing part. Hine ma
tov contains moderate ranges and memo-
rable melodies and is an accessible, grati-
fYing introduction to two-part singing.
With its universal text (an uncredited
English version is provided) and its mu-
sical appeal, it is appropriate for a variety
of treble ensembles and performing occa-
sIOns.
Elizabeth Schauer

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OCTOBER 1998 PAGE 71

Hiney ma tov (How Good It Is) the Hebrew text in a chromatic manner religious and general occasions.
Brian Middleton (arr.) reminiscent of Russian Romantic writ- Michael Braz
TTBB, piano ing. Following a modal shift to G major
Lawson-Gould (Alfred, agent), 52843, and-to all appearances-a final cadence,
$1.25 an unaccompanied coda appears, begin-
ning in the original e minor and gently III Memoriam Leonard Be17lstein
Brian Middleton has created a lyrical, moving, once more, to a final G-major Srul Irving Glick
somewhat introspective setting of this tra- chord. SATB, piano
ditional Hebrew folk song based on Psalm With the exception of several low sec- Gordon V. Thompson (Warner Bros.,
133, which extols the pleasures of peace ond bass notes in the first verse (D; and agent), published separately:
and brotherhood. Beginning in e minor E, undoubled in the accompaniment), 1. "Psalm 23- The Lord is My
with a restrained statement of the origi- the piece should provide no special diffi- Shepherd," VE.!. 1156, $2.25
nal Hebrew text, the work grows from culties for a typical men's choir. While no 2. "What I Have Learned is This,"
unison to four parts while always gaining pronunciation guide is provided for the VE.1.1157, $1.75
energy. A key change to g minor offers an Hebrew, this need not be an obstacle, as 3. "Lenny," VE.!. 1158, $2.25
opportunity to continue dynamic and the text consists of only eight words. The 4. "Memorial Kaddish," VE.1.1159,
texrural development, this time treating piano part is supportive, and the work's $1.95
Maurice Goldman's English translation overall concept is sensitive and clear, re-
in a melismatic manner. Middleton treats sulting in a setring that could be used for One of Canada's most prolific com-
posers, Srul Irving Glick (b. 1934) cre-
ated this most unusual group of pieces
For Great Performances, for the Elmer Iseler Singers' performance
Prepare with CHORALPREp™ Recordings. at the 1993 Toronto International Cho-
ral Festival. Since Iseler wanted to focus
Specializing in "These tapes have helped liS start at a
on the music of Leonard Bernstein, Glick
beautifully produced Iligher /1lllSical level, alld progress
rapidly. Fewer sectionals are drew upon his admiration of the late com-
study tapes of the
choral lU'lsterworks. needed as singers are able poser-conductor-pianist in adapting two
to prepare and review Oil their of the Hebrew texts forming the basis of
Featuring lovely woodwind
OWIl ... Clearly tile easiest to lise
sounds. Offering a separate Or tile practice tapes I've Ilea rd. " this composition: Psalm 23 (which
highlighted mix for each voice part. Bernstein utilizes in the second move-
Dr. David Stevens
Accurate. Clear. Musical. Music Director, Austin Civic Chorus ment of Chichester Psalms) and the
Please call for a FREE DEMO Mourner's Kaddish (a prayer praising God,
and more information. "Collldll't 1!ave dOlle it WitllOllt 'ya."
but omitting any reference to death),
1-800-444-SATB . Anchorage Festival ~horister
which inspired Bernstein's Symphony No.
~ORALPREP'" Brahms ReqUiem (1992) 3 ("Kaddish"). Literal translations of these
~~ COR DIN G 5
texts are provided. Glick has added two
English movements: a setting of his own
4004 September Song Drive· Manchaca, Texas 78652 • FAX (512) 282-8585 • Austin Phone (512) 282-5599
poem of meditation upon the personality
of Bernstein and a freely rendered ver-
sion of Ecclesiastes 5:17-20.
While the writing is reasonably ad-
vanced, with divisi throughout and occa-
sional range extremes among tenors (b l )
F IRST UNITED METHODIST CHURCH, Cuyahoga Falls, Ohio, a 3000-member church
locared adjacem to Akron, Ohio, and 35 miles soum of Cleveland, is seeking a dynamic
person to serve as full rime direcror of music. The director will have primary responsibility for a
and basses (C), Glick's work is wonder-
fully varied. He begins with a bluesy set-
70-voice adulr choir (averaging 45-50 presem on a Sunday), a 60-voice high school youm choir, ting of the Hebrew Psalm 23 in which
and a 65-voice middle school-age choir. A full rime organisr is on our sraff and gives principal
the syllabic choral writing is offset by
leadership to bell choirs. Children's choirs are mainly direcred by qualified volun reers. We have 4
children's choirs wirh an average of 20 in each group. The successful applicanr will have a high alternately jazzy and rhapsodic piano figu-
degree of musicianship wim emphasis on vocal and choral performance, a desire ro minisrer ro rations wandering freely throughout the
me choir members, excellem organizarional and managerial skills. Organisr and music secrerary movement. The second movement,
reporr ro Director of Music. Musr have excellem relarional skills and me ability to morivare "What I Have Learned is This," is a gentle
persons to parricipare in our srrong and very imporranr music minisrry. Congregarion seeks a
crearive, energeric, experienced director wim a 4 year college degree. Masrers degree is preferred.
~ pastorale in n minor, praising the en-
Salary $40,700 wim full benefirs. Also provided is $400 for conrinuing educarion and $500 joyment of the fruits of one's labors and
annually for local rravel expense. Persons seeking posirion as organisdchoir director should nor ending with a graceful, dancelike ~ piano
apply. Open posirion is for Director of Music only. Send resume and a lisr of references to Carol solo.
Lewis, Adminisrrarive Assisranr to rhe Senior Minisrer, Firsr Unired Memodisr Church, 245 "Lenny" is a vivacious, edgy tour de
Porrage Trail, Cuyahoga Falls, OH 44221.
force with a feeling of perpetual motion.

PAGE 72 CHORAL JOURNAL

Each statement of the ritornello ("dy-
namic energy exploding in music") is fol-
lowed by an episodic fragment relating
to Bernstein's work, life, and love. The
concluding work, "Memorial Kaddish,"
is a dignified-yet energized-setting of
this most solemn prayer, a staple of Jew-
ish worship.
Whether performed as a group or in-
dividually, In Memorial Leonard Bernstein
stands as a fascinating testimony to Glick's
respect. He writes, not in imitation, but
in loving tribute.
Michael Braz
singing translation by Andrea
Kirschenblatt is provided. The short work
is through-composed, concluding with a
MUSIC
TOURS INC.
re-statement of the opening phrase. A
very accessible piece, Ketsele, shtil con-
tains easy rhythms, a moderate range,
and a vocal line that is doubled in the
accompaniment. The lento tempo and
fout-bar phrases are opportune for devel-
oping breath control and phrasing in the
younger children's ensemble. This piece
would provide programmatic contrast to
GMadrig.
CVinner by

QUALITY
cripts Paul Brandvik
author of
The Compleet Madrigal Dinner Booke

Jewish Holidays INTERNATIONAL Scripts include:

ALL DIALOGUE:
Charles Heller (arr.) CONCERT TOURS Greetings, Toasts, Festivities,
Unison, keyboard at Concert, Farewell
Kjos, 6238, $1.10 REASONABLE PRICES Plus:
HUMOROUS RENAISSANCE
MASQUE
Jewish Holidays is a unison arrange-
Plus:
ment of a pre-World War II Yiddish folk REPERTOIRE SUGGESTIONS
song from Poland. A polonaise in simple Ceremonial music and concert
AB form, its five sixteen-measute verses
seek to characterize various Jewish holi- Call or write today TWENTY-ONE different scripts available,
including scripts appropriate for
days. Arranger Charles Heller has pro- for our unique churches and younger performers.
vided an English adaptation of the personalIzed service! New this year:
original Yiddish. Perhaps this work's THESE FOOLISH KINGS
REMIND ME OF ...
greatest value is as a sight-singing vehicle
for teaching dotted eighth-sixteenth Call or write for your FREE descriptive
brochure. Join the thousands who have
rhythms (and secondarily dotted quar- made these Madrigal Dinner Scripts a
ter-eighths). It is correlated with Kjos' tradition.
Successfol Sight-Singing series. Other than MARK FOSTER
that, the piece is very easy, with simplis- MUSIC TOURS knight .... shtick
tic lyrics. The holiday descriptions pro- press
'B" (800) 869-1406
vided in the preface are uneven (Sukkot, Box 614 Dept. A
Purim, and Passover are better explained P.O. Box 2760, Santa Clara Bemidji, MN 56619-0614
Telephone 216-751-2146
than Rosh Hashanah or Chanukah). The California 95055-2760 kspress@northemnet.com
range is accessible (d to ell, with a divisi A Division of EXTREMELY_ LTD.
octave f at the end), and the piano part
adds some rhythmic interest to the
melody.
Michael Braz
$trHt6 t\p th6 fe,dnd
Ketsele, shtil (Kitten, Be Still)
crt Lincoln C6nttrr!
Michel Gilbert High Schools, Middle Schools, College Bands, and Choruses
Charles Heller (arr.) are grabbing the spotlight at New York's Lincoln Center.
Unison, piano
Kjos, ED 6265, $1.25 Bring your band or chorus to Lincoln Center, and give a concert on the plaza.

To book your free plaza performance, call David Kincaide

This is a setting of a lullaby with words
at Lincoln Center Community Programming (212) 875-5152
by poet L. L. Peretz (1852-1915). The
charming text is in Yiddish, but a fine

OCTOBER 1998 PAGE 75

the more common dancelike folk music
from this tradition.
Elizabeth Schauer
Lo yisagoy
Anthony J. Palmer (an.)
Two-part, keyboard
National, NMP225, $1.15
This short arrangement of a familiar
Israeli folk song is valuable, first for what
it teaches about Jewish song in particular,
and second for what it implies about the
evolution of folk music in general. An-
thony Palmer gives the sources and trans-
lation of the Hebrew text followed by a
brief, enlightening descripcion of the his-
tory and context of song in Jewish life.
We learn how interchangeable sacred and
secular music are; we learn of the general
sources and contexts for much of the
current folk song repertoire-a compel-
lingly relevant object-lesson in the shap-
ing of human .community; and we learn
how a plethora of songs like Lo yisa goy
are typical of the modern folk song that
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PAGE 76
emerged around 1948 when the struggle
to create a new state of Israel had ceased.
The inclusion of some probing questions,
designed to encourage srudents (of all
ages) to examine the epistemological na-
ture of this and other musics, should
make for especially illuminating perfor-
mances, not to mention rehearsals. A
balalaika-type keyboard part provides
rhythmic momentum beneath a simple,
unison statement of the Lo yisa goy tune;
the last verse includes a treble descant,
and the piece ends with a coda on the
words, "And nations shall learn war no
more. "
Stephanie A. Henry
Ma navlt
J. Spivak
Barbara Wolfman (arr.)
Four-part treble, piano
Boosey & Hawkes, OCTB6887, $1.60
Originally intended for four-part
women's chorus, Barbara Wolfman's ar-
rangement of this Israeli dance will
provide a challenge for most children's
choirs. The familiar text, "How beauciful
upon the mountains," is presented in
Hebrew and is highlighted by a graceful,
mellifluous melody. The tune has a simple
folk-like character and is first sung by all
parts in unison. A contrapuntal part is
added at each of the three repetitions
until there are four independent vocal
lines. The beautiful, fluid accompaniment
changes at each repetition of the rune,
providing harmonic support for the parts
throughout.
CHANTICLEER
CAMBRIDGE SINGERS
Elizabeth Schauer
Psalm 150
Valentin Alkan
SATB, keyboard
Transcontinental, 992043, $1.20
A French Romantic composer,
Valentin Alkan (1813-88) wrote almost
exclusively for piano. Although his work
was virtually ignored after his death, he
was lionized as a youth, winning a Pre-
mier Prix at age nine for solfege, har-
mony, piano, and organ at the Paris
Conservatory. Cherubini lauded his tal-
ents; Chopin, Schumann, and Liszt were
his close friends and impacted his com-
positional style. Unlike many of his con-
temporaries who converted from Judaism
to gain greater status within European
society, Alkan retained his Jewish faith,
composing two short worship pieces.
Psalm 150 (1857) is a majescic homo-
phonic proclamation well suited as either
a concert opener or an effeccive anthem.
Marchlike dotted eighth-sixteenth figures
in the g-minor opening section contrast
with sweeping scale passages to impart a
sense of energy and awe, climaxing in a
fortissimo G-major finale ("Let all that
has breath ... Praise for e'er our God").
A pronunciation guide for Hebrew text
is included. A singing translation by edi-
tor Samuel Adler is also provided. The
technical demands of the composition
are minimal, and the range is accessible
(with occasional bass divisi and high G
in both soprano and tenor). The key-
board part funccions in both a doubling
and orchestral capacity, advancing the
sense of urgency that permeates this elo-
quent affirmation of praise.
Michael Braz
Send Your Bread Forth
Beverly McLarry
SATB, keyboard
Theodore Presser, 312-41665, $1.30
Beverly McLarry's setting of
Ecclesiastes 11: 1,2,7,8 reads like a dream
and proves once again that "less is more"
in good composition. Composed in 1993
for the ninetieth anniversary of Temple
CHORAL JOURNAL
B'nai Israel of Oklahoma City, Send Your
Bread Forth is assured and unencumbered
by gimmicks.
The melody is set alternately in uni-
son, canon, and homophony, with an
unobtrusive but seminal keyboard part
providing an ambient thread through-
out. The initial key area shifts up a half-
step to A~ minor before modulating to
the major submedient in section B. The
return of the A section in the tonic key
brings fuller voicings and simultaneous----
polytextual-delivery ofEnglish and Hebrew.
This is a beautiful piece, organically
conceived and appropriate for all ages.
Ranges are comfortable, with high ex-
tremes limited to three tenors e 1s and a
single soprano gz; there is no divisi. The
work is almost four minutes in length.
Performance context is not a limiting fac-
tor here: service or concert are equally
appropriate.
Stephanie A. Henry
Shalom chave1'im
Kenneth Hodgson (arr.)
SATB
Plymouth, PDW-1007, $1.15
For the choir sporting a basso
profundo or two, here is an arrangement
of the well-known Hebrew farewell song.
Short (a minute) and almost predict-
able-the unexpected sonority of the
lowered second-degree is uplifting-
Hodgson's Shalom chaverim is a good
match for just about all ages from high
school on. For non-readers the piece will
lift off the page quickly; about half of the
arrangement is either unison or canonic.
The basses extend down to E (B or e can
be substituted, however) and the bari-
tones travel up to e1; the altos dip down
to g, and the sopranos sing down to b,
but no higher than e2 • As a means of
maintaining the vertical integrity of this
unaccompanied setting, there is a smat-
tering of divisi in each voice part.
The compositional approach is additive:
sopranos voice the initial tune, followed by
a simple but satisfying alto harmonization,
both in Hebrew (pronunciation guide in-
cluded). There follows a four-part, soprano-
dominated rendition in English, a canonic
version in Hebrew, and a five-bar coda
where the parts widen to encompass a three-
OCTOBER. 1998
octave span and diminish to shades of pia- of the original folk tune.
nissimo. Most effective. The vocal lines are not hard (a piano
Stephanie A. Henry reduction is provided), and tessituras are
low; basses sing an occasional A up to d;
tenors top at f 1; altos hover within the
Y'susum midbm' d-a 1 register; those singing soprano I
Alice Parker (arr.) need precisely two a2s, both on the final
SATB (forte) beat. The infrequent divisi could
Transcontinental, 991420, $1.50 easily be redistributed in the case of too
few voices.
"Y'susum midbar" (The desert shall Stephanie A. Henry
be glad) is part of the set Th1'ee Songs of
Life (Zim1'ei Chayim) arranged by Alice -C]-
Parker for unaccompanied chorus
(991421, 991422). Over the course of its (Continued from p. 64.)
ten pages, Parker's arrangement-in He- Finally, the convention will feature the
brew-delivers four reconfigurations of King's Singers, the Ensemble Singers of
an original melody that combine to form the Plymouth Music Series of Minne-
a sustained and gradual crescendo of sota, directed by Philip Brunelle, and the
voices, culminating in a loud, Vancouver Chamber Choir, directed by
homorhythmic climax. The text, Isaiah Jon Washburn. A myriad of interest
35: 1, 6, continues after the tide verse: sessions and roundtables are planned,
"The wilderness shall rejoice and blos- making this the most rewarding conven-
som like a rose. / For waters shall burst tion to date.
forth in the desert, / streams in the wil- In addition to the convention head-
derness." The ubiquitous modality of the quarters at the Hyatt Regency Hotel, a
folk melody is accompanied throughout number of other hotels, including the
by 1) syncopated counterpoint in unison historic Palmer House Hilton and the
and open fifths, and 2) droning. Parker's Days Inn Lake Shore Drive, will provide
straightforward variation techniques- housing at affordable rates. Pre-registra-
"snap" rhythms (a la Mendelssohn), can- tion packets will be mailed to all ACDA
ons, parallelism, motivic fragmentation, members in October.
antiphony-are thoroughly organic, pre-
serving the true character and integrity
-C]-
ARTISTIC DIREC),OR
Saint Louis Symphony Children's Choirs
Full-time directorlconductor provides musical, educational, and artistic
leadership for internationally known program in performance and music
education, involving 400 children with 14 ensembles and a music staff of 18.
Experience to include approximately five years as a conductor of children's
choral ensemble(s) and leadership of choral organization, with experience in
administration, budgeting, planning, and staff supervision.
Send cover letter, resume, and three references
(additional materials on request)
S~rnT LOUIS by November 2,1998 to:
SLSCC Search Committee
clo Mr. William G. Lukas
2840 North New Ballas Road
CHILDREN'S St. Louis, MO 63141
CHOIRS Phone: (314) 537-9801
PAGE 77
 ADVERTISERS
REVIEWERS THIS ISSUE INDEX
Michael Braz Stephanie A. Henry Elizabem R. Schauer OCTOBER 1998
Deparrmenr of Music, L.B. 6430 Wesr 85m Srreer Deparrmenr of Music
MBACA ......................................................................... 49
8052 Los Angeles, CA 90045 Adams Srare College ACFEA Tour Consulranrs .............................................. 24
Georgia Sourhern Universiry Alamosa, CO 81102 Alliance 1vlusic Publicauons ............................................ 48
Sraresboro, GA 30460 Iris S. Levine Ambassador Travel Service .............................................. 70
Augsburg Forness, Publishers ......................................... 44
Music Deparrmenr Bridsh-European Specialty Tours ................................... 47
Corydon J. Carlson California Srare Polyrechnic Broad\vay Beach Musicals ............................................... 78
P.O. Box 9517 Universiry Can[ll.5 Quercus Press ..................................................... 38
Carl Fischer, Inc................................................•.....•....... 35
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ChoralWeb Publishing, Inc............................................ 22
ChoralPrep Recordings ................................................... 72
Choral Srudio Productions ............................................. 26
Church lvlusic Explosion ......................................... 23, 65
Church Street Music ....................................................... 51
BOOK and MUSIC PUBLISHERS and College Music Sociery, The ............................................ 56
Collegium Records ................................................... 62, 63
COMPACT DISC DISTRIBUTORS Concept Tours ................................................................ 55
OJ Records ...................................................................... 76
Send books, octavos, and discs for review to: OemiQMusic ...............................•................................. 48
Choral Jou17lal Des Moines Children's Choruses .................................... 29
E. R. Moore Company .................................................... 18
P.O. Box 6310 ECS Publishing ............................................................... 37
Lawton, Oklahoma 73506 European Incoming Services ............................................. 6
Field Studies International ............................................. C4
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First United Methodist Church, Cuyahoga Falls, OH ... 72
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4023 Wembley Terrace Intermedia, Inc.lSrage Accents ....................................... 14
International Seminars/Music ......................................... 54
Dallas, TX 75220 Intropa International/USA, Inc...................................... 53
Telephone: 214/353-8020 Kapellmeister Enterprises. Inc......................................... 26
Knight-Schrick Press ....................................................... 75
Knights Formal \"{fear ...................................................... 43
Lincoln Center, Inc......................................................... 75
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ACDA members wishing to review books about choral music should contact: Lumina Music .................................................... 37,38,58
Lyric Choir Gown Company .......................................... 50
Stephen Town Manager Somvare ........................................................... 61
Department of Music Mark Foster Music Company ......................................... 59
Mark Foster Music Tours ............................................... 75
Northwest Missouri State University lvlichigan State University ............................................... 49
Music Around the Globe ................................•............... 32
Maryville, Missouri 64468 Music, Maestro, Please, Inc .......... :................................... 7
Telephone: 816/562-1795 Music \Vorkshops Intcrnanonal ..................................... 44
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Oklahoma City University .............................................. 56
Richard J. Bloesch P & P Education Services ............................................... 10
School of Music P. T ruckenbrod Concert Artists ...................................... 73
Pacific Chorale ................................................................ 30
University ofIowa Performing Ans Abroad, Inc ........................................... 69
Performing Arts Consultants .......................................... 74
Iowa City, Iowa 52242 Piedmont Choirs ............................................................. 18
Telephone: 319/335-1603 R. Geissler, Inc................................................................ 60
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CHORAL JOURNAL Scarecro\v Press ............................................................... 20
SUBMISSION INFORMATION Smolq' Mountain Music Festival .................................... 68
Anicles submi[[ed for publicarion in me Choral Jotlmal should meer esrablished Southern lvlusic Company .............................................. 43
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specificarions. Alrhough rhe lengrh of anicles varies considerably, submissions generally Suzuki Music Corporation ............................................. C3
consisr of ren ro. rwenry ryped, double-spaced pages. Referenced marerial should be Theodore Presser Company ............................... 11,49,55
indicared by superscripr and end no res. All submissions musr include six copies, accompa- Thomas Creative Apparel, Inc........................................ 67
Triple Disc ........................................................................ 5
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ChoralJournal; P.O. Box 6310; Lawron, OK 73506-0310. Univc:rsiry of Mississippi ................................................ C2
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Choral Joumallayollt and production: Susan Gower Yale Institute of Sacred Music ........................................ 58

PAGE 80 CHORAL JOURNAL

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American Choral Directors Association
P.O. Box 6310
Lawton, Oklahoma 73506-0310

CARNEGIE HALL 1999 CONCERT SERIES

SUNDAY OHIO MUSIC FESTIVAL SUNDAY
.'
NATIONAL CHILDREN'S CHOIR
FEBRUARY 14 APRIL 18 Henry Leek-Conductor ,'"'.-
8:30 'PM 8:00 PM NATIONALYOUTH CHOIR
($585.00) Andre Thomas-Conductor

SUNDAY ALABAMA/MIssIssIPPI YOUTH CHORALE SUND.(\.Y' FLORIDA YOUTH CHORALE

MARCH 14 Andre Thomas-Conductor APRIL 25 Eph Ehly-Conductor
8:00 PM NORTH CAROLINA YOUTH CHORALE 8:30 PM
Jefferson Johnson-Conductor
UNIVERSITY OF KENTUCKY CHORALE
Jefferson Johnson-Conductor

SUNDAY NORTH CAROLINA MusIC FESTIVAL SUNDAY SOUTHEASTERNMIDDLE SCHOOL SINGERS,

MARCH 21 NATIONAL CHILDREN'S CHOIR MAY 2 Lynne Gackle-Conductor
2:00 PM Henry Leek-Conductor 8:30 PM OHIO YOUTH CHORALE
($585.00) NATIONAL YOUTH CHOIR Rohert Bass-Conductor
Eph Ehly-Conductor

SUNDAY GEORGIA YOUTH CHORALE FRIDAY MICHIGAN YOUTH CHORALE

MARCH 28 Eph Ehly-Conductor MAY 28 TBA-Conductor
8:00 PM TENNESSEE YOUTH CHORALE 8:00 PM
Anton Armstrong-Conductor
NORTH CAROLINA STATE UNIVERSITY
CHOIR
Al Sturgis-Conductor

FRIDAY NATIONAL BAND FESTIVAL SUNDAY UTAH YOUTH CHORALE

APRIL 2 Frank Battisti, Donald Hunsberger, MAY 30 TBA-Conductor
8:00 PM Craig Kirchhoff, Rohert Reynolds- 8:00 PM
"
($499.00) Adjudicators

MONDAY SOUTHERNBAND FESTIVAL WEDNESDAY :', CANADIAN YOUTH CHORALE

APRIL 5 JUNE 30 Btuee Fulle'rl'-Conductor
8:00 PM 8:00 PM
($585.00)

Many other dates are also available. Your choir may joill your own Or allother slate for performances. Please call for
" , more information and additional dales.
"Prices for some programs may differ due to program content.

YOUTH CHORALE AT CARNEGIE HALL

$595 per person, except where otherwise noted Commemorative T-shirt
Orientation Session upon arrival Commemorative Plaque for your School
Three nights hotel accommodations in quad rooms Certificate of Achievement for eacp student
All hotel taxes, both cily and slale , Guest Conductor for your performance
Ho~el baggage handling upon arrival and' departure (I bag per Rehearsal Hall expenses and rental
person)', ' Carnegie Hall rental and promotional fees
Attend a Broadway Show Accompanist fee .
Admission to the Observation Deck of the Empire State Bus transportation on performance day, where necessary
Building Field Studie's' Escort to accompany group on sightseeing
Admission 10 Ihe Statue of Liberty/Ellis Island National activities
Parks Audio Cassette of your performance (one tape per school)
.• One chapero~.e free for each.20 paying .
, ,

We willlzappily help YOIl with meals, tra1Z'spor.(afio1Z ' er exCitiizg New York activities,
, to makejo' ,,' . !
'"I

..•.