CJ - October 2007

"South Africa is ailextrodinary
team at ClassicatMove'T1ents helped us

The musical collaborations and the extra
superb; The great beauty ofthecountry,thewi/cllife/{hehlgh..
standards of hotels, meals and venues and the w?rrnthOf.thep.eop!e.
were better than we could havewishedfor/' .' . . ...
'.: " .' .. . ......................................... '.' ......... : ............. '.:
- Jeffrey Douma,Musical. ..........
Assistant Professor of Choral Music, Yale School of Music:
9 Eight Choral Works by Heitor Villa-Lobos
by Elisa Dekaney
19 The Carols of Harold Darke: More Than In the Bleak Mid-Winter
by Richard Waters
31 The Conductor's Voice:Writing Within the Choral Art
Part Three of a Three-Part Series
by Patrick K. Freer
47 Repertoire & Standards Articles
How to Deliver the Three Ms: the Music, the Message, the Ministry
by Ah'lee Robinson
R&S Committees: A Tapestry of Individuals Engaging the Membership
by Kevin Fenton
cLwvu
59 Hallelujah!
A Tribute in Honor of Donald Paul Hustad
63 Book Reviews by Stephen Town
7 1 Compact Disc Reviews by Lawrence Schenbeck
77 Choral Reviews by Lyn Schenbeck
Cover art by Efrain Guerrero. graphic artist, Austin. Texas.
Inside art by Amy Thomas.
Musical examples byTunesmith Music <www.Tunesmithmusic.com>.
October 2.007
Vol. 48 no 4
2 From the Interim Executive Director
3 From the President
5 From the Editor
6 Meet the National Headquarters Staff
7 Letters to the Editor
54 Career Moves
80 Advertisers Index
The Choral Journal is the official publication of The
American Choral DirectorsAssociation (ACDA). ACDA
is a nonprofit professional organization of choral direc-
tors from schools, colleges, and universities: community.
church. and professional choral ensembles: and industry
and institutional organizations. Choral Journal circulation:
19.000.
Annual dues (includes subscription to the Choral Journa0:
Active $85, Industry $135, Institutional $1 I D. Retired $45,
and Student $35. One-year membership begins on date
of dues acceptance. Library annual sUbscription rates: U.s.
$45: Canada $50: Foreign Surface $53: Foreign Air $85.
Single Copy $3: Back Issues $4.
Permission is granted to all ACDA members to repro-
duce articles from the Choral Journal for noncommercial,
educational purposes only. Nonmembers wishing to
reproduce articles may request permission' by writing
to ACDAThe Choral Journal is supported in part by a
grant from the National Endowment for the Arts, a fed-
eral agency. 2007 by the American Choral Directors
Association, 545 Couch Drive, Oklahoma City. Oklahoma
731 02.Telephone: 405/232-8161 . All rights reserved.
The Choral Journal (US ISSN 0009-5028) is issued
monthly. Printed in the United States of America. Peri-
odicals postage paid at Oklahoma City. Oklahoma, and
additional mailing office. POSTMASTER: Send address
changes to Choral Journal, P.o, Box 2720. Oklahoma City,
Oklahoma 73101-2720.
xec
teri
tive irector
am writing this first column after having
been in the role of Interim Executive
-
has been an incredible time of learning
and sharing with the National Headquarters
staff and more recently with the Executive
Committee and the National Board. Though I
have been a member of ACDA for 30 years and
have participated in Leadership Conferences
and National Board meetings, this is a new
Jerry Warren and challenging situation. I am grateful for the
support of and affirmation from the Executive
Committee in giving me this opportunity.
ACDA is in a unique position as we begin a search for only the third Execu-
tive Director in our history. We have enjoyed a consistency of leadership that
few organizations have experienced. In this time of transition, as we prepare for
the new Director; we have opportunity to look carefully at our organization and
begin the process of change. It is inevitable that we will be different in the future
as the result of new leadership and the changes that are occurring in our world.
It is an exciting time, as well as a challenging one, as we envision our role in the
promotion and advocacy of the choral art in the days ahead. We need to dream
and dare to make the dreams come true.
Even as many of our leaders are in the midst of final preparations for the seven
divisional conventions that are rapidly approaching, we are also in planning for the
2009 ACDA National Convention in Oklahoma City. As a new and temporary
citizen of the city, I have come to enjoy it quickly in my tenure here. The Arts
District, in which our ACDA National Headquarters is located, is a vital and lovely
area. Our Headquarters building is directly across the street from the Civic Center
Music Hall, which will be one of the performance venues for our convention. I
encourage you to visit the Oklahoma City Convention and Visitors Bureau site at
<http://www.okccvb.org/> to discover more about "our" city. In the days ahead,
you will hear more and more of the exciting plans for this convention. I hope to
see you here.
In this and the December issues of the Choral Journal, you will find short articles
about the National Headquarters staff. In my short time here, I have found our
staff to be absolutely wonderful. They are all capable and dedicated, and continually
go beyond their basic responsibilities to do whatever is necessary for the working
of the office. They are a pleasure to work with as professionals and as delightful
Some of them will be at Divisi()n to assist with registra- _
tion, and all will be present at the 2009 national convention here. I urge you to
greet them at the conventions.
In our near future, while I am in this role, please calion me if I can be of assistance
to you in your vital part of leading and spreading our love of the choral art.
National Officers
President
Hilary Apfelstadt
The Ohio State University
614/292-9926 (voice)
<apfelstadt.l@osu.edu>
Vice-president
Michele Holt
Providence College
40 I /822-1 030 (voice)
<Holtm@cox.net>
President-elect .
jerry McCoy
University of North Texa!;
940/369-8389 (voice)

Treasurer
julie Morgan
Arkansas Tech University
479/968-0332 (voice)
<julie.morgan@mail.atu.edu>
Executive Director
jerry L. Warren
405/232-8161 (voice); 405/232-8162 (fax)
<jwarren@acdaonline.org>
Central Division President
Pearl Shangkuan
Calvin College
616/526-6519 (voice)
<pshangku@calvin.edu>
Eastern Division President
Brent Miller
908/735-4429 (voice)
<bfmiller@earthlink.net>
North Central Division President
JoAnn Miller
North Dakota State University
70 I /231-7822 (voice)
<jo.miller@ndsu.nodak.edu>
Northwestern Division President
Scott Peterson
Yakima Valley College
509/574-4836 (voice); 509/574-6860 (fax)
<jspeter@nwinfo.net>
Southern Division President
David Castleberry
Marshall University
304/696-3 I 27(voice)
<castlebe@marhsall.edu>
Southwestern Division President
jeff Sandquist
Rolla High School
573/458-0144 x I (voice); 573/341-5985 (fax)
<jsandquist@roll.kI2.mo.us>
Western Division President
Dean Semple
559/539-7927 (voice)
<dbsemple@springvillewireless.com>
Industry Associate Representative
Alec Harris
GIA Publications Inc.
708/496-3800 (voice); 708/496-3828 (fax)
Chair, Past Presidents' Council
Mitzi Groom
Western Kentucky University
2701745-3751 (voice); (fiiJ<) .
-<mitzi.groom@Wl<u.edi.J> -------
National Past Presidents
Archie Jones t
Elwood Keister t
Warner Imig t
J. Clark Rhodes t
Harold A. Decker t
Theron Kirk t
Chal"les C. Hirt t
Morris D. Hayes t
Russell Mathis
Walter S. Collins t
H. Royce Saltzman
Colleen Kirk t
Maurice T. Casey
Hugh Sandel"s t
David o.Thorsen
Diana J. Leland
William B. Hatcher
John B. Haberlen
Lynn Whitten
James A. Moore
Milburn Price
David Stutzenberger
Hilary Apfelstadt

resl ent
Greetings,
Ithough this is the October issue, I
am actually writing this column in late
August.The Choral Journal is on a six-
weeks-ahead schedule for publication,
so while it would be ideal fOI" you to be reading
about what the Executive Committee and Na-
tional Board accomplished at OUI" annual meeting
in that is impossible.You will,
be able to check on our Web site for that infor-
mation and also I-ead about it in the Novembel-
President's column.
There are several major items on the September meeting agenda, among
them the question of how we will handle the mattel" of chaperone expectations
with our honor choirs. Because of liability issues, we adopted a rather strict policy
prior to the LA convention in 2.005, whereby we required an adult chaperone
to stay in evel-Y honor choir singel"'s hotel room. This proved to be a hardship
in some cases, and we have been petitioned by a number of state leaders to
reconsider this issue. In fact, the Executive Committee did so priol" to the 2.007
national convention in Miami.We implemented a policy consistent with that of
MENC that requires a ratio of one adult chaperone for each 15-2.0 secondal-y
school students.We asked that chaperones stay in the same hotel as the singel-s,
and be I"esponsible for their attendance at all reheal"sals.
There are many good reasons for making this temporal-y policy a permanent
one. It is simply not feasible foi" many pal-ents to accompany their students to
honor choir events. Not only is there monetary cost, but also there is time lost
from wol"l<: for some people, that is not an option. On the other hand, there
are l"isks that need to be considered. Indeed, what if something does happen to
put a student at l"isk while participating in an ACDA honor choir event? How
do we handle this responsibility? In this litigious society, we must be sensitive
to both sides of the issue. Some hotels do not want to house youth groups
unless they are closely supervised. Rest assured that YOUI- elected officers will
consider this issue with gl"eat cal-e and concern. We know that the future of
honor choirs, especially at the state level, is highly dependent upon the outcome
of our decision. Because many people feel ACDA's influence most strongly at
the local level, it is imperative that we not jeopardize the potentially positive
perception of OUI" ol-ganization.
Very often, perception is reality. Just today (August 2.1), a teacher who at-
tended an in-service wOI-kshop with me, obsel-ved that she has colleagues who
do not belong to ACDA because they perceive we are too "stuffy" and cater
primarily to university conductors. Despite the fact that we have instituted a
Choral Journal column fOI" elementary teachers and one for junior high school and
middle school teachel"s, and that we sponSOI" many activities for young singel-s,
at least one group of chol-al musicians believes we are not meeting theil" needs.
Those non-members lose out on the many benefits that ACDA membel"ship
provides, and that is I-egl-ettable.
I responded to this teacher's infol-mation by telling her about the I"ecent for-
mation of the National Collegiate Conductors' Organization (NCCO), founded,
(Continued on page 4)
National R&S Chairs
National Chair
Nancy Cox
580/482-2364 (voice); 580/482-1990 (fax)
<nrcox@Swbell.net>
Soychoirs
Thomas Sibley
Raleigh Soychoir
919/881-9259 (voice)
<rbc@ipass.net>
Children's Choirs
. Robyn Lana
Cincinnati Children's Choir
'513/556-0338 (voice); 513/556-9988 (fax)
;, <Ianarr@uc.epu>,
College and University Choirs
John Paul Johnson
University of Kansas
785/864-9699(voice); 785/864-5866 (fax)
<johnsonjp90@yahoo.com>
Community Choirs
W. Robert Johnson
30 I (voice)

Ethnic and. MultiCultural Perspectives
,Appointment Pending
Junior High/Middle School
Tom Shelton
Kernersville Middle School
336/996-5566
'<tomshelton@triad.rr.com>
Male Choirs
Frank Albinder ;
2021986-5867 (voice)
<FSAlbinder@pobox.com>
Music in Worship
. Paul A Aitken' .
Boise First United Methodist Church
208/343-7511 (voice); 208/343-0000 (fax)
<paitken@boisefumc.org>
Senior High Choirs
Amy Johnston Blosser
Bexley High School
614/539-5262 (voice)
. <ablosser@bexley.kI2.oh.us>
.Show Choirs
Ken Thomas
334/821-0583 (voiCe
<kthomasmu@charter.net>
Two-Year Colleges
Larry L. Stukenholtz
St. Louis Community College-Meramec
314/984-7638 (voice)
<Istukenhbltz@stlcc.edu>
.. VocalJazz
'Kirk Marcy
Edmonds Community College
425/640-1651 (voice); 425/640-1 083 (fax)
<kmarcy@edcc.edu>
Women's Choirs
Debra Spurgeon
University of Mississippi
6621513-6635 (voice)
<dspurg@olemiss.edu>
Youth and Student Activities
Jeffrey Carter
Ball State University
765/285-3599 (voice); 765/285-5401 (fax)
<jrc@jeffreycarter.us>
FrtJIrU if: President
(continued from page 3)
at least in part, to meet the needs of university choral conductors who want
to focus on the concerns of college conductors. I am a member of NCCO,
and attended its inaugural conference in San Antonio last November; it was
an enlightening event, and I look forward to the next one in the fall of2008,
to take place il! CincinnatiIhe ironyof the situation is obvious-one group
feels ACDA is too elitist; another seems to believe that ACDA could afford
to cater more to the needs of university choral conductors. It is indeed a
challenge to try to satisfy everyone's professional interests.
Like many of you, I belong to MENC, ACDA, and now, NCCo. Some
of you also belong to the National Association of Teachers of Singing. Each
organization is unique; each provides something of great value to us as
choral musicians. What concerns me, as a longtime ACDA member, is that
there are choral conductors who do not regard us as a necessary part of
their professional landscape. What can we, as members, do to change their
perceptions and encourage those colleagues to join forces with us? What
will they gain in exchange for their membership fees? A subscription to the
Choral Journal; access to ACDA-sponsored events at the state, divisional,
and national levels; exposure to various activities we sponsor such as choral
festivals, honor choirs, and workshops; and most important, connection with
colleagues who share their commitment to the choral art-all these are
among the benefits of ACDA membership.
What is our responsibility as members to bring our colleagues into the
fold? It is considerable. Each of us needs to recruit. If we have colleagues
whom we know would benefit from and contribute to ACDA, we need
to encourage them strongly to become a part of our organization. The
Northwest Division has recently begun a new initiative to provide one-year
memberships for new teachers. What a wonderful way to introduce young
colleagues to ACDA. With a year's membership paid, there is incentive to
continue the membership at the end of the year, assuming the conductor
has reason to believe in its value. We can help this happen by representing
ACDNs interests and modeling its values to these new members.
The point isn't simply having more numbers for numbers' sake; rather, it is
about building a stronger cadre of professional choral conductor/educators
who can advocate articulately and passionately for our art form. Another
teacher spoke to me at today's workshop about feeling devalued by his
school district because administrators do not support the arts to the same
degree that they do many other subject areas.That is a familiar refrain. As a
strong organization, large both in numbers and presence, ACDA can work
to make a difference.What we do as choral conductors is vital to the spiri-
tual and artistic well being of all the singers we influence, and the stronger
we are as an organization, the more we can make that point in society. I
of us to set a
into ACDNs community before year's end.
Editorial Board
Editor
Carroll Gonzo
University of StThomas
651/962-5832 (voice); 651/962-5876 (fax)
<clgonzo@stlhomas.edu>
Managing Editor
Ron Granger
ACDA National Office
405/232-8161 (voice); 405/232-8162 (fax)
<managingeditor@acdaonline.org>
Editorial Associate
David Stocker

<dstocker@asu.edu>
Patricia Abbott
Assn. of Canadian Choral Conductors
514/351-4865 (voice)
<accc@ca.inter.net>
Richard J. Bloesch
319/351-3497 (voice)
<richard-bloesch@uiowa.edu>
J. Michele Edwards
St. Paul, MN 551 16
651/699-1077 (voice)
<edwards@macalester.edu>
Sharon A. Hansen
University of Wisconsin-Milwaukee
414/229-4595 (voice)
<sahansen@uwm.edu>
Janeal Krehbiel
Lawrence Children's Choir
785/832-5550 (voice)
<janealk@sunflower.com>
Edward Lundergan
SUNY-New Paltz
845/257-2715
<Iunderge@newpaltz.edu>
Donald Oglesby
University of Miami
305/284-4162 (voice)
<DOglesbY@miamLedu>
Robert Provencio
Cal. State University-Bakersfield
661/654-3073 (voice)
<rprovencio@csub.edu>
Lawrence Schenbeck
Spelman College
404/270-5482 (voice)
<lschenbe@Spelman.edu>
Lyn Schenbeck
Coweta County Schools
770/683-6837 (voice)
<Iyn.schenbeck@cowetaschools.org>
Timothy W. Sharp
Rhodes College
901/843-3781
<sharp@rhodes.edu>
Ann R. Small
Stetson University
386/822-8976
<asmall@stetson.edu>

University of Southern California
2131740-3225
<magensol@usc.edu>
Stephen Town
Northwest Missouri State University
660/562-1795 (voice)
< info.nwmissourLedu/-stown/homepage.htm>
h(}-/tU tf: Editor
Carroll Gonzo
In This Issue
lisa Macedo Dekaney
writes about "Eight Cho-
ral Works by Heitor Villa-
Lobos." She begins with
a brief biography of the composer;
and then focuses on the eight choral
works. We learn that most of Villa-
Lobos's choral music was composed
between the years 1931 and 1945.
She follows with a discussion of each work. The reader is provided
with a Portuguese pronunciation guide, which should prove quite use-
ful to conductors wishing to perform one or all of the compositions
presented in this article.
The composer Harold Darke may be a name that does not imme-
diately spring to mind for many of our readers, but his composition In
the Bleak Mid-Winter no doubt has been sung by many in church and
in concert. Richard Waters presents a succinct and robust biography
of Darke's life, which includes Darke's work as an organist, conductor;
teacher; and composer. After setting the compositional stage on which
Darke fashioned his life's work, Waters proceeds to present and analyze
seven Carols, including, of course,ln the Bleak Mid-Winter. Waters points
out that Darke did not achieve the level of recognition obtained by many
of his prominent countrymen. Many of his choral works, however; remain
in print today, and are available for performance.
The third and final article in a three-part series by Patrick Freer is
titled "The Conductor's Voice: Working within the Choral Art." Fol-
lowing the same format of articles I and 2, Freer builds his narrative
around quotes from well-known choral conductors weighing in on
the concept of working in the choral art. The conductors quoted in-
clude individuals conducting all types of ensembles, including children's
choirs, university ensembles, and professional choirs. The focus of
Freer's narrative is on leadership, pedagogy, and craft.The author con-
cludes with a section dubbed, "Wishes for the Profession.This discus-
sion ends with "hopes and concerns" by the conductors for you, the
reader. The concerns include the preparation of future conductors,
knowledge of repertoires, furthering the choral art, and the evolution
of one's podium temperament over a lifetime of conducting.
.Affiliated
Organizations
Indiana
Choral Directors Association
. Mary Rinck-Evers
7746 NorthMichigan Road
Fairland, Indiana 46126
. . TreasUl'ei- - Paula J. Alles
1471 Altmeyer Rd
Jasper, IN 47546
Iowa
Matt E. Huth
.. 655 SE University
Waukee, IA 50263
Setretaryrrreasurer - Joleen Nelson Woods
209 Oak Ridge Dr
Mount Vernon, IA 52314
American Choral Directors
Association Of Minnesot<l
President Judy Sagen
6200 I 40th Street W
AppleValley, MN 55124
Financial Chair - Charles Hellie
. 306,North Elm
Sauk Centre, MN 5637B
Montana
President- Janet Fox
702 NTerry Avenue
Hardin, MT 59034
li-easurer - Scott Corey
425 Grand Ave
Billings, MT 5910 I
Nebraska
President - Rhonda Fuelberth
lOB Westbrook Music Building
Lincoln, NE 6B5BB
Treasurer -.Tamara Loftis
25153 Co Rd 2B
Arlington, NE 6B002
Ohio
President -. Gayle Walker
573 Peach Street
WeSterVille; OH 430B2
Treasurer - Kent
B 192 County Road D
Delta,OH 43515
Texas
President - Robert Horton
61 0 I Research Forest
The Woodlands,TX 773B I
Treasurer -To Be Filled
. Wisconsin
Directors Association
President - James Kinchen, Jr.
p.o, Box BI471
Racine;W15340B
Treasurer - Jim Aagaard
UW-Richland.
1200 Highway 14 West
Richland Center, WI 535B I
Editor's note: This is the first part
of a two-part introduction to the
ACDA National Headquarters
office staff. The rest of the staff
will be featured in the December
issue.
Marvin Meyer is the ACDA ac-
countant. His duty is to maintain the
accounting and I-eporting functions
foI- the ACDA National Headquar-tel-s
and the ACDA Endowment. He is
licensed as a Certified Public Accoun-
tant in Texas and Oklahoma. Marvin
has worked at the ACDA National
Headquarters since May 2007.
Marvin is a native of Beeville.Texas,
a small town in the southern part
of the state. He is a graduate of the
University of Texas at Austin with a
degree in Secondal-y Education, and
Texas A&M University-Corpus
Christi with a degree in Spanish.
Olga Funderburk has been the
seCl-etary at the ACDA National
Headquartel-s since 2000. She was
born in Moscow, Russia and gradu-
ated from the University of Foreign
Languages with a bachelol-'s degree
6
The National Headquarters Office Staff
in teaching Russian/English.
While in Moscow, she worked fOl"
New Times magazine as a technical
editol- and at DxB Genel-al Trading
and The Amel"ican Grain Co., Inc as
an
She immigl-ated to the United
States in 1995. In this country, she has
worked for Personnel and Manage-
ment Consultants as a Bookkeeped
She became a naturalized
citizen in 2000, the same year she
joined ACDA as a seCl-etary.
Olga is single. Her husband passed
away in 2005. She has a daughter;
Anastassia, who is a gl-aduate of Cam-
eron University in Lawton, Oklahoma,
where she studied to be a graphic
artist.
Mark W. Smith is the ACDA Divi-
sion Accountant. His pl-imary duties
include assisting the divisions and state
chapters with their accounting and
working with the national accountant
to integl-ate the division and state ac-
tivity into the national accounts.
Mark gl-aduated with a degl-ee in
accounting fi-om East Central Univel--
sity in Ada, Oklahoma. He is a Cel-ti-
fied Public Accountant.
Steven Brooks
Mark is married and has three cats.
He and his wife do not throw birthday
pal-ties fOI- the cats, even though the
cats are a little spoiled.
Patsy Jilge has been the administra-
tive assistant at the ACDA National
Headquarters since November 2006.
Her duties include general admin-
istl-ative functions for the Executive
Director; which includes coordinating
his travel schedule and meetings and
coordination for all ACDA committee
meetings held in Oklahoma City, in-
cluding hotel and flight arrangements.
Patsy was born in Lockney, Texas,
a town in the Texas panhandle. She
moved to Oklahoma City in 1983.
Prior to coming to work for ACDA,
Patsy managed surgical and psychiat-
ric clinics in Norman, Oklahoma, and
Oklahoma City for 23 years. Patsy and
her husband,Tommy, live in Southwest
Oklahoma City. She has three grown
children and three grandchildren.
Steven Brooks is the ACDA Asso-
ciate Director and Legal Counsel. His
responsibilities include working with
the Executive DiI-ectol- on conven-
Choral Journal October 2007
tion issues, such as site selection,
contract negotiations, and legal
issues. He also works with the
Executive Director on matters
regarding the day-to-day opera-
tions of the organization and the
National Headquarters. Steven has
been with ACDA since November
of 2003.
Steven graduated from the
University of Oklahoma with both
a Bachelors of Business Adminis-
tration and a Law Degree. He also
graduated from the University of
South Carolina with an Interna-
tional Masters of Business Admin-
istration. He is licensed to practice
law in Oklahoma and the District
of Columbia.
A native of Lawton, Oklahoma,
Steven studied piano, violin, and
clarinet while growing up, and
played in the University of Okla-
homa Symphony Orchest,-a while
pursuing his unde'-graduate stud-
ies.
Christina Prucha is the archivist
at ACDA. She has an MLS and
an MA in French Pedagogy from
the University of Arizona. She has
worked in the archives fo,- just
over a year now. Her duties include
organizing and maintaining ACDA's
archival collections and answering
your ,-eference questions.
When she is not at ACDA, she
can be found with he,- husband,
and dog at their house in
Oklahoma City. She enjoys getting
to work in her yard and playing with
her family.
itor
Dear Editor:
The August issue of the Choral Journal included my in-
terview with Susan Medley. More than an
interview, it was a kind of choral history as
I lived it in the second half of the twentieth
century with various jobs and through the
greats: Robert Shaw, Margaret Hillis, and
Robert Page, colleagues and friends. I'd
like to thank editor Carroll Gonzo and Ms.
Medley for their editorial work and suggest
each of us claim our place in a living choral
history as we move from the twentieth to the twenty-first
century.
Vance George
San Francisco, California

... ... tandards
c ITT E E
The National Ethnic & Multicultural Perspectives R&S Chair
is being vacated. If you are interested in applying for this
position please send a resume and short "Statement of
Intent" to:
Nancy Cox, National R&S Chair
<nrcox@swbell.net>
Applicant submission deadline date: October 20, 2007.
7
eitor Villa-Lobos (ei'tor vila'lobos) is one of the
world's most prolific composers with an output
between six and seven hundred works. He is consid-
ered by many to be the greatest Brazilian composer
of all times, and some of his choral works are among his finest
compositions. This article provides a discussion of eight of his
choral works composed between 1921 and 1958, and scored for
different combinations of voices and instruments. The range of
these works will give the reader a glimpse at his many styles.
HeitorVilla-Lobos was born March 5, 1887, and died Novem-
ber 17,1959, in Rio de Janeiro, Brazil. He lived through a period
of drastic political changes in his native country and in the world.
At the time of his birth, Brazil was under the command of Dom
Pedro II, Emperor of Brazil. During adulthood, he witnessed the
two World Wars and when he died, Brazil had been a Republic
for 70 years. All these political transformations influenced Villa-
Lobos's musical life and led him to reorganize the music cur-
riculum of Brazilian public schools in 1931, and to work with the
Brazilian president Getulio Vargas. This music curriculum served
Vargas's political agendum and might be the ,-eason why the
music education program was withdrawn from Brazilian public
schools afterVilla-Lobos's death.
Unlike most composers of his time,villa-Lobos had little formal
education. His first musical training was taking violoncello lessons
at the age of six from his father Raul, an amateur musician and
writer who worked at the Biblioteca Nacional [National Library]
in Rio de Janeiro.' These studies came to an end with Raul's death
when Heitor was only eleven years of age. He continued his stud-
ies nine years later with Francisco Braga, a Massenet pupil, and
then with Henrique Oswald. Both composers had been trained
in the Western European music tradition.
Another influence in Villa-Lobos's musical career was Alberto
Nepomuceno, a musician who studied in Rome, Berlin, and Paris.
Braga, Oswald, and Nepomuceno were all respected figures in
Brazilian music history because of their compositional output
and their service to Brazilian music institutions. In 1922, at the
age of thirty-five, Villa-Lob os was granted a fellowship to travel
to France. On his first trip to Paris, he met Les Six (Auric, Durey,
Honegger, Milhaud, Poulenc, andTailieferre),varese, and Stravinsky,
who have all greatly affected his music, though indirectly.2 For
example,Villa-Lobos's compositions from the 1920s such as the
Choros and Amazonas were highly influenced by Stravinsky's Le
Sacre du printemps.3
But before absorbing European music in his own composi-
tions, Villa-Lobos had been interested in Brazilian folklore and
in all types of Brazilian music. Around 19 15, he sold most of his
father's library collection to travel to several Brazilian states
4
Elisa Macedo Dekaney is assistant professor of music education
at the Setnor School of Music at Syracuse University, where she
teaches graduate and undergraduate courses in the areas of
choral music, research in music, and world and Brazilian music.
<emdekane@syr.edu>
seeking to understand the influence of native Brazilians, Africans,
and Portuguese on folk music. As early as 1905,Villa-Lobos was
transcribing themes that he encountered while visiting several
Brazilian states and collecting "useful raw material to be mod-
eled and re-created."s Searching for his own musical identity by
absorbing folk material,Vilia-Lobos once said: "I am folklore; my
melodies are just as authentic as those which originate from the
souls of the people." 6 Understanding the impact of Brazilian folk
music upon Villa-Lobos is a necessary requisite for appreciating
his choral works, because a great number of them are derived
from folk melodies.
Choral Works
Most oNilla-Lobos's choral music was written between 1931
and 1945 when he was Director of Music Education? During that
period, he focused on arranging and composing music for two
to six voices; these pieces were widely used in Brazilian public
schools choral programs to teach music fundamentals, choral
singing, and citizenship.There are 200 works in this category, all
of them created for pedagogical purposes.
8
The other choral works in his catalog have been criticized for
being impractical to perform today due to their unconventional
instrumentation and sparing use of the choir.
9
It appears that he
was not concerned about the conventional choice of instruments
or with traditional musical forms; rather, he explored unorthodox
instrumental combinations and newly created forms such as the
Choro.' 0 It was precisely his ability to combine such instruments
that made his music unique.
The eight choral works, presented here chronologically. were
written for SSA,TIBB, and SATB accompanied by various instru-
mental ensembles.While some of these works have entered the
choral repertoire, others remain unknown to choral conductors
in Brazil and elsewhere.
Quatour (1921; 8 minutes)
Premiered in Rio de Janeiro in 1921, Quatour or Quarteto Sim-
b61ico (Symbolic Quartet) is a chamber work scored for flute, E'
alto saxophone, celesta, harp, and female chorus. Although the
work was written before Villa-Lobos's first trip to Paris in 1923,
it exhibits French influence. I I Lisa Peppercorn, one of his first
biographers, writes that "The unusual combination of instru-
ments and voices used in the Quatour points without doubt to
Debussy's Sonata for flute, viola and harp, as well as to "Sirenes"
from Nocturnes for Orchestra and chorus. 12
Quatour is divided into three movements. In Allegro con moto,
the only purely instrumental movement, Villa-Lobos introduces
a flute playing the theme that permeates the other two move-
ments. The Andantino and the Allegro decisivo movements are
scored for instruments and female voices. To unify the piece,
Villa-Lobos repeated a number of themes throughout the move-
ments.
13
In the Andantino, he experiments first with a particular
way of treating the voice.These experiments recur in a series of
song arrangements dated after 1931. Using nonsense syllables,
9
the voices evoke an ethereal atmosphere
through melodic or rhythmic combina-
tions. This exquisite work definitely de-
serves to be performed, even though it
has been rarely programmed, perhaps due
to the difficulty of the women's chorus
part and the instrumentation. 14
that, to deny Stl-avinsky's influence on his
own compositions,Vilia-Lobos altered the
composition dates of certain works. It was
important for the composer that his piec-
Noneto (1923; 14 minutes)
Noneto, titled Impressoo R6pida de Todo
compositions. He and most of his biogra-
phers date it 1923, but recently, Guerios,
a Brazilian anthropologist, has contended
that this date is most likely later and for
an interesting reason. Before departing on
his first trip to Paris in 1923, Villa-Lobos
prepared a catalog of all the works he
had composed until that time, but Non-
eto, Uiropuru, and Amazonas (in which
he uses elements of Stravinsky's metric
division) are not on the Iist.
IS
It appears
es were received in Europe as something
unique and new, free of foreign influences.
According to Guerios, Villa-Lobos prob-
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10
ably composed the piece shortly after his
first visit to Europe in 1923.
16
Nonetheless,
Behague, an authority in Brazilian music,
maintains that the piece was premiered
in Paris on May 30, 1924 at one of Vi II a-
Lobos's first concerts in Europe.
17
Villa-Lobos's most accomplished
chamber music work, Noneto, has been
described as "an aural impression in
miniature of the whole of Brazil-a rapid
geographical panorama in music." 18 It fea-
tures deal- evocations of Brazilian popular
music and this style became significant in
a number of wol"l<s that followed it as well.
Villa-Lobos's style changed significantly
in 1922 after the important Semana de
Arte Moderna (Week of Modern Art) in
which Brazilian composers, visual artists,
and writers exhibited art work that broke
with the European influence and searched
for a national identity. He was seeking to
achieve the goals for which he and his
Brazilian generation had been laboring all
those years-a national identity, a style of
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music with pronounced Brazilian
Villa-Lobos achieved this by employing a
numbel- of pelTussion instl-uments, used
in both populal- and folk music of BI-azil.
The typical Brazilian pelTussion instl-u-
ments in Noneto are the pu(ta (a small
fdction dl-um also named cu(ca, native to
BI-azil and frequently used today in percus-
sion repel-toil-e), big and small reco-reco
(scl-apers), wood and metal chocalho
(shakel-s, I-attles), two cocos (coconuts)
of different sizes (which can be I-eplaced
by two small wood blocks), a whistle, and
finally, a china plate (sCI-aped along its edge
with a knife).
Noneto is scored fOI- pel-cussion, mixed .
chol-us and eight instl-uments (flute, oboe,
clarinet, alto saxophone, bassoon, harp,
piano, and celesta).Typical of wod<s of that
period, it consists of one single movement.
It is remad<able foI- its effects, colol-s, and
free rhythmic treatment.Although a cham-
bel- work, Villa-Lobos gives the wod< an
orchestral chal-actel-through "unique coloi-
discovel-ies, with the crucial assistance of
Chol-al Joumal Octobel- 2007
the pelTussion and the voices, at times
strongly reminiscent of subsequent lal-ge
choral symphonic WOd<S."19 Amedndian
music is evoked by the chol-us, which sings
onomatopoeic chants imitating the Indian
language through words such as zizom-
bongo and dongo-zongo-rongo-tongo. Villa-
Lobos also employs choml humming that
will reappeal- in the Bochionos Brosileiros
No.5 fifteen years in 1938.
20
Choros No.3 (1925; 4 minutes)
Choro (fi-om the verb "chol-ar" which
means "to weep") is a type of urban
music that ol-iginated around I 880 in the
suburbs, streets, and squares of Rio de
Janeim. They were composed and played
by choroes, groups of musicians who gath-
el-ed I-egulady foI- the simple pleasure of
playing together. Because of its melancholic
this music was soon nicknamed
chora. The odginal chora instrumentation
was a tdo: flute (I-esponsible for the mel-
ody), cavaquinho (a small guital- similar to a
ukulele that played the chords), and guital-
(which provided the bass). Circa 1900,
other instruments, such as the mandolin,
clal-inet, saxophone, and trombone, were
added to the tdo. Musically, this genl-e was
chal-acterized by sudden modulations that
were created foI-the purpose offeatudng
the polyphonic and improvisational abilities
of its players.
This ul-ban music style heavily influ-
enced Villa-Lobos and led him to latel-
redefine chora as "a new form of musical
composition in which val-ious facets of
our indigenous and populal- music are
synthesized through rhythm; and any typi-
cal popularized melody that appears oc-
casionally from time to time."21 Under the
name "choras," Villa-Lobos grouped the
music with national flavol- that he stal-ted
composing after his tdp to Europe.
Choras No.3, Pico-Pou [Woodpecker]
is scored fOI- a wind septet (clal-inet,
saxophone, bassoon, three homs, and
trombone) and men's chorus (TTBB).The
wind instrumentation includes several of
II
Pas trop vite (.1 = 96)
III mf
.
"
T1
'1/.
No - za - nj
"
mf
> >
T2
~
~
No - za - nj
I
~
I I, I,
n!l 0 - re - ku - a, ku - a - ua
B1
:
r:o
6" >
-----------
L ~ J
-------
~ .
>
> -------
T1
~
'if
n!1 o-re-ku - a, ku - a ku - a o - re - ku - a, ku - a
p
"
> >
T2
~ ~
~
I
No - za - nj
lo_re_ku
~
kU - la
y y I I
na - a, 0 - re - ku-
-
mf
B1
:
No - za - nj na 0 - re - ku-
Figure 1. Heitor Villa-Lob os, ChorDS No.3, "Pica-Pau," mm. 1-10.
the instruments played by the chorDes
(saxophone, clarinet, and trombone) and
they provide harmonic and melodic sup-
port to the vocal lines. The text consists
of onomatopoeic sounds and percussive
syllables found in the language of the
Parecis Indians. The melody used in this
work, credited to the Parecis Indians, was
collected in 1908 by Roquette-Pinto, a
Brazilian anthropologist who pioneered
research on Brazilian Indians (Figure I).
Villa-Lobos was the first Brazilian com-
1978 by Editions Max Eschig
poser to have listened to these indigenous
songs and to have employed them in his
compositions,22 In Choras No.3, Villa-Lo-
bos alternates repetitive rhythmic figllres
with long melodic phrases; he structured
the piece so that all the voices experience,
at one time or another; these rhythmic
and melodic patterns. The uniqueness of
Choras No.3 lies in the composer's ability
to synthesize the Amerindian environment,
the urban character of the choras, and
Western European music in one work.
23
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Choros No. 10 (1926; 12 minutes)
Composed in 1926, Chora No. 10 titled
Rasga 0 Corac;.oo [Break the Heart], is one
of Villa-Lob os's most interesting large-scale
works for chorus and orchestra because its
structure is remarkably balanced and the
musical ideas are distinctly stated and de-
veloped. Behague believes this work to be
"one of the best examples oNilia-Lobos's
mature nationalist style, and it is also one
of the most celebrated of his orchestral
pieces."24 The scoring of Choras No. lOis
similar to that of a Romantic orchestra:
piccolo, 2 flutes, 2 oboes, 2 clarinets in A,
sax, 2 bassoons, contrabassoon, 3 horns, 2
trumpets in A, trombone, piano, harp, and
strings) with the exception of the percus-
sion section (timpani, 2 bass drums, tom-
tom, tambourine, gong, and side drum)
to which are added Brazilian instruments
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12
Villa-Lobos uses the Parecis melody
Nozahi-Na
26
and the popular choro
melody "Yara" as melodic material. After
portraying a number of birds using wind
instruments in the opening of the work, are based upon the lette,"s of the Portu-
the Parecis melody is introduced and at guese explore," Pem Vaz de Caminha to
the end of the work it is layered on top of D. Manuel, King of Portugal, in which he
"Yara:>27 Consisting of three parts, Vi II a- describes the successful episodes of the
Lobos intmduces the melodic themes in journey to the "discovery" of Brazil. The
the first part and expands their orchestral work is divided into two main parts. The
potential in the second part. In the last first part describes the events prior to
part the work assumes an entirely new arrival on Brazilian soil (First Suite: Intro-
character when the chorus finally joins
the orchestra.The large orchestral forces,
repetitive rhythmic figures, and the com-
bination of Amerindian melodies, urban
atmosphere, and rain forest sounds make
this a vibrant, powerful, and spectacular
work worthy of perfo,"mance.
28
Missa sao Sebastiao
(1937; 32 minutes)
San Sebastian is the patron saint of
Rio de Janeiro (River of January), which
was discovered on January 20, 1502 and
founded as a city on March I, 1565. It was
then officially named San Sebastian of Rio
de Janeiro because it is the day on which
Catholics celebrate the saint's death. The
Missa Soo Sebastioo [Mass in Honor of San
Sebastian], written and premiered in 1937,
is scored for three voices unaccompanied.
The composer's options are: women's
voices, boys' voices, or men's voices, with
each possibly doubled at the octave. Its
movements can easily be performed sepa-
rately. Each movement is titled to describe
the qualities of the saint. For instance, the
Kyrie is titled Sebastian! The virtuous, the
Gloria, Sebastian! The Roman Soldier; the
Credo; Sebastian! Defender of the Church,
and so forth.
The three-part polyphony. the clarity
in which the text is conveyed, and the
independence of the melodic lines in this
Mass resemble Renaissance choral music.
In contrast to the dense style of his Choros
works, the unaccompanied Missa Soo
Sebastioo is a lively piece with overflowing
polyrhythms and dissonant chords.
29
Descobrimento Do Brasil
(1937; 27 minutes)
The Descobrimento do Brasil [Discovery
of Brazil] was commissioned in 1937 by
the Brazilian Cacao Institute of Bahia to
serve as sound track for a film directed
by Humberto Maum. The Four Suites
duction and Happiness and Second Suite:
Moorish Impressions, Sentimental Adagio,
and Rattle Snake). The second part de-
scribes the events from disembarkation
until the return to Portugal (Third Suite:
Iberian Impression, Party in the Jungle, and
Ualaloce, and Fourth Suite: Procession of the
Cross and First Mass in Brazil).3o
The Fourth Suite, the only one scored
for cho,"us and orchest,"a, is the most
famous and the most CI"eative pari: of the
work and can be perfo,"med as an inde-
pendent work. It is divided into two move-
ments: Procissoo da Cruz [Procession of the
Cross/] and Primeira Missa no Brasil ([First
Mass in Brazil], scored for double chorus
- SSM and TTBB). In these two move-
ments, Villa-Lobos made abundant use of
Portuguese melodies, Spanish rhythms,
Moorish ornamentation, and obviously,
numerous Brazilian themes, including In-
dian melodies and languages, resulting in a
historical survey of Brazilian music.
31
For
the celebl"ation of the Mass, which is the
13
Vagaroso e mistico (d = 60)
p
" -

-----
0
T
W
I I r
Nan ---
p

Bar.
:
Oh! Ah! (+) (+)
p
Bass
:
Oh! (+) (+)
---,--
--
"-=-
Figure 2. Reitor Villa-Lobos, Bachianas Brasilieras, "No.9," Prelude, mm. 1-7.
.,
climax of the work,Villa-Lobos combined
low pitches of a Gregorian I<YI-ie (male
voices) with short Amel"indian motifs on
onomatopoeic syllables ariiculated by the
women's voices musically reflecting the
melding of Poriuguese and indigenous
Brazilian cultures.
32
Bachianas Brasileiras No.9
(1945; 10 minutes)
Bochionos Brosileiros al-e a sel"ies of nine
suites that Villa-Lobos wmte inspired by
14
the music of Johann Sebastian Bach. The
Bochionos Brosileiros No.9, composed in
the United States in 1945, was dedicated
to Aaron Copland and takes the form of
a Prelude and Fugue. The work can be
pelformed by an "ol-chestl-a of voices"
or by a string ol-chestra. In the choral
version Villa-Lobos used no text; each
voice vocalizes on specific and changing
monosyllables that CI-eate a certain color
and timbml effect without any specific
meaning. The Bochionos Brosileiros No. 9
for SSATBB begins with a slow PI-elude in
which the composer introduces the mo-
tive (Figure 2). The fugue is also scored for
SSATBB with divisi at the end (SSSATTBB)
and it is mostly in I 1/8. In this movement,
the motive takes on a much faster char-
actel- (Figure 3) and is developed until it is
presented in a chorale form; it ends on a
unison "C" spread across four octaves.
33
Bendita $abedoria
(1958; II minutes)
Choral music had become relatively
unimpol-tant for Villa-Lobos after the
completion of Bochionos Brosileiros No.
9 in 1945. Thirteen years later Carleton
Sprague Smith suggested that Villa-Lobos
compose Bendito Sobedorio [Blessed Wis-
dom]. Written in 1958 and dedicated to
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Choral Joumal October 2007
T
Bar.
Bass
l'fl Contraltos
mf
"
OJ - .......
" P
l!
~ L L
:
P
:
>
....... ..... I>cf ......
> --1II '* '* ~ T
,
-.-
, ,
, ,
, ,
, ,
: =-.l : =-.J
, ,
, ,
, ,
-
Figure 3. Reitor Villa-Lobos, Bachianas Brasilieras, "No.9," Fugue, mm. 13-14.
New York University, Bendito Sobedorio is
a set of six unaccompanied chot-ales based
on selected biblical texts of Proverbs and
Psalms in Latin and scored for SSAATIBB.
Villa-Lobos, focusing pt"imarily on the text,
composed a work of exceptional signifi-
cance because each wot-d is meticulously
set into music. One of the most striking
movements is No. 5 Beatus Homo (Fig-
ure 4) where the decot-ated and crafted
vocal lines allow clear communication of
the Biblical text. While the wide range,
divisi, and dissonant chords might present
Andante
"
mf>
s
OJ
B.c.
"
11!f
"'-
A
OJ
some challenges, this piece is exciting and
rewarding.
34
Portuguese Pronunciation Guide
Although most of the works surveyed
here employ syllables without specific
meaning or significance, Portuguese is cer-
tainly Villa-Lobos's reference for pronun-
ciation.Therefore, the "texts" imitating the
sound of native Brazilian languages should
follow Portuguese pronunciation t-ules. As
a Romance language, Portuguese, in its
> >
lift P
-
--
'-
Be - a - tus ho - mo in - ve - nit sa - pi - en tiam et_
"
mf lift
-,P
-
r--.
T
- I
Be - a - tus ho - mo in - ve - nit sa - pi - en tiam
Oh! __ _
written form, is quite similat-to Spanish, but
its sounds are sometimes quite different.
The following few basic rules should en-
able any choral director to perform songs
written in Portuguese.
Vowels are similar to the pure Italian and
Latin vowels: [aJ, [eJ, [J, [iJ, ["J, [oJ,
[u]. Sometimes, at the end of a word
the vowel [oJ sounds more like a [u J
as in cuidodo [leu i 'da du].
C sounds like [kJ when followed by [aJ,
~
"------'
qui __
--------
qui __
---
l.,.;.......J
.. .. ..
af - fluit pm-
af - flu it pm-
Oh!
Figure 4. Reitor Villa-Lobos, Bendita Sabedoria, 5th Movement, "Beatus Romo," Fugue, mm. 1-4.
Choral Journal October 2007 15
16

Churdl ......
Festival,. Ii'
ANNOUNCING THE
The 2009 International Church Music Festival
Featuring the esteemed artistic staff of Sir David Willcocks,
Paul Leddington Wright and the piano-duo, Nielson & Young.
Join hundreds of singers and friends from around the world to experience
Classic Sacred Choral music in the Eternal City of Rome.
[oJ, and [u J and sounds like [s J when
followed by [eJ and [i].
Consonants B, D, F, L, P, 1; V. and Z are
the same as in Italian.
J is pronounced like in French "joli." For
instance, the word jato Get) sounds
like ['30 tuJ and G has the same soft
sound when preceding [cJ and [iJ as
in gente ['3ej tSi J and ginga ['31 ga J
and hard as in"good"when fQ]lOWs:9
by [aJ, [oJ, and [uJ as in gula [(gu laJ
and gosto ['gos tuJ.
H is silent in Portuguese
M and N as final consonants are not
closed as in English, but they are
nasalized like in the French word
maison. The word sem will sound
[s'ej]
R in the middle of a word is flipped and
not rolled [rJ as in the word barco
['bar kuJ but in the beginning of a
word, it sounds like [hJ as in rosa
['ho zaJ.
S is the same as in English, except
when it is between two vowels it is
pronounced as a [s]. For instance,
the word casa will sound ['ka zaJ
not ['ka saJ as in Spanish. SS is pro-
nounced [s J as in the word passe
['pa suJ.
Accents over vowels modifY the sound.
A gives the [a J a nasal sound (Sao
Sebastiao [s'lhvJ Ese 'bas ti awJ. e is
open (Tatuape [ ta tu a 'PeJ).
NH and LH are interesting combination
of consonants. NH sound very much
like the Spanish "fi" orthe Italian "ng"
as in the words ninho ['ni fiu J. LH
sounds like "gli" in Italian. For instance,
the word filho sounds [,ft AU J
A CT
for the (re)discovery of choral works by
Visit www.festcorps.com to learn about choral groups from more than a dozen
Heitor Villa-Lobos in the year that we
countries who will participate in this Silver Anniversary Celebration.
Or call Elwyn Raymer at (615) 377-9132. would have celebrated his I 20th birthday.
Significant choral works such as the ora-
CORDS, Inc.
torio Vidapuro and the Magnificat-Alleluia,
among others, deserve in-depth inves-
tigation. The Collections of Music Guia
Pratico (A Practical Guide), written for
the use in the Music Education program
at the Brazilian public schools, also deserve
special attention. They were published in
Brazil by lrmaos Vitale and represent a
highly relevant music education tool for
the improvement and development of
meaningful choral singing. To obtain fur-
ther information about pieces published
in Brazil, the Museu Villa-Lobos is a help-
ful resource http://www.museuvillalobos.
org.br. Also, some of Villa-Lobos's sacred
choral works in Latin have been edited
by Wilbur Skeels and are published in the
United States by Cantus Quercus Press.
It is hoped this paper will inspire choral
conductors of all levels to learn, explore,
and perform Villa-Lobos's many wonderful
choral works.
NOTES
Vasco Mariz, Hist6ria da Musica no Brasil
(History of Music in Brazil) (Rio de
janeiro, Brazil: Brasileira, 1994),
137-138.
2 Carleton Sprague Smith, "Heitor Villa-Lobos,"
in Compositores de America/Composers of
America: Datos Biogra(Jcos y Catalogos de
Sus Obras/ Biographical Data and Catalogs
of their Works (Washington, D.C.: Union
Panamericana, 1960)," 4.
3 Paulo Renato Guerios, Heitor Villa-Lobos (Rio
de janeiro, Brazil: FGV Editora, 2003), 167.
4 Simon Wright, Villa-Lobos (New York: Oxford
University Press, 1993),3.
5 David Applebly, The Music of Brazil (Austin:
University ofTexas Press, 1983), I 18.
6 Gerard Behague, Music in Latin America: An
Introduction (New jersey: Prentice Hall,
1979),184.
7 Carleton Sprague Smith, 3.
8 Vasco Mariz, 195.
9 John Mcintyre, "Twentieth-Century Latin
America Choral Music: An Introductory
Survey," ChoralJoumal 10,33:27-36 (1993),
29.
10 During Villa-Lobos's time, the word Choro
was spelled "Chom." Cun"ently, the word
in Portuguese no longer has the accent.
Behague, Appleby, Guerios, and Max
Eschig use the updated Portuguese spelling
"Choro." I decided to do the same in this
article.
II Lisa M. Peppercorn, Villa-Lobos the Music: An
Analysis of His Style (London, England: Kahn
& Averill, 1991), 40.
12 Lisa M. Peppercorn, Villa-Lobos: Collected Studies
(Cambridge, Great Britain: Scholar Press,
I 992),x.
13 Lisa M. Peppercorn, Villa-Lobos the Music, 41.
14 Published by Max Eschig M.E. 2736 (vocal
score).
15 Paulo Renato Guerios, 138-139.
16 Ibid.
17 Gerard Behague, Heitor Villa-Lobos: The Search
for Brazil's Musical Soul (Texas: Institute of
Latin American Studies, 1994),69.
18 Burle Marx, Notes on Brazilian Music, liner
notes for A Festival of Brazilian Music:
Compositions of Heitor Villa-Lobos, RCA
Victor 17980-A DM-773-5, 19--, sound
disc 78rpm.
19 Gel"ard Behague, 70-7 I.
20 Published by Max Eschig M.E.7578 (vocal
score).
21 Paulo Renato Guerios, 142.
22 Ibid., 143.
23 Published by Max Eschig M.E. 2316. Recorded
Bibliography
in 1991 by the Sine Nomine Singers with
the Quintet of the Americas (Newport
Classic NPD 85518). For a more
complete list of all recordings, please refer
to Appleby's Villa-Lobos: A Bio-Bibliography
and Behague's Heitor Villa-Lobos: The Search
for Brazil's Musical Soul.
24 Gehard Behague, 87.
25 Caxambu orTambu is a large drum of African
origin similar to a Conga drum.
26 Vasco Mariz, 163.
27 Paulo Renato Guerios, 144.
28 Published by Max Eschig ME 2453 and
recorded recently by the New Wodd
Symphony under the direction of Michel
Tilson Thomas and the BBC Singers (BMG
Classics 09026-68538-2)
29 It is published by Associated Music Publishers
Inc. The Corydon Singers have released
one' of the most recent recordings
(Hyperion, CDA 66638).
30 David P. Appleby, 85-86.
31 Adhemar Nobrega, Linel" notes for Villa-Lobos:
Concurso intemacional de - 1975,
Tapecar SA, MEc/DAc/AVL-
014, 1975, sound disc.
32 Published by Max Eschig ME 2471. Recorded
by the French Radio Orchestra and Chorus
and conducted byVilia-Lobos (EM I France
CDZF 7 67229 2).
33 Published by Max Eschig ME 8555.There are
several recordings of the string orchestra
version.
34 Published by Max Eschig ME 6996. The
Corydon Singers have released one of the
most recent recordings (Hyperion, CDA
66638).
Appleby, David P. Heitor Villa-Lobos:A Life (1887-1959). Maryland: The Scarecrow Press, 2002
. HeitorVilla-Lobos: A Bio-Bibliography. New York: Greenwood Press, 1988.
Behague, Gerard. Heitor Villa-Lobos: The Search for Brazil's Musical Soul. Texas, Institute of Latin American Studies, 1994.
Guerios, Paulo Renato. Heitor Villa-Lob os: 0 Caminho Sinuoso da Predestinac;oo (Heitor Villa-Lobos: The Sinuous Path of
Predestination). Rio de Janeiro, Brazil: Fundac;ao Getulio Val-gas Editora, 2003.
Peppercorn, Lisa M. Villa-Lobos The Music: An Analysis of His Style. li-anslated by Stefan de Haan. London, England: Kahn &
Averill, 1991.
TBE CAROLS ,or . I I I 1 ~ ~
. '. .. .:, .. ' .,,.ccCO.. :: . :'.,.:.:.: .. :
More Than In the .' lbaA,.'",
by Richard Waters
arold Darke (1888-1976) composed his best known
\""i' ...y piece, the carol In the Bleak Mid-Winter; nearly one
. .. hundi-ed years ago. Despite the fact that he composed
more than forty pieces fOI- choir; Darl<e is most often
identified by this single work, which is still sung by countless choil-s
amund the world every Decembel: Darke's most substantial
output came in the foI-m of carols, anthems, and service music.
These pieces I-emain largely unknown to choral directors outside
of England, and would be welcome additions to the I-epertory of
many church, collegiate, and community choil-s. Darl<e's carols are
of particulal- intel-est because they al-e his most accessible pieces,
and all but one I-emain in pl-int.
Biography
Hamid organist, and teachel--
was bom on October 29, 1888, in London. He was the youngest
of five children bom to Samuel and AI-undel Darl<e. All of them
were musical, although Harold was the only one to pursue music
as a careel:
In 1903, at the age of foul-teen, Darl<e won an organ scholal--
ship to the Royal College of Music.There he had the oppor-tunity
to study organ with Walter Pan-att, who taught many of England's
cathedral, pal-ish, and concert ol-ganists, including Henl-yWalfol-d
Davies, Herbert Howells,ThomasTertius Noble, Boris Ol-d, and
Ralph Vaughan Williams. I In 1908, Darke was awarded a two-
yeal- composition scholarship, which allowed him to study with
Charles Villiel-s Stanford. Darke was a highly successful student, as
evidenced by the numemus awards that he won during his time
at the Royal College of Music, including the Arthur Sullivan PI-ize,
the Dove Prize, and the Tagol-e Gold Medal, which is awal-ded to
the best student of the year. He graduated in 19 10 with degrees
in organ and composition.
In 1916, after sel-ving as ol-ganist of St. James' Chul-ch, Pad-
dington, for five years, Darke received what would become the
most important appointment of his career: organist and director
of music at St. Michael's Church, Comhill. It was a position that
he would hold for fifty yeal-s. During his extraordinary tenul-e,
he transformed st. Michael's into a center of musical activity in
London? Soon after his arrival, Dal-ke instituted a sedes of weekly
lunchtime organ l-ecitals.These I-ecitals al-e still an important part
of the music ministl-y at St. Michael's today.
Darl<e I-eceived his Doctor of Music degree in composition
fj-om Oxford University in 1919. He was subsequently appointed
to the staff of the Royal College of Music, yet another post that
he held for half a century. His teaching duties at the College
included ol-gan, composition, harmony, and counterpoint. The
Richard Waters, DMA, is assistant professor of music and
director of choral activities at Delta State University in
Cleveland, Mississippi. He holds degrees in music education
and choral conducting from James Madison UniverSity,
The Hartt School, and the University of North Carolina at
Greensboro. <rwaters@deltastate.edu>
Chol-al Joumal Octobel- 2007
same year he also founded the St. Michael's Singel-s, a choil-of
appmximately eighty singers. One of the stated objectives of the
choir was to perform Bach's St.John Passion annually during Holy
Week.The choir also fi-equently pelformed new music by many
of England's leading composers.3
Dad<e was appointed in 1941 as interim ol-ganist and choir-
master at I<ing's College, Cambddge, while Bods Ord served in
Wodd Wal-II.The Darke family moved to Cambridge in March
1941, in time for Hamid to conduct services foI- Holy Week.
While at King's College, Darke still managed to keep up with most
of his duties in London. Although he had a deputy who handled
the Sunday services at St. Michael's, Dad<e traveled to London by
train in order to continue his lunchtime organ I-ecitals on Mon-
days, and to teach at the Royal College of Music on Wednesdays.
On July 26, 1943, he gave his 1,00Oth Monday lunchtime ol-gan
I-ecital at St. Michael's.
The end ofWodd War II in 1945 brought an end to Darke's
tenul-e at King's College. He stayed thmugh Decembel- to help
with the tl-ansition as both Bods Ord and organ scholar David
Willcocks retumed fj-om the wal: Darke's final service was a
Choral Evensong on Chl-istmas Day; the music included his own
Magnificat and Nunc dimittis in F. For his sel-vice to the university,
Darke was elected as a Fellow of I<ing's College and was gl-anted
the honorary degree of Master of Arts.4
Darke's activities did not slow down in the latel- years of his
career. He continued his work at St. Michael's and the Royal
College of Music, and was active as a composer; recitalist, and
adjudicatol: He celebrated his seventy-fifth bir-thday in 1963 by
presenting an organ recital at Royal Festival Hall. In June 1966, he
retired fj-om st. Michael's Church after fifty yeal-s of dedicated
service. In recognition of his lasting contdbution to the musical
landscape of the nation, Queen Elizabeth II awarded Darke the
Commandel- of the Ordel- of the British Empire (CBE) in the New
Yeal-s Honours List. In Octobel- 1968, he played another recital at
Royal Festival Hall to celebrate his eightieth birthday.s
In 1969, Darke retired fj-om the Royal College of Music after
an astonishing fifty-yea 1- tenure. He gave yet another recital in
1973 at Royal Festival Hall, this time in celebration of his eighty-
fifth birthday.6 He presented his final organ recital at Durham
Cathedral in 1976, only a few weeks before his death? Harold
Darke died in Cambridge on November 28, 1976, at the age of
eighty-eight.
Compositions
Hamid Dad<e lived in an era that experienced an historic
musical revival in England.The rebirth of English church music was
spawned by a stmnger emphasis on education, highel- standards
of composition, and a renewed interest in music of the past.
Darke's efforts as an organist, teacher; and composer
made an endul-ing impl-ession on the musical landscape of his
native countl-Y.
Darke wmte music foI- a variety of genres. Despite his dis-
tinction as one of the finest organists of the twentieth century,
Darke composed only fifteen pieces for the organ, including the
fl-equently pelformed A Meditation on BrotherJames'sAir.
8
Other
compositions include eleven piano wod<s, thl-ee pieces for strings,
19
In the Bleak Mid-Winter
Love Come Down at Christmas
Cradle Hymn
A Christmas Carol
A Christmas Carmen
When Christ Was Born of Mary Free
* Not Published
five violin sonatas and romances, six min-
iatures for oboe and piano, six orchestral
works, sixteen songs, and seven part-songs.
Most of these compositions date from the
1900s through the 19 lOs, from the eady
stage of his compositional and many
of them remain unpublished.
By far the most recognized and popular
genl"e of Darke's works is his chol"al music.
He wrote more music for choir than for
any other medium; the overwhelming
1909 anthem
1911 hymn
1912 anthem
-T9TT
.. antll-em-
1914 anthem
1915 hymn
1916 hymn
majority of these compositions are sa-
cred works, including seven carols, sixteen
anthems, fourteen sel"vice music settings,
eight extended or multi-sectional wol"l<.S
for choir and instl"umental accompaniment,
and nine hymns.
Carols
Darke composed his first carol in 1909,
at the age of twenty-one. He would go on
'Hrl1tesszon.Clt Development Workshop
of Choirs at All Levels
Virginia
20
July 28 - August 1, 2008
Reserve Conductor Positions Now
www.ChoralConductorsRetreat.com
info@ChoralConducrorsRetreat.com (808) 595-0233
SATB, ST soli, organ
SATB unaccompanied
Unison voices, piano
SATB, S solo, organ
SATB unaccompanied
SATB, S solo, organ
to write six more carols in the next seven
years. An old family friend, Margaret Agnes
Calkin, contributed to the cost of Harold's
education following the death of his father
in 1902 at the age of fifty-six. Darke com-
posed the carols, which all bear the inscrip-
tion "To MAC" as Christmas presents to
Calkin as an expression of thanl<.S for her
generosity.9
Two distinct types of carols emerge
upon examination of their formal struc-
ture: those that are strophic hymns and
those that are through-composed an-
thems. Table I shows a complete listing
of these wod<.S.
Two of the three hymn-like carols con-
tain a refrain at the end of each stanza.The
anthem-like settings may be distinguished
from their hymn counterparts by their in-
dependent accompaniments, which Darke
frequently varied from stanza to stanza.
However; the four anthem-carols bear
some resemblance to the hymn-carols by
maintaining the same melody throughout
each stanza.
Three of the carols draw their texts
from one of England's most important
female poets, Cht"istitJei RossettL
IO
Many-_
of Rossetti's poems are deeply religious,
reflecting her strong devotion to the Angli-
can Church. She is the only literary source
whom Darke used more than twice in any
of his sacred choral music.
Darke's carol settings are more re-
served than his anthems or service music.
The melodies are memorable
and easily-sung, the vocal parts
-- -- '-
contain very little divisi, and the 7711
harmonic language remains
simple and straight-forward.
The tonal center of each caml
is clearly defined and I-arely
changes, unlike much of his other
choral music. Two factors help
explain this conservative tonal
appmach. First, the camls are
all early works, when Dad<e was
still developing his own style as a
composer (his more adventumus
harmonic writing would come
later in his cal-eer). Second, as
outlined in the The New Oxford
Book of Carols, camls are genel--
ally contemplative and simple
in spirit. I I Darke was certainly
aware of the long history of the
English carol, and added to the
genre in a way that reflected that
tradition.
Six of the seven camls were
published soon after their com-
pletion, and remain in print to
this day, either as separate octa-
vos 01- as part of a collection or
anthology. They al-e organized
below based on theil- classifica-
tion as either a hymn/caml or an
anthem/carol.
Hymn/Carols
Love Came Down at Christmas ( 19 I I)
is the shortest cam I that Darke com-
posed. There are eight measures of
music; when all three stanzas are sung
the caml is only twenty-four measures
in dUI-ation. It is scored for unaccompa-
nied SATB choir; with text by Christina
Rossetti.
This succinct carol, set in major;
consists of four two-bar phrases. Each
phrase includes a set of quartel- note
triplets. (Figure I) Darke very rarely
used triplets with such frequency in his
choral music. It was an interesting choice,
since it was not one that was required
by the text-the words could just as
easily be accommodated with the use
of quarter notes. The use of triplets,
however; pmvides rhythmic variety and
a gentle, undulating pulse. The text and
brevity of Love Came Down at Christmas
Chol-al Journal October 2007
7'. l...A.c
-
("L1t 1o..r.d t..",-
-
!l. J(
-= --
CCin/L
:
-
r, r ,//:1- r."" :...... /, ,,:..,,,,, L-
'<- - k/- f .t..-t'
-::J
-
M cvutLL v D CJVI--:Y
""
-
'.
-
!fr. .. J .. '2.
---
The cover page of When Christ Was Born of Mary Free
with the inscription "To MAC."
Used with the permission of the Royal College of Music
make it suitable for use as an intmit for a
Christmas Eve sel-vice.
A Christmas Carmen (1915) is a festive
setting of John Greenleaf Whittier's poem
scored for unaccompanied SATB choir.
There are two stanzas, each of which is fol-
lowed by a refrain; the texture is
homophonic and the music for
the two stanzas is identical.The
entil-e composition lasts sixty-six
measures: each stanza is twenty
measures long, and the refrain is
thirteen measures.
Two stylistic features stand
out in A Christmas Carmen.
First, the tonal center of the
carol is A Mixolydian. This is
the only carol in which Darke
used a mode.There are several
instances in which Darke used
C
i
to imply the Dorian
thus creating modal mixture.
The second unusual feature
of A Christmas Carmen is the
use of changing meter. While
this technique is common in
Darke's other choral music, it is
not a characteristic that is often
found in tl-aditional camls. A
Christmas Carmen is the only
one of Darke's carols that does
not remain in the original meter
for its entire duration. Darke
set the first eight measures of
each stanza in 4/4 time, and the
remaining twenty-five measures
of the stanza and refrain in 3/4
time. This change in meter ef-
ficiently accommodates the text
and, combined with dynamic markings that
never go below mezzo forte, creates a driv-
ing enel-gy which appmpriately reflects the
spirit and mood of Whittier's poem.
When Christ Was Bam of Mary Free
(1916) was Darke's final contribution to
21
Love came down_
5
,--3----,
r'
p
z-sd
r
Love was bom_
the carol genre. He scored the carol for
soprano soloist and SATB choir with or-
gan accompaniment.This fifteen-measure
strophic setting consists of four stanzas,
each of which is followed by a refrain.The
text is believed to be from the fifteenth
century, although the identity of the author
is unknown.
Several discrepancies exist between
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J
at
at Christ - mas, Love all love - ly, Love di - vine,
r--3---,
I J J
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F
r
r
I
r'
p
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II
Christ - mas, Star and an gels gave the sign.
'V,""""'V mm. 1-8.
the manuscript and the printed score of
When Christ Was Born of Mary Free. FOI'
example, the first nine meaSUI"es feature
a soprano soloist, simply marked "solo"
in the manuscript. In meaSUI"e 10, when
the full sopl"ano section enters, Darke
clearly marked "Tutti" above theil" line
in the manuscript. The p,"inted Novello
edition, including the 1996 re-engl'aving,
marks the beginning line for"Soprano."The
printed edition confuses Darke's intent, as
the other voice parts are also listed in the
singulal'form (Alto,Tenor; and Bass). There
is no Tutti indication in measure 10 of the
Novello edition to indicate a change from
soloist to full choir.
In addition, while the manuscript does
not specify which keyboard instrument
should be used to accompany the choir;
the Novello edition marks it fOI" ol"gan.
The wdting style found in the keyboard
does seem to imply that Darke had the
organ in mind when composing the ac-
companiment. Certain measures would
be problematic on the piano, where the
left hand would need to simultaneously
play two pitches that are a twelfth apart.
Such passages may be easily executed on
the organ, where the lowest note is played
on the pedal and the left hand plays the
remaining pitches.
Darke utilized imitative entrances in the
refrain of When Christ Was Born of Mary
Free. Each voice part begins one beat
Chol'al Journal October 2007
aftel- the begin-
ning with the basses
and followed by the
altos, sop,-anos, and
tenors. The musical
material is similal- foI-
the first few beats, and
then featul-es mOI-e
independent writing.
The organ doubles
all of the vocal parts
thmughout the refrain.
The last few measures
feature a divided so-
prano part, as well as a
I-are three-part divisi in
the bass section.
Anthem/Carols
In the Bleak Mid-
Winter (1909) is by fal-
Dad<e's best known
and most beloved
work. Thel-e are at
least foriy I-ecol-dings
cun-ently available on
compact disc and many mOI-e on oldel-
cassettes and albums. The caml is still
a favorite at King's College, Cambridge,
where Dad<e sel-ved as intel-im organist
and choil-master dUI-ing Wodd Wal- II. It
was first included in the Festival of Nine
Lessons and Camls at I<ing's College in De-
cember 1945, with Dal-ke conducting and
BOI-is Oi-d (who had just I-etumed fi-om
service in Wodd Wal- II) at the 01-gan.
'2
In the Bleak Mid-Winter was one of
Dad<e's eadiest compositions, and was the
first of seven camls dedicated to Margaret
Agnes Calkin. It was ol"iginally published
by Stainer and Bell in 191 I. Dad<e scored
the caml for soprano and tenor soloists,
SATB and ol-gan. For his setting,
Dad<e used foUl- of Chl"istina Rossetti's
five stanzas. The caml is in G and
is fifty-eight measul-es long. Nineteen of
these measures (stanzas one and thl-ee)
are I-epeated.
Stanzas one and th,-ee of In the Bleak
Mid-Winter call fOI- soprano and tenor
soloists, I-espectively, accompanied by the
organ. A two-measul-e organ intmduction
precedes each of these stanzas.The I-ange
of the melody spans only an octave plus
a majol- second. Darke's skill foI- writing a
memorable, easily sung melody has con-
Choral Joumal Octobel- 2007
1. "'.J <it"" j.;..w "-Vl - x .... ", .. ,,(,,:, Iy II
GAR.oL.
The manuscript to Love Came Down at Christmas.
Used with the permission of the Royal College of Music
to 21 , but by measUl-e 22
the harmonic structure
found in the lower th,-ee
voice pal-ts is vil-tually
identical to that found in
the organ part in stan-
zas one and th,-ee. The
fourth stanza begins with
the sop,-anos and altos,
with the left hand of
the ol-gan pmviding the
suppol-ting hal-mony.'3
Darke slightly altel-ed
the melody in these foul-
meaSUI-es, although the
basic contour I-emains
the same. Measures 41
to 50 al-e identical to
measul-es 24 to 33, with
vel-y slight rhythmic al-
tel-ation in some of the
lowel- voices to accom-
modate the different
text. Dad<e elongated
the final phl-ase of stanza
foul- and repeated a POI--
tion of the text. Figure 2
tl-ibuted to the continued popularity of this
caml thmugh the yeal-s.
Stanza two features the full choir singing
unaccompanied.The music briefly begins in
the relative key of E minol- in measul-es 20
compal-es the end of stanzas two and
The carol concludes with the same serene
organ music that appears in the introduc-
tion, ending with a plagal cadence.
A comparison with Gustav Holst's fa-
Music at Augustana
A distiQ9uishe,d history of vocaLandch'pral music
in tradition "
/- :'.'; , '':'' >.,
for talented musici\3nsof any major
! ' , ",I
; ,I ! .... '(
Carl B: Nels6n Music Education $chol\3rsh:ip Program
i"" ;,') I "\', I
of C,horal Activities Jo:n HUffyj
I' .i "
Ch?ralFacuLty Sonja Hurty,
i' . , '. ,"'.- " -- . . .
j ,1
I'i ",:' ,"'j ;
Department of Music i
Auguk,tana, C, olle, g: e J

7233

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S
A
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r
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- - sus Christ.
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give __ my heart, give my heart.
Figure 2. Harold Darke, In the Bleak Mid-Winter, mm. 35-37 and mm. 51-55.
1911 by Stainer and Bell. Used by permisison.
miliar setting, composed three years earlier
for the first edition of The English Hymnal,
reveals an assortment of similarities and
differences. The melodic contour of the
first two measures of each tune is remark-
ably similar. Holst's melody is mostly step-
wise, with no leap greater than a perfect
fourth. By contrast, Darke's tune features
several mOI'e leaps, including foul'ths, fifths,
24
and two sixths. Rhythmically, the two set-
tings are nearly identical until the last line,
where Darke chose an expanded ending.
(Figure 3)
Overall, Holst's setting is more re-
petitive, both melodically and harmonically,
than Darke's version. Lines 2 and 4 are
identical, as are the first two measures
of lines I, 2, and 4. In Darke's setting, the
first two measures of lines I and 3
are nearly the same, as is the first
measure of lines 2 and 4; however;
no phrase or line is identical. Both
renderings are of strong merit and
have stood the test of time, as
demonstrated by their inclusion
in The New Oxford Book of Carols
in 1992.
Cradle Hymn (1912) is a set-
ting of the first two verses of the
,
Darke's setting is forty-eight mea-
sures long and features piano ac-
companiment. It is the only carol
that Darke did not score for SATB
choir. The manuscript marks the
vocal line simply as "Voice." This
carol would work equally well as a
solo or as a piece for unison choir.
The gentle melody of Cradle
Hymn is exactly the same in both
stanzas, with the exception of
one additional pitch at the very
end of the second stanza. Even in
such a short composition, Darke's
writing features detailed dynamic
contrast throughout. The carol consists
of a four-measure introduction, two
seventeen-measure stanzas (with a four-
measure interlude), and an eight-measure
codetta. The thirty-four measures of vocal
writing contain seven different dynamic
markings, as well as several crescendi and
decrescendi.
Darke contrasted the two stanzas of
Cradle Hymn by varying the manner in
which the piano accompaniment provides
the harmonic support. In the introduction
and first stanza, the accompaniment is
more peaceful, anchored in the left hand
by quarter; half, and dotted half notes.
In the interlude and subsequent second
stanza, Darke created a sense of forward
motion by featuring a steady display of
eighth notes in the left hand. Here, Darke
showed that he was comfortable writing
for either the piano or the organ, and
understood the differences and possibili-

an early stage of his compositional career.
The accompaniment style used in the first
stanza returns for the conclusion of the
second stanza and remains through the
codetta, which features a subtle hemiola
(a common feature in much of Darke's
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Public domain
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Figure 3b. Harold Darke, In the Bleak Mid-Winter, Melody, mm. 3-19.
1911 by Stainer and Bell. Used by permission.
II
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31

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must be like these good Wise Men, With heav' n - ward heart and_ look: __
Figure 4. Harold Darke, A Christmas Carol, mrn. 5-8 and mrn. 31-34.
music).
A Christmas Carol
ls
(1914) is Darke's
longest carol, spanning eighty-six measures.
This carol is scored for soprano solo, SATB
choir, and organ accompaniment. Darke
set five of the nine stanzas from Christina
Rossetti's poem.
Darke utilized a variety of vocal forces
in A Christmas Carol. He scored each stanza
for a different combination of voices. A
soprano soloist begins the carol, the men
sing stanza two, while the full choir sings
stanza three. The soprano soloist returns
for the fourth stanza, while the choir
joins the soloist for the final stanza. In the
stanzas that are sung by the choir, Darke
created further variety by using unison
writing for the first four to six measures
before dividing the choir into parts. Forthe
second stanza, Darke featured two- and
three-part writing for men's voices. The
third stanza contains the most diversity.
After singing in unison for five measures,
the choir divides into four parts for the
next phrase of text. This is followed by a
short phrase for sopranos and altos, and
WORLD
CHOIR GAMES
concludes with imitative entrances for all
voices.
Darke used the same melody in four
of the five stanzas. One notable alteration
The organ plays a supportive role
in A Christmas Carol, as opposed to the
independent character it often displays
in Darke's other choral music. There are
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occurs in the second phrase. Although the
basic contour of the melody is unchanged,
the pitches used in subsequent stanzas
are higher than those found in the first
stanza (Figure 4). In the fourth stanza, the
soprano soloist has an entirely different
melody, providing contrast from the pre-
ceding stanzas.
\.;,,,_e,_\;'"'' ,'"1-',', :;.
no organ interludes between the stanzas;
instead, Dal-ke concluded each stanza on
either a dominant or diminished chord,
only to be resolved at the beginning of the
subsequent stanza. (Figure 5)
The final stanza begins with the origi-
nal melody, featuring further variations
and modifications. The only substantial
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26 Choral Journal October 2007
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Figure 5. Harold Darke, A Christmas Carol, mm. 9-17.
I-epetition of text is found in the last
phrase ("All 'Glol-y, glol-y' given to Thee
through all the heavenly height"), which
is restated for the final twenty-three
measul-es of the carol. Dal-ke introduces
new musical material as the music builds,
leading to the only fortissimo moment of
the piece. At this moment, the soprano
soloist returns; it is the only time that the
soloist and choir sing in the same stanza.
The organ accompaniment then assists
in the gradual decrescendo to the pianis-
simo conciusion.The choir sings the final
F majol- chord: unaccompanied, hushed,
with seven-part divisi.
Assessing Darke
Nearly one hundred yeal-s after the
composition of In the Bleak Mid-Winter;
Harold Darke is still fondly I-emembered
by those who knew him for his impact
Chol-al Journal October 2007
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28
on English church music. He displayed a
commitment to high musical standards as
a composer and a pelformer; a dedication
to the performance of new music by his
friends and colleagues, a fondness for the
music of the past (particularly the music of
J. S. Bach), and a devotion to his unending
work as a teacher and mentor. All these
endeavors helped to advance the cause
of English music during its renaissance in
the twentieth century.
concern for the future of English church
music, particularly of his anxiety that there
would be a return to lower musical stan-
dards through the acceptance of "trivial"
and "vulgar" music. He urged the younger
generation to strive to live up to the great
tradition they had inherited:
There is no short cut to success in
music. We find budding musicians
who are graceful stick-waggers,
but unless they possess the ability
to hear an inner part, unless they
can read a score, unless they cail
visualize sounds, and unless, above
all, they have the power of holding
their players and singers, of molding
them to their will, and of imparting
something of themselves to them
and to their hearers, then all else is
of no avail.
16
Darke's choral compositions have not
achieved the level of recognition obtained
by the music of his more prominent
Stanford,
I
relatively small output (a result of his busy
schedules at both St. Michael's Church and
the Royal College of Music) and conserva-
tive compositional style are two factors
that may explain why much of his music
has not escaped the boundaries of his
native country. Many of his choral works
remain in print today, including the recent
reissue of three carols by Stainer and Bell.
Several anthems formerly out of print have
also been reissued in the last few years.
Hopefully, even more of them will soon
become available, so that a new genera-
tion of conductors, singel's, congregations,
and audiences may experience this body
of repertoire.
NOTES
I "Sir Walter Pan'att's Pupils," Royal College of
Music Magazine 20 (1924): 46-8.
2 H. C. Co lies, "Hamid (Edwin) Darke," Grove's
Dictionary of Music and Musicians, 5th ed.,
ed. Eric Blom (London: Macmillan, 1954):
2:598.
3 Gwilym Beechy. "Hamid Darke's Church Mu-
sic," The Musical Times 129 (August 1988):
427.
4 Richard Barnes, "The Darke Ages," Kings Col-
lege Choir Association (1997-8): 25.
5 Michael Darke, e-mail, October 20, 2003. The
author is most grateful to the composer's
only surviving son, Michael, for his assistance
in pmviding scores, manuscript copies, and
biographical information.
6 Stanley Webb, "Dad<e, Harold (Edwin),"
The New Grove Dictionary of Music and
Musicians, ed. Stanley Sadie and John Tyrrell
(London: Macmillan, 200 1),7:23.
7 Mark Venning, e-mail to August 20,
2004.
8 Nearly all of Dad<e's organ works were
recorded in 1991 by Jonathan Rennert,
the cun'ent organist and choirmastel- at St.
Michael's.
9 Michael Dad<e, e-mail to author, November 8,
2003.
10 In the Bleak Mid-Winter, Love Come Down at
Christmas, and A Christmas Carol.
II Hugh Keyte and Andrew Parmtt, eds., The New
Oxford Book of Carols (Oxford: Oxford
University Press, 1994), xii.
12 Jean Bums, e-mail to author, August 23, 2004.
13 Some directors choose to perform this section
unaccompanied by having the men sing
IIhum" or "100."
14 Darke composed another piece by the same
title in December 1955 fonhe christening
of his Valerie Ann Darke.
This unpublished composition is scol-ed
for unaccompanied SATB with text
by Isaac Watts ("Hush! my dear, lie still and
slumber ... ").
15 A Christmas Carol is listed in some sources as
The Shepherds hod on Angel, a reference to
the first line of the text.
I 6 Donald Bmok, Composers' Gallery: Biographical
Sketches of Contemporary Composers
(London: Barrie and Jenkins, 1946; I-eprint,
Freeport, NY: Books for Libraries Press,
1970), 54 (page citation is to the reprint
edition).
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29
IT
his is the thil"d in a series of three articles exploring
intel"views of chol"al conductol"s. The list of interviews
was compiled by David DeVenney' and extended
through the June 2006 issue of the Choral Journal. The
first article focused on how chol"al conductors describe compo-
nents of' 'flow expel"iences" in terms specific to choral music.The
second article centered on descriptions of singel" experience, the
conductor experience, and how these influence the process of
moving through rehearsal to performance. Conductors are identi-
fied within the text or in parentheses following the quotations.
This article contains many quotations from choral conductors
about their work. The interviews from which these quotations al"e
excerpted involved conductors of all types of ensembles ranging
from children's choil"s to university ensembles and professional
choirs. Several common topics arose from the analysis of these
interviews, specifically issues of leadership, pedagogy, and craft.
These topics and related sUbtopics fOI"m the structure of this
article, with a final section containing some of the advice these
conductors offel"ed fOI" the profession.
Leadership and Pedagogy
Howard Swan emphasized that a choral conductor "must be
a leadel": not a not an autocrat, but a leader. One must
accept the fact that when one stands in front of the chorus, one
is a leader. As a result of this, one has responsibilities:'2 Leadership
requil"es the I"ecognition that
Thel-e are some amazing things that are possible
with limited resources, and there al-e also some
amazing things that are never made possible, even
with unlimited resources. In other words, you
cannot always rationalize defective or unimaginative
music-making just because you say, 'well we're not
professionals' or 'we don't have a budget' or 'we
don't have enough rehearsal:This goes for music
at every point from creative conception to its
ultimate deliverance through a pelforming body
to a listening audience-fellow human beings who
are sitting out there and who could possibly be a
chorus themselves. And the music director is the
key to all of this. A musical pelforming organization
must have a focal point and must have a pilot, and
the pilot is the musical director who sets up goals,
who is aware of them, and who is aware of what is
over the horizon.
-Morton Gould
3
Patrick K. Freer is head of the music education division in the
School of Music at Georgia State University. He is the author of
the DVD series "Success for Adolescent Singers: Unlocking the
Potential in Middle School Choirs:' <pfreer@gsu.edu>
Dale Warland offered the condition, "there must also be a
mutual I"espect between singers and the conductor. Unity and
spirit are very important for the success of a choral ensemble,
and this unity and spirit, to a large extent, are established by the
leadership ofthe conductol"."4 If, as RogerWagnel" stated, "a great
conductor is one who knows what he or she wants and knows
how to get it,"S the choral conductol" needs to know the skills
involved in the pedagogies of music and singing.
Robert Shaw proposed that conducting and teaching could
be synonymous, adding "as long as the conductol" does not make
it difficult for ensemble to take place, as long as he keeps a sort
of vitality and a joy in the air for the group to use, and as long as
he knows whel"e the piece is going, he is making a significant and
essential contribution."6 Theodore Morrison cautioned, though,
"almost any smart conductor with a good heart and some adren-
aline can convincingly delivel" the places in the music the audience
will but it takes talent to make the cl"afty connections.
If you don't convince there, if the connections are awkward, the
audience will forget everything you do."7 Robert Page noted that
achievement levels of choirs may be held back by POOl" teaching
skills: "So many conductol-s settle for mediocrity. They palm off
bad sound for sociological reasons for making music."s
Alice Parkel" observed,
When I am in a situation where I hear three or four choruses
in quick succession, it is always fascinating to hear how
different each group sounds. And if it is the kind of situation
where there are three or four different choruses being led
by the same person, or rehearsed by different people, how
much each chorus changes with a different director: Whoever
is leading is getting basically what they are asking fOI: Whether
or not they are satisfied is beside the point, at this moment.
They get what they ask for and each one of us asks for
something different.
9
Planning for Rehearsals
When conductol"S design reheal"sals to achieve their objectives,
they might plan so that "the initial rehearsals al"e stl"uctured to
operate like patterns of falling dominos. I want the first rehearsal
(domino) to facilitate the accomplishment of all succeeding re-
hearsals" (Dennis Shrock).'O Speaking about her choir members,
Margaret Hillis said, "My biggest problem is to make them
and I sit down and think about that a great deal. If you tl"y to
make them better in a phony kind of way, or by drill and that
sort of thing, it becomes dry and sterile:'11 Jean Ashworth Bartle
concurred, "I try to make all reheal"sals interesting and musical.
The long term goal is to develop artistry and artists. We're not
training seals when we deal with children. We're tl-aining musicians
and developing artistl"Y."12
Planning fOI" rehearsals is essential as "you can be detrimental
to the growth of your program/student if you have reheal"sals but
are not prepared for them. The more rehearsals you have the
more the choir director has to be challenging" (Stan McGill).'3
When asked about standards of choral excellence, Doreen
Rao noted, "for me, 'standards' means conducting my rehearsals
31
with a wholehearted awareness of my
singers and with the integrity of careful
musical preparation and undel-standing.
When we conduct our ,-ehearsals and
concerts thoughtfully, and when perform-
ers and audiences are moved by the musi-
cal experience, we might say that we have
reached a standard of excellence.''i4
"keep the chorus alive by giving meaning
to rehearsals-it's also easier for a chorus
to change a going concept than to ap-
proach the final rehearsal without any."16
Warm-ups as Pedagogical Tools
of basic skills: "In striving for excellence
in a limited amount of time you should
concentrate on fundamentals. These will
build your program by building on each
other, and they will make your later work
more efficient. Careful work on funda-
mentals will build good habits."19 Oren
Brown concurred, "I constantly have to
The specific order of I-ehearsal activities
intrigued Weston Noble:
Many conductors begin the teaching refer to the basics, to wake up their minds
of repertoire and skills in the first mo- for a particular function, and to remi.nd
ments of the warm-up session and carry them of such fundamentals as breathing
_-_-_- -I __ and posture."20_ . ____ __
importance of psychology in Druba said, Occasionally a well-intentioned con-
rehearsing a choir. Since working ductor will construct warm-ups that are
with voices entails far more You must assume ... whatever unhelpful, as when "I've seen colleagues of
subjectivity than working with technique they are going to have mine warm-up a choir in the traditional
instruments, psychology, in my ... you have to build. I don't try to way. They simply let basses and altos strain
opinion, should play a great part. accomplish everything at once, but and struggle as they continue to go higher
including the first selection to have in the back of my mind the and higher" (Richard Westenberg).21 An-
be each day, .where to progress of sound over the course other instance calling for carefully planned
begin Within that selection (most of the warm-ups is when
of the time I do not start at the
beginning), what characteristics
that piece should possess if it is
to be successful as an opener; the
placing of the more challenging
repertoire within the rehearsal plan,
warm-up procedures, and keeping
the attention of the student to the
maximum degree possible ... Every
time I fail to observe psychological
ramifications of rehearsal procedure,
I reduce the optimum effectiveness
ofthe time spent.
IS
Helen I(emp added,
I use warm-ups at the beginnings
of rehearsals, but always with a
purpose. Instead of abstract melodic
scales or patterns, I'll use snatches of
music from our repertoire. Musical
phrases are much better for the
children; they are more interesting,
more accessible, and they help you
relate warm-ups to the music.
18
Robert Shaw observed that careful plan-
ning allows conductors the opportunity to
Helen Kemp also spoke of structuring
her warm-ups around the development
There is excessive vibrato, there
[often] has not been sufficient
training in the upper part of the
voice ... Individuals in amateur
choirs who have not sung during
the summer have more vibrato in
the fall. They have not used and
exercised the upper part of the
voice! I think a lot of vibrato is an
excessive pressure, especially from
the lower part of the voice carried
too high. Exercise is needed to
lighten the upper part of the voice
and carry it down low. It's like a sigh.
We sigh from the top down
32
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22
Richard Westen berg added,
When amateur choirs have been
performing, say, Bach cantatas or
passions, I frequently use chorales as
warm-ups; I have them sing without
text on certain vowels.This way they
concentrate not only on notes, but
also the alignment of the vowels,
intonation, etc.
23
Goal Selection
Conductor focus needs to be placed
upon both the musical and psychological
needs of the singers before them:
If you get on the podium and assume
that people are going to be bored,
they're going to be bored. If you
assume they're going to be involved,
they're going to be involved. If you
assume that they can do something,
they can. If you assume that they
can't, they never will.
-Margaret Hillis
24
When discussing the goals that conduc-
tors might set for choruses with relatively
inexperienced singers, Alice Parker of-
fered,
It depends on your point of view.
Is the aim to provide a community
event that uses everybody to the
best of their abilities? Then you can
have wonderful success with it, I
think. If your aim is to present an
excellent program of difficult music,
then you are going to have trouble.
So there are all kinds of goals in
choral music.25
Matching the conductor's goals with the
needs of the ensemble is essential be-
cause
Inspiring one's singers is wonderful,
_ but if the singers do not have
an in-depth understanding or
comprehension of the music they
perform and do not know why they
are singing in a certain manner, we
have failed.
-Joseph Huszti
26
In other words, conductors "are remiss if
they only teach what they've been taught
to teach, rather than teaching what needs
to be taught" (Fred Waring),2?
Accordingly, Jo-Michael Scheibe ad-
vised,
I am a firm believer in introducing
a composition at or near the
eventual tempo if at all possible
and with as little support from
the keyboard as possible. I do not,
however, believe in allowing the
choir to struggle and not achieve
initial success in the introduction of
a new composition, and at times in
more difficult compositions, have
used the keyboard for harmonic
support-because failure does little
to win your choir-and success
builds the ensemble's trust in you as
a conductor.2B
Music Reading of Amateurs
Alice Parker commented that when
working with amateurs who may not feel
confident about reading music,
Working by ear is a wonderful
way of bringing out people's native
musical ability-you also can make
music right then and there in that
room. It makes laboriously learning
a three-minute church anthem with
33
an amateur group that doesn't read
well just seem like an exercise in
frustration. You are always trying to
get the accuracy of the page before
you can get any musical value.
29
She added,
If people are reading and if that is
difficult for them, then very often
they are not controlling their voices
as well as if they were singing
they knew. And SQ, the
problem voices sound worse then
they really are. Once they know the
music they sound better.
30
Robert Porco emphasized, however,
For the most part, the volunteer
people are better than they give
themselves credit for. I do a lot of
rehearsing unaccompanied-even
reading. See, there's this sense that
they'l"e volunteers-amateurs-and
that begins to rub off on them, on
their estimation of what they can
do. Most of the time, they can do far
greater things in terms of reading. So,
I just challenge them.
31
No matter the reading level of the choir
membel"s, Jo-Michael Scheibe advocates
establishing early success in first readings
of a composition:
When the choir leaves the rehearsal
they should feel that they have
achieved something. This may
be only the final bar or two, but
success is paramount in the positive
learning curve. Introduction of a new
composition is critical to the success
or failure of that composition in
concert.
32
Movement and Gesture
Many conductors ask choir members
to incorporate movement and gesture
during the rehearsal process, sometimes to
facilitate the learning process, and at other
times to reduce vocal tension. Harold
Decker commented,
Rhythm is the first thing you
respond to as a child. As civilization
grows, you learn to use yOUI" mind as
well as your body. I think moving is
important, particularly in rehearsals,
to loosen up and keep the body
from getting tense. Movement,
without feeling for the phrase,
is what Joe Flummerfelt called
'mindless rhythm: Music has to have
Music Surrounds Us.
34
The Rudi E. Scheidt School of Music
at the University of Memphis.
music memphiS edlJ
THE UNIVERSITY OF
MEMPHIS,.
everything: rhythm, melody, and a
mental concept.
33
Nancy Telfel" noted that
Thel"e are two different kinds of
gestures: ones conductors make
and ones singers do.They work very
similarly; both are vel"y powerful.
Singers' bodies can work with the
voice to help the voice improve.
When they do certain movements
witll1fle60ay,otl'ier parts
body unconsciously react in certain
ways.34
On the other hand,
Any tension in the conductor's body
is reflected in the tone quality of
the singers. Ideally, the conductor's
gestures should be very liberating
to the When the conductor
visually expresses the flow of the
music, the singers' tone quality
responds to the conductor's gesture
without any verbal incentive.
-Nancy Telfer
35
Robert Porco commented,
In my view, there are too many young
conductors who have beautiful technique
and that's it. I'm not criticizing them, but I
don't think that is what music is all about."36
Rather, the relationship between gesture
and sound means that "I can change tone
during a performance by how I look and
how I conduct" (Howard Swan).37 Paul
Salamunovich recalled, "I once read that
you shouldn't use all yOUI" gestures in
rehearsal-you should save some for the
ACDA Quick Tip
B
P(Jn 'tlrlit5t5 (Jut
by (Bavintt Bady/
pelformance. I disagl-ee. In ol-del- to get a
point across, I would hang from the chan-
deliers by my toes in rehearsal. But when I
get on the podium, I simply try to look like
the music-no more, no less."38
Conductor as Voice Teacher
When working with choirs,
Good voices, of course, help in
accomplishing the demands or
requirements of scores, but good
voices can't take the place of
score study and the conductor's
responsibility fOI- learning all he
or she can about voices and
instruments, etc. All music starts
from score study.
-Margaret Hillis
39
Donald Neuen recommended that con-
ductors learn to
Understand and solidly teach
voice-teach people (of any age!) to
sing, really sing! I know we must care
for and protect the younger voices
especially, but I feel that there are far
more choirs who sing in an anemic,
meaningless manner than those
who may be over-singing. There is
a very specific sound heard in truly
great singing. Any choir is capable of
achieving that sound without forcing,
straining or sounding The
conductor simply has to know what
that sound is, how to teach it, how
to inspire the singers to desire it, and
then never accept less!40
Choral conductors rely heavily on the
use of theiJ- own voices when modeling
technique and phrasing for choirs. Paul
Salamunovich cautioned,
I am always concerned that one
of tomorrow's successful choral
conductors not be left at home for
the sake of a voice, and that singers
not be allowed to fall in love with
their voices before they fall in love
with the music for which the voice
was intended. Many of the most
successful choral conductors are or
were just average singers. They can
express beauty, however. They may
not be great singers, but they can be
tremendous teachers.
41
Helen Kemp agreed that the conductol-'s
own singing voice
[I]s really very important. but I
think the repertoire and teaching
techniques are more important.
The director of a children's choir
doesn't have to have a great solo
voice, but he or she has to have an
understanding of the child voice.
42
But, continued development of their own
vocal skills will pel-mit conductors to
"know and love the voice [and] know and
love the singel- with all the eccentricities
involved" (Robert Page).43
Conducting as Craft
The function of chol-al conductol-s as
musical leadel-s implies that "students will
DCI
DIHINGUIUltD .
(ONCnn

NiW
Iris Derke
General Director
be an exact mirror of us; if we do not
exude enel-gy we are nevel- going to get
it ... You can exude enel-gy with the way
you move from the piano to the stand
or the way you carry your body. I think
it's a matter of looking like you care"
(Sally Herman).44 The choir's pel-ception
of a conductor's musical leadership can
be greatly influenced by how that conduc-
tOI- attends to often non-musical,
responsibilities.
Spontaneity and ResponSiveness
Howard Swan believed
A great choral person must learn
how to plan for and feel like the
people with whom he or she is
working. Not all would agree with
this premise. We both know great
musicians who have not possessed
this last attribute. It's not so
necessary for the instrumentalist.
But one must never forget that we
"The Art of Pel lor mance-
The P()1,ver of Education"
Jonathan Griffith
Artistic Director
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250 West 57th Street, Suite 1400
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35
deal with voices-voices that in
one respect are related to the way
in which a personality shows itself
and hopefully will grow. It is very
difficult for some to do this, to put
themselves in the other person's
place.
45
Norman Luboff reflected that such empa-
thy is rooted in communication of
chorus/orchestra in rehearsal; the
conductor/chorus/orchestra with
the audience. Should this chain
break down at any point, the whole
idea and intent of the composer; to
communicate with the audience, is
lost. I won't hesitate to do anything
which will help keep that chain of
communication intact.
46
A conductors needs to be aware of
[T]he individuals in his chorus
at all times. How do they seem
to be feeling physically, mentally,
emotionally? Are they tired? Are they
nervous? Are they uptight about
something?Their eyes will tell. Their
frowns will tell. The pursing of the
lips, the use of the tongue are signs
which can tell a sensitive person a
great deal about the feelings of the
chorus.
-Howard Swan
47
When listing the skills involved in empathy,
Colleen Kirk outlined that conductors
[M]ust be thomughly grounded
in musicianship sensitivities and
understandings, care abbut the
to cues which reveal the interests
and gmwth of choir members,
and be sensitive to time and to
comfortable rehearsal and concert
pacing.
4B
Empathy with singers may be reflected
in the choices conductors make about the
design and pacing of both rehearsals and
concerts. Margaret Hillis commented, "in
any rehearsal there are certain basic pro-
cedures that I have, but I. always vary them
according to what the music needs."49
Brock McElheran referred to the
[T]ype of conductor who never lets
down, but drives the group for two
hours, demanding the ultimate at all
times. I don't agree with that. I think
it's very hard to reproduce intense
emotion for any length of time. I
High School Choirs!
High School Singers!
36
Rehearse and Perform Mozart's Requiem
with
Dr. Anton Armstrong
with a Professional Orchestra and Soloists
. on theyark-Iike camyus of Berry college in Rome, Georgia
prefer the conductor who works
quietly and low-key and then says.
'Now, let's do it!' Like a skyrocket,
finally put the match to it and let 'er
rip! The utmost. intensity is turned
on then, instead of trying to sustain
it over a long period.
50
Howard Swan engaged in an action
research project where he compared
the effects of a five-minute break with a
break in the middle of the
The result [was what] one would
expect: the group that had the five-
minute break did the best in every
respect, adding that when the break
was fifteen minutes in length,
The group lost interest and abandoned
the rhythm of the rehearsal, so to speak.
One had to bring them back and
start all over again, build rehearsal
goals anew. I think we make this
mistake today in our rehearsals.
51
To maintain interest, convey enthusiasm
and refine the musical skills of choristers,
Michael Palmer found that he would
use "whatever meanS are at my disposal
to come up with the right imagery for
them to create the kind of sound that I'm
looking for or the kind of approach to a
passage."52
Ultimately, the conductor needs to
transfer responsibility for musical perfor-
mance to the choir. For Robert Porco,
tempo highlighted this issue:
It is the choir or the ensemble
that keeps the tempo, not the
conductor. I think most ensemble
people haven't thought of this. The
conductor may start things, end
things, and shape things, but as you're
going along, the sense should be that
the chorus is performing and actively
executing the tempo.53
- .. --.---.. - - - - - - - - ~ - - ~ . - -_._---
Allen Chapman agreed, saying
I dare to try to allow the music to
happen .. .There are times when the
choir is not as accurate as it might
be, but we try to get to the heart of
the music. I think all of us hear too
many safe, predictable, and merely
accurate pelformances. I try to make
music live.
54
The route to rehearsals and perfol"mances
where the conductor and choil" are fully
engaged is centered upon
A certain instinctive communication
which immediately brings a kind
of respect .... [A] conductor must
have a tremendous love for people
because he or she has to work with
them. One has to love them a lot
because they're terribly hard to
love sometimes. They make some
miserable mistakes. They've got to
know that the conductor loves them
even when correcting them.
-Allen Lannom
55
Elements of Text and Blend
The conductors in these interviews
were recognized for their leadership and
rehearsal skills, but they became respected
for the musical results they achieved with
their choirs. They offered specific advice
about pelformance practice and choral
technique, and the topics of text and blend
are sampled here.
Paul Salamunovich related,
From the moment a choir starts to
learn notes, I want them to start
understanding the meaning of the
words which inspired the
Then I want them to telegraph their
message through the music. I tell the
chorus they are vocal actors, that I
want to see that meaning in their
faces and hear it in their tone.
56
Concurrent with understanding the liter-
ary meaning is the task of articulating the
text. Weston Noble noted, "consonants
receive my primary attention, especially
as the year unfolds. I believe that rhythm
is the basic underpinning of everything.
If consonants do not have the correct
'rhythm: the effectiveness of the beauty of
the vowel is diminished."57 Harold Decker
added, "If you can get your choir to get
over the consonant and get directly to the
vowel and then keep the integrity of that
vowel until you get to the next one, you
will have something that will sound like an
ensemble instead of like forty singers."58
Relating diction to blend, Eph Ehly's
position
[I]s to accept blend, not to force
it. One can have blend when one
has unity of vowel sounds, unity of
amplitude, and a well-positioned or
focused tonal placement. All of these
things contribute to blend, but I'm
not going to change a person's voice
in order to conform to a peculiar
quality I have in mind.
59
Care for the voice of the individual singer
concerned a number of conductors, in-
cluding Weston Noble:
We choral directors who work
with the younger voice have to be
unusually careful.The voice is at such
a formative stage.To ask it to modify
before the technique is established
can be destructive. Howard Swan
stressed that the individual singer
must never be sacrificed for blend.
This is a strong dictum-one not
always easy to observe.
60
To that end, Margaret Hillis I"elated,
Many years ago I threw out the
word 'blend: I prefer the term
'unison' and/or 'matched vibratos'
and/or 'matched vowels.' Blend is
too often spelled 'bland' and suggests
that music is made for choruses
rather than the truth of the matter;
which is that choruses are made for
music.
61
Howard Swan stated, "I cannot go too
far with blend, because I feel that if I do,
something very important of an individual
nature is destroyed or at least is hurt very
badly."62 Don V Moses agreed,
I actually never use the word 'blend.'
I suggest to the singers that if they
37
sing the same vowel and the same
pitch at the same time, we will have
the sort of sound that I'm looking
I would rather not ask singers
to sound like one another, because
they've been working all of their lives
not to sound like other singers.
63
Responsibility to the Composer
Colleen I<irk related,
Excellence in choral music is
complicated. It involves the vocal
sound itself. A successful conductor
must recognize and elicit a sound
that is beautiful, well produced, and
appropriate for the work being
performed. A successful conductor
hears simultaneously what the
composer had in mind and what
is actually being produced by the
singers. Excellence in choral music
requires the ability to interpret
musical ideas of composers
representing various countries,
styles, and periods. It involves
communicating through music and
speech. It necessitates interpreting
and managing artistic expression.
64
Hamid Decker cautioned,
Some conductors get so involved
in getting the music the way that
they want to hear it that they
forget how to reach an audience
with it ... Conductors must also
add something of themselves to a
pelformance. this must
be proportionate, because if the
conductor adds all of himself or
herself and forgets the composer,
phony.65
Margal-et Hillis held that the prepara-
tion of conductors was key to under-
standing the composer's intent, saying
"you have to get as near as you possibly
can to what the composer had in his
That's the whole point of all score study."66
Hillis echoed a fi"equent comment of the
conductors in these interviews when she
acknowledged, "a conductor's first duty is
to his and his composer's wel-
fare. Aftel- that comes the chorus and the
orchestra, and long, long after these comes
the conductor."67
ACDA Conventions Have Something for You!
38
Attend Live Choral Performances
by Oustanding Choirs
Wishes for the Profession
Advice to Beginning Conductors
I<enneth Jennings advised young con-
ductors,
Fil"st of all, I think that you've got to
do your own study. It's wondelful to
find out how Robert Shaw does a
particular work, or how Eric Ericson
with his great choirs from Sweden.
One can learn a great deal in this
way. But mainly one's learning has to
come from within. It's not something
that can be stuck on from the
outside. You have to learn how to
deal the best way you can with the
very impelfect human instl"ument
housed completely within real
human beings.There are no props or
mechanical aids. It's this 'humanness'
that reaches into people's hearts and
deepest needs. Choral music is able
to do that. So my main advice is to
dig deeply yourself and become the
best musician you can. It's a study of
history, of literature, of performance
practice, and your own continuous
personal explol"ation of the music.
You have to know what's going on
in the music if you're going to make
it come alive. And then you need
to develop the ability to use all of
that to teach it, to draw it out of
the people you have in front of you.
That's the I"eal excitement of the
choral art.
68
"Become the best musician yoo can,"
Joseph Flummelfelt encouraged. He con-
tinued,
Excellent aural skills and a deeply
rooted sense of rhythm are
obviously essential. Continually
try to enrich your humanity
through reading, reflection, and
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,
experiencing the other arts. In
preparing a score, always ask 'why?'
Why did the composer set the
text in this way, with this melodic,
rhythmic, or harmonic gestul"e?
Allow your imagination to perceive
the interconnectedness and the
relatedness ofthings.
69
Allen Chapman offered "some encapsu-
lated bits of advice and wisdom: wod< hard
.,. use only quality litel"ature ... genuinely
love young people ... sing more-talk
less-avoid the piano!"70 Stan McGill
added, "I would tell the young teacher to
be prepal-ed to face this challenge him 01-
herself. It's scal-y, because so much of youl-
success is based upon repertoire. Nothing
is more impol-tant, not budgets, talent, Or
stl-uctUl-es.' '7 I Margal-et Hawkins advised,
"people who want to be choral directors
outside of an academic setting have a lot
to learn in terms of simple things-like
what sells tickets and what doesn't: '72 Two
other succinct sentences of advice: "Stop
living in youl- own little wodd of music"
(Paul Salamunovich),73 and "Study hard as
hell!" (Robert Shaw)?4
Hopes and Concerns
These conductors had a number of
wishes for the pmfession, frequently
informed by al-eas of deep concern. FOI-
instance, a fi"equent concern about the ac-
ademic and musical prepal-ation of future
conductol-s was shared by Donald V Mo-
ses: "One of the pmblems with standards
in chol-al music during the past fifty years is
that thel-e al-e many people who entel-the
choral pmfession without in-depth tl"aining
and without chol-al repertoire standards."7s
Helen I<emp agreed, "I'm always amazed
that people know so little repertoire. It
is important to give young .childl-en mu-
sic that is appmpl-iate fo!" them-quality
music that encoul-ages interest and good
vocal habits."76
Continuing the emphasis on knowledge
of I-epertoil-e, Hamid Deckel- noted,
Today we are emphasizing multi-
cultural and contemporary music,
often to the exclusion of our great
heritage of choral music passed
down to us through history. We
shortchange our singers if they do
not come in contact with many of
these masterpieces when we select
our choral reperioire."77
I<enneth Jennings elabomted,
We are heading towards a 'pop-
hit-stardom' mentality; a 'here today,
gone today' existence, one of 'high
calorie low nourishment,' without
artistically establishing the tastes
and values of our people. We need
to be cautious in selecting what
we attribute as having value and
significance. Popular is not always
synonymous with good. Quantity
does not signifY quality. We have to
decide what is acceptable as good
American choral music, and how
we want it to look and sound in
Preparing tomorrow's leaders in choral music
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42
fifty years. We have the privilege
of studying hundreds of years of
music, and we have seen what has
survived and still works when given
a chance. We must decide how best
to use the resources entrusted to
us. More of immediate concern, we
need to look at what Americans are
contributing to the world of choral
music.
7B
Chades BI'uffy cautioned that conduc-
tors not allow choirs "to become vocal
dl'ill teams, wOI'shipping perfect pl'ecision,
interested only in an impeccably 'correct'
peliol'mance at the cost of emotional
impact and communication."79 Several
conductors spoke to the need forthe pm-
fession to engage in furthering the choral
art at all levels, not just at the univel'sity 01'
professional level. Allen Chapman added,
"I think we have lost sight of the vast ma-
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jority of our students ... We need to stari
looking at the 'everyman' in the school
system."80
Othel' conductors noted how they
had changed during the course of their
careel's. Donald Neuen reflected that he
was initially "too demanding, too intense,
vel'ging on anger,too black and white, lack-
ing in flexibility and understanding."81 For
many conductors, these types of tempera-
ments were more common during their
concems as:
How often do genuinely encouraging
words issue from our lips or fj-om
our pens? I'd like to recommend
that we all determine to be
more encouraging and genuinely
supportive of our professional
colleagues who are perspiring,
sometimes agonizing, sometimes
near rapture on that podium trying
with all their powers to realize the
musical score and to bring those
notes out of the silent pages and
convert them into living sound.
-Lara Hoggard
B2
Conclusions
The words of these conductors are
profound and inspiring. It is this author's
hope that these excerpted quotations
encoul'age conductors to read the in-
terviews in full, drawing repeatedly upon
the knowledge that they contain. In so
doing, they will fulfill the wish expressed
eloquently by Lara Hoggard,
But of one fact I am certain: we must
continue trying to find ourselves, to
know ourselves, and to understand
that we have been given a place in
time and eternity. We have been
blest abundantly with precious gifts
not available to all human beings.
Why us? I want never to forget
--Ur.KeJfueth riilton (LOUISIana -Sfiite-universilyr-
Dr. Craig Jessop (Monnon Tabernacle Choir)
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Dr. Weston Noble (Luther College)
Dr. Michael Schwartzkopf (Indiana University)
Dr. Kirby Shaw (Southern Oregon University)
Dr. Eric Thorson (Carson-Newman College)
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it has been given to me to probe
mystedes and to experience beauty.
We musicians have good cause to
ponder just how wondrously large
our souls and our outreaches could
have been had we managed to
cooperate in their nurture.
B3
NOTES
I. David P. DeVenney, "Research Report: Da
Capo Interviews with Amel-ican Choral
Conductors," Choral Journal 46, no. 2
(August 2005): 49-51.
2. Carole Glenn, ed., In Quest of Answers:
with American Choral Conductors (Chapel
Hill, NC: Hinshaw Music, 1991): I 19.
3. Mark Gresham, Choral Conversations: Selected
Interviews from Chorus! Magazine (San
Cad os, CA: Thomas House Publications,
1997): 126.
4. Glenn. In Quest of Answers. 47.
6. Antonio M. Molina, "Choral and Orchestl-a
Conducting: An Intel-view with Robert
Shaw," Choral Journal 18, no. 7 (1978): 30.
7. Jerry Blackstone, "Podium and Pen-Choral
Conductor as Composer: An Interview
with Theodore Morrison," Choral Journal 37,
no. 10 (1995): 25.
B. William Bartels, "Pmblems of Chol-al
I
Gig Bag ',as bottle ',o'der,
detacl,able strap and ample
room for folders, scores, and
even street clotl,es 0" sllOes.
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Interpretation and Technique (Part 3),"
Choral Journal 13, no. 3 (1972): 19.
9. Gresham. Choral Conversations. I O.
10. Jason Paulk, "Perspectives on Sight-Reading
Choral Repertoire," Choral Journal 45, no.
3 (2004): 34.
II. Janel Jo Dennen, "Margaret Hillis and the
Chicago Symphony Chorus," Choral Journal
32, no. I (1982): 19.
12. Dennis Shrock, "An Interview with Jean
Ashworth Bartle: Director of the Toronto
Children's Chorus," Choral Journal 31, no. 2
(1990): 23.
13. Dennis Shrock, "An Interview with Stan McGill
and Allen Chapman: Elements of Successful
High School Choral Progl-ams," Choral
Journal 29, no. 5 (1989): 9.
1'1. Linda Ferreira and Barbal-a Tagg, "Voices and
Visions: An Interview with Eight American
Choral Conductors," Choral Journal 38, no.
8 (1998): 10.
15. Dennis Shrock, "An Interview with Weston
Noble," Choral Journal 32, no. 5 (1991): 10.
16. Gordon Myers, "Interview with Robert Shaw,"
American Choral Review IV, no. 3 (1962): 9.
17. William Bartels, "Problems of Choral
Interpl-etation and Technique (Part 2),"
Choral Journal 13, no. 2 (1972): 22.
lB. Barbara Tagg and Dennis Shrock, "An Interview
with Helen Kemp: Childrens' Choil-s," Choral
Journal 30, no. 4 (1989): I I.
19. Tagg and Shrock. "Helen Kemp." I I.
20. Brown Bradley, "An Intel-view with Oren
Brown and Richard Westenberg," American
Organist 19 Uanuary 1985): 66,
21. BI-adley. "Oren Brown and Richard Westen-
berg." 66.
22. Bradley. "Oren Brown and Richard Westen-
berg." 66,
23. Bradley. "Oren Brown and Richard Westen-
berg," 65.
2'1. Dennen. "Margaret Hillis." 19.
25. Gresham. Choral Conversations. 9.
27. Gene Interview with Fred Waring;'
Choral Journal 19, no. I (1979): 32.
I
__ I
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43
2B. Paulk. "Perspectives on Sight-Reading." 30. Artistry:An Interview with Donald Neuen," 65. Glenn. In Quest of Answers. 235.
29. Gresham. Choral Conversations. 5. Choral Journal 45, no. 10 (2005): 35. 66. Shrock. "Margaret Hillis." I I.
30. Gresham. Choral Conversations. 6. 41. Shrock. "Paul Salamunovich." 17. 67. Glenn. In Quest of Answers. I 10.
31. Jonathan Talberg, "An Interview with Robert 42 Tagg and Shrock. "Helen Kemp." 6. 68. BI-adley Ellingboe and Dennis Schrock, "An
Porco," Choral Journal 41 , no. 5 (2000): 40. 43. Glenn. In Quest of Answers. 126. Interview with Kenneth Jennings: On the
32 Paulk. "Perspectives on Sight-Reading." 34. 44. Dennis Shrock, "An Interview with Sally Occasion of His Retirement as Music
31 Thomas Wine, "Reflections About the Choral Herman and Michael Nuss: Elements of Director of the Saint Olaf Choir," Choral
Profession in the Twenty-First Century: Successful Junior High School Choirs," Journal 30, no. 10 (1990): 12.
An Interview with Harold Decker," Choral Choral Journal 30, no. 9 (1990): 15. 69. Pearl Shangkuan, "An Interview with Joseph
Journal 42, no. 2 (200 I): 27. 45. Gordon Paine, "Reflections on a Career: A Flummelfelt," Choral Journal 44, no. 10
34. Janna Brendel, "Vocal Development in the Conversation with Howard Swan," Choral (2004): 13.
Choral Rehearsal:An Interview with Nancy Journal 27, no. 8 (1987): 12. 70. Shrock. "Stan McGill and Allen Chapman:' 13.
- -
35. Brendel. "Nancy Telfer." 30. Luboff," Choral Journal 17 (May 1977): 28. 12-13.
36. Talberg. "Robert Porco." 39. 47. Glenn. In Quest of Answers. 46. 72 Gresham. Choral Conversations. 169.
37. William Bartels, "Problems of Choral 4B. Glenn. In Quest of Answers. 112. 73. Glenn. In Quest of Answers. 126.
Interpretation and Technique (Part I)," 49. Dennen. "Margaret Hillis." 19. 74. Glenn. In Quest of Answers. 127.
Choral Journal 13, no. I (1972): 21. 50. Harriet Simons, "An Interview with Brock 75. Ferreira and Tagg. "Voices and Visions." 9.
3B. Den n is Shrock, "An I nterview with McElheran," Choral Journal 39, no. I (1998): 76. Tagg and Shrock. "Helen Kemp." 6.
Paul Salamunovich: On Aspects of 33. 77. Wine."Harold Decker." 27.
Communication," Choral Journal 31, no. 3 51. Paine. "Howard Swan." 9. 7B. Linda Ferreira and Barbara Tagg, "Fourteen
(1990): 18. 52 Gresham. Choral Conversations. 149. Conductors Speak About American Choral
39. Dennis Shrock, "An Interview with Margaret 53. Talberg. "Robert Porco:' 39. Music," Choral Journal 43, no. 8 (2003):
Hillis: On Score Study:' Choral Journal 31, 54. Shrock. "Stan McGill and Allen Chapman." 12. 21-22.
no. 7 ( 1991): 12. 55. Glenn. In Quest of Answers. I 12. 79. Ferreira and Tagg. "Fourteen Conductors." 15.
40. Alan Raines, "Celebrating Fifty Years of Choral 56. Shrock. "Paul Salamunovich." 12-13. BO. Shrock. "Stan McGill and Allen Chapman." 7.
Choral Conducting at the
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57. Shrock. "Weston Noble." I I. BI. Raines. "Donald Neuen." 35.
5B. Wine. "Harold Decker." 27. B2. Glenn. In Quest of Answers. 188.
59. Glenn. In Quest of Answers. 52. B1 Glenn. In Quest of Answers. 139-140.
62 Glenn. In Quest of Answers. 59.
64. Ferreira and Tagg. "Voices and Visions." 9.
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Call for Proposals for Interest Sessions
2009 ACDA National Convention
Oklahoma City, Oklahoma
March 4-7,2009
Name ______________________________ _ Address ______________________________ _
Work phone ( _______ -,-____ _ Home phone ( ___ ), _______ _
E-Mail address _____________________________ _ ACDA Membership # _______ _
Session Title: __________________________________________________________________ _
Session Description: Please include a brief typed session description.
Check Subject Area:
___ boychoir
high school choir
___ ethnic and multicultural
perspectives
___ two-year college choir
___ community choirs
___ performance practice
___ conductor preparation'
Type of Session: clinic
___ children's choir
___ women's choir
___ music and worship
___ music education
___ college/univ. choir
___ jazz choir
___ rehearsal technique
___ show choir
___ jr high/middle school choir
___ male choir
___ technology
___ vocal pedagogy
___ composition
___ composer (please specify)
___ conducting technique
___ other (specify)
__ panel __ clinic with demonstration group*
__ other (specify) _____________ _
* If you are requesting to use a specific demonstration choir, that group must submit a performance audition tape to the
National Office for consideration.
Equipment: With the exception of one regular microphone, all requests for additional audio visual equipment will be evalu-
ated by the convention steering committee on an as requested basis. AV equipment is limited. ACDA cannot assume costs
for AV equipment for all proposals. List other needs below (risers, piano, music stands, etc. )
Please include a brief biographical paragraph (not vita). Applications without this will not be considered.
Eligibility: Presenters must be current members of ACDA. It is understood that ACDA will not assume financial responsibil-
ity for travel, food, lodging for presenters or interest session participants. This application implies that the above-mentioned
presenter is prepared to travel and perform at the convention if accepted.
Send application to: ACDA, Attention: Interest Session Proposals, Po. Box 2720, Oklahoma City, Oklahoma 7310 I
Deadline:Applications must be postmarked by March 2,2008.
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Building Brighter Futures
Boychoirs
How We Deliver the Three Ms:
the Music. the Message. the Ministry
by
Ah'Lee Robinson,
Southwestern Division
R&S Chair fOI- Boychoil-s
usic fOI- boychoirs not only
tl-anscends but it is powelful.
Our message is often crys-
tal clear; and our ministl-y,
though subliminal, is how we make the
difference in the lives we touch. While
we look at the boys we serve, develop,
and mentor in OUI- choirs, we immediately
begin to think about their future. Countless
numbel-s of mature minds will advance to
responsible men some day, many
of them will drift aimlessly into the future
because there is no vision. This author is
reminded of a biblical passage that reads,
"Without a vision the people perish." Do
you have a vision, with youl- young chol-is-
ters? AI-e you a visionary?
It becomes our ultimate responsibil-
ity as we stand before our choristers to
showcase, epitomize, and provide a clear
vision fOI- them. OUI- music should not
only be selected for competition, style,
and appearance, but moreover; it should
be chosen so that young choristers can
relate and with dignity appreciate the hard
work that they deliver. As artistic directors
foi-the boychoirs, we have seen many boys
I-eturn to the choil- as talented musicians
that enjoy the music that they once pre-
sented. Many retained the discipline, and
share with the current choristers, their
pride in being a member of the
Then there are the few, but proud, who
return to see if the choil- is still what it
used to be.
In our musical delivel-y, the message
becomes unmistakable; if it becomes con-
voluted in the least, the chorister will not
convey it as prescribed by the choral direc-
audience will not receive
the message For many of the listen-
ers, the message speaks directly to the
intent of the In order for the
chorister to appreciate the song and em-
brace the message, they must be educated
at the onset of teaching the desil-ed piece.
This would be a good place for "ministry."
When we speak of ministl-y, we al-e saying
in OUI- simplest foi-m of leadership that we
should provide a level of sincel-ity. Many
of us see oUI-selves as "servant-Ieadel-s,"
March 13-15,2008
Dr. Janet Galvan
Artistic director
and clinician
skilled to lead, train, and develop the talent
that comes before us. Leading by example
becomes the focal point, and the subliminal
message of ministry takes the forefi-ont of
character building for the young chorister.
Style, delivel-y, and attitude are cl-ucial
components of the leader; not to mention
professionalism. We must do what we say
and say what we mean.
Taking a firm position with the choir
sets the pace fOI- the chorister to achieve.
You will appreciate the outcome and they
will be thankful for your drive with them,
maybe not now, but in the future.
It is the hope of this author that we
make a mal-ked diffel-ence in the lives of
the choristers before whom we stand
each week.Though many of them are des-
tined to hold their musical experience vel-y
others will gravitate to the discipline
provided.Then, finally, the least of them will
remember the relationships that they have
built. Ultimately, the music, the message,
March 27-29.2008
Dr. Kevin Fenton
Artistic director
and clinician
Year-round performance tours and exchange concerts
Website: www.hawaiimusicfestivals.com
E-mail: groups@hawaiimusicfestivals.com Phone: 1-800-366-7486
47
and the ministry all playa significant role
as a "gathering of the fragments" to make
boys responsible, professional, ethical, and
on point for life's challenges. After all, it is
the music that transcends. We must give
more than music to our eager and antici-
pating choristers. Develop a relationship
with others that have like challenges and
triumphs so that you are able to achieve a
level of appreciation in your choral life, and
above all, sing as if each day is made for a
new song. "Keep your boys focused and on
48
CHORAL ENSEMBLES
Yale Camerata
Yale Glee Club
Yale Schola Cantorum
Battell Chapel Choir
Marquand Chapel Choir
Yale Repertory Chorus
Yale Recital Chorus
RECENT VISITING ARTISTS
Dave Brubeck
Stephen Layton
James MacMillan
Sir Neville Marriner
Taril( O'Regan
Stefan Parkman
Penderecki
Helmuth Rilling
Sir David Willcocks
The Academy Chamber Choir
ofUppsala _
Clare College Choir, Cambridge
Ensemble Europeen William
Byrd, Paris
I Fagiolini
Tuks Camerata, University of
Pretoria
2006-2008
MAJOR REPERTOIRE
IS Bach Christmas Oratorio,
Magnificat, and Cantata No. 63
Beethoven Ninth Symphony
Bresnick Three Choral SOllgs all
Poems of Amichai
Britten War Requiem, Sacred
alldProfalle
Buxtehude Membra Jesu Ilostri
Charpentier Le Relliement de
St Pierre
Du Mont Magllificat pour Deux
Choellrs
Durufle Requiem
Gibbons Cries of London
Gubaidulina SOllllellgesallg
MacMillan Mairi
Mendelssohn Elijah
Monteverdi Vespro della Beata
--Vergine.1610-
O'Regan The Ecstasies Above
Panetti A GllSt inside the God
Stravinsky Les Noces
Stucky Three New Motets
RECENT STUDENT
RECITAL REPERTOIRE
JS Bach Komm, Jesu, kOll1m
Barher Prayers of Kierkegaard
Beethoven Mass in C
Bernstein Chichester Psalms
David Deutsche Messe
Finzi Requiem da Camera
Howells Take Him Earth for
Cherishillg
Ives The Ullallswered Qllestioll
Kreek Psalms of David
Lasso LamentatiollS
MacMillan Cantos Sagrados
Purcell Dido and Aelleas
Rheinberger Calltus Missae
Shostalwvich Chamber
Symphony
Stravinsky L'Histoire dll Soldat
Stravinsky Symphony of Psalms
- - Vaughan Williams,Rive,Mystical--
Songs
Office of Admissions Yale Institute of Sacred Music, 409 Prospect Street, New Haven, CT 06511
teI203.432.9753 fax 23.432.9680
point and hold them accountable."
Submitted by:
Thomas E. Sibley,
National R&S Chair for Boychoirs
College &
University
Choirs
R&S Committees:
A Tapestry of Individuals
Engaging the Membership
ach time I return from a na-
tional convention of ACDA. I
have new stories to share with
students and colleagues. From
my first convention in 1985, I tell of hearing
the Nordic Choir from Luther College and
walking down the street with John Rutter.
The Louisville convention brings to mind
the Estonian Men's Choir singing with
power I had not experienced before, and
the San Diego convention will always be
tied to David Fanshaw's African Sanctus.
In the coming months, I will tell of the
national convention in Miami, and the nar-
rative will weave stories of my interactions
with chairs of the ACDA Repertoire &
Standards Committees whose lives and
work combine to make an impressive tap-
estry. These interactions took place during
the R&S Training Session that preceded
the convention, and in between interest
sessions and concerts.
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I was inspired by the pmfound passion
displayed by fkst- and second-year music
educators as they shared stol"ies of theil'
successes and invigorating commitment
to teaching musicianship skills to their
students. I was touched by stories of R&S
Chairs who displayed their respect fOI' the
choral pmfession by encoul'd.ging, support-
ing, and mentoring these new teachers.
I was filled with optimism as R&S
members talked about their work in theil'
own schools, churches, and communities.
Some shal'ed how they were exposing
large and small populations to gl'eat cho-
ral works such as Mendelssohn's Elijah
and simple unaccompanied folk songs
that al'e wmught with poignant meaning.
Others told how they had developed a
commission project to support the work
of choral composers and to elevate the
quality of music available to the gmwing
number of SSAA choil's in the United
States. Others told how they had worked
to encoul'aging vetel'an conductors to
mentol' beginning conductors at the local
level. Tremendous passion and commit-
ment to excellence continue to be preva-
lent thmughout the membership.
I was moved as I heard Ci'aig Arnold,
Ann Howal'd Jones, and Andre Thomas
talk about how they continue to feed theil'
passion forthe chol'al art, and I was excited
to see the energy surmunding theil' round
table: lI'aining Chol'al Conductors in the
Twenty-First Century: Nurtul"ing Ci'eative
Vision and Commitment to Quality.
I became emotionally engaged as I
obsel'ved conductol's inspire their choil's
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to sing for the ACDA membership with
inCl'edible discipline and expression, and
I wondered how many of the pieces
performed had been recommended by
R&S chairs thmugh wOI'd of mouth and
reading sessions.
I was struck by the genemsity of indi-
viduals who wel'e willing to donate theil'
time and talent as conductors or pianists
to help the membership make informed
litel'ature decisions as they attended I'ead-
ing sessions, and by the sacrificial efforts of
the countless behind-the-scenes pel'sons
who gave up theil' convention experience
to insure that pelformers and participants
in the honor choil's would have optimal
expel'iences.
When Robert Shaw addressed the
ACDA membership fOI' the last time in
1997, he said "It is a good thing for Amel'i-
can chol'al directors to gathel' togethel'
frequently enough to share what's new,
what do you hear; how can I help," and this
sentiment is at the foundation of the R&S
committees. It is difficult to think of ACDA
'orthe choral profession without recogniz-
ing the wol"l< of the numemus individuals
who sel"ve as state, divisional, and national
R&S chairs. Theil' contl"ibutions continue
to make a significant impact on the pm-
fession in direct ways, and I feel fortunate
to have been associated with the College
R&S committee during this past decade.
Submitted by:
Kevin Fenton,
Former National R&S Chail"
fOI" Colleges & Universities
Concert Tours
with Real
Cultural Exchange
"What a phenomenal tour it was! ...
You took care of us very well.
The students, staff and I are very
excited about the tour."
Mark Bartel, Director
Friends University Singing Quakers
(pictured left at the Cologne Cathedral)
Conceit Toms for Choirs, Bands, & Orchestras since 1972
Great Performance Venues with Great Audiences
Nonprofit, Tax-Exemptions
Mfiliation with UN & US Missions Worldwide
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"Thank so much for all you achieved in creating this
memorable tour for the Prescott Master Chorale to 1.800.526.2908
Scandinavia. Our concert audiences were very enthusiastic. .
The cost of this tour was very reasonable for what we received." ...nendlyam@faf.org
James L Klein, Director www.faf.org
Prescott Master Chorale
49
The criteria for recommending a choil"'s acceptance to appear at an ACDA national convention will be the quality of
musical pelfol"mance as demonstrated on tape/CD.
and CDs
Only tapes/CDs prepal"ed in compliance with specifications listed on the application form and accompanied by requested
program infoi"mation will be considered.The tape/CD should contain only complete pieces. If a longer work is exerted,
several minutes should be devoted to in on the tape/CD, and the repertoire should be essentially the same kind as that
proposed for the convention performance.
Audition Procedures
All tapes/CDs to. be considered for pelformance at the national convention should be submitted to the ACDA national
office in Oklahoma City, Oklahoma, and postmarked no later than May 2nd of the year preceding the national convention.
After all the tapes/CDs have been received at the national office, they will be placed in categories corresponding to the
areas of Repertoire & Standal"ds committees.
The national office will apportion the tapes/CDs to preliminary audition committees on the basis of the number of tapes/
CDs received in the first category.There is no quota of tapes/CDs to be selected; the selections should represent the fin-
est entries in each R&S area.Tapes/CDs will be organized into the following five groups for review:
College & University and Two-Year College Choirs
High School Choirs
Community,Women, and Male Choirs
Childl"en, Boychoir; and jr. High/Middle School Choirs
Vocal jazz, Show, Multicultural, and Church Choirs
Audition committees, chosen by the convention chair for the preliminary auditions, will review the audition tapes/CDs
at the national office.Tapes/CDs will be organized and presented by a person outside the committee making it a "blind"
audition process. Audition committees that review more than one R&S al"ea will be made up of a I"epresentative from each
R&S al"ea being auditioned. Audition committees will be selected from the following:
a. Division presidents
b. National chair(s) of the R&S area being auditioned
c. Division chairs of the R&S area being auditioned
d. Outstanding choral directors in the R&S area being auditioned
e. Chol"al dil"ectol"s of groups who performed at previous national conventions
in the R&S area being auditioned
The National R&S Chail" and Convention Program Chair will be membel"s of the National Audition Committees.
~ - - - -- - ~ ~ - - ~
No person submitting a tape/CD for the forthcoming convention will be members of the National Audition Committees.
All tapes/CDs auditioned will be rated on a 1- 10 scale, with ten being the highest I"ating. It is I"ecommended that all tapes/
CDs with an avemge rating of eight 01" higher be submitted to the Convention Chair with choirs recommended for perfor-
mance in rank order. The ACDA National Convention Chair and Program Chair will make the final decisions on performing
groups after cal"efully considel"ing the most effective program that can be created from the choices presented.The ACDA
National Convention Chair will notify all choirs of their audition results no latel" than june 30th.
~ -
Oklahoma*Cilj ~
Application for Choral Performance
2009 ACDA National Convention
Oklahoma City. Oklahoma
March 4-7,2009
I. General Information
Name of Ensemble _____________________ _ Numbel- of Singers ____ _
Voicing SSA(A) __ TTB(B) __ SATB Other Age Level __ _
Choir R&S Classification _________________ (select the most appropriate)
(Boychoir:treble choirs; Boychoir: SATB voicing; Children's: Elementary school through sixth grade; Children's:
Community choirs elementary through eighteen; College/University, Community, Ethnic/Multicultural,
JazziShowchoir;Junior High/Middle Level, High School, Male Choir; Music in Worship,Two-Year College;Women's Choir)
Name of director _______________________________ _
Director's home address ____________________________ _
City ______________ -'-__ _ State ___ _ Zip code _____ _
Director's home phone ( __ _ Summer telephone (. ___ . _______ _
DiI-ector's cell phone ( ___ . _______ _ E-mail address _______________ _
ACDA Member # ___ _ Expiration date __ / __ / __
Name of Institution _____________ _ Institution telephone \ ____ / ________ _
Institution address _______________________________ _
City ________________ _ State ____ _ Zip code _____ _
Would you be willing to perform at an interest session of asked? Yes No
Would you be willing to perform for the Student Conducting Competition if asked? Yes No
Church Choirs ONLY;
Would you be willing to perform for the Music in Worship event if asked? Yes No
Eligibility; Conductors must be current members of ACDA and must have been employed in the same position since fall of 2005.
No choral ensemble or conductor may appear on successive national conventions. It is understood that ACDA will not assume
financial responsibility for travel, food, or lodging for performance groups. This application implies that the above-mentioned group
is prepared to travel and perform at the convention if accepted.
Signature of Director __________________________ _
Signature of Admin i strato 1- ________________________ _
(principal, department chair; ministel; etc.)
II. Proposed Program Performance
The total program time may not exceed 25 minutes and includes time entering, exiting, and applause.The use of photocopies or
duplicated music at ACDA conventions is prohibited. Accompaniment tapes/CDs may not be used on the audition recordings
or on ACDA convention programs. ACDA encourages conductors to program a variety of style periods unless proposing a
concert by a single composer or genre. Only one manuscript (unpublished) piece may be included.
Title
III. Audition Recording Specifications
Composer Performance Time
(in minutes and seconds)
A. Each of the three recorded selections for this performance application should be prepared on CD (preferred) or superior
quality stereo cassette tape. No accompaniment tape/CDs may be used. Recordings must be clearly labeled with ensemble
and conductor's name.
B. The total length of the audition recording should be 10 to 15 minutes and should include three selections (all by ensemble
listed on the application), one each from 2005-2006,2006-2007,2007-2008. The first selection must be from 2005-2006,
the second from 2006-2007, and the third from the current year 2007-2008. Do not include extra selections or infromation
not ,-equested on this form.
C. Show Choir applicants should include both an audio recording and a videotape (1/2" VHS) or DVD.
D. Selections recorded on the audition recording:
Selection # I
(from '05-'06)
Selection #2
(from '06-'07)
Title _________ ..,--______ _
Recorded in: Live Concert Performance
The recording's sound reproduction is
Title
Composer ______________ _
Recording Studio
edited
Rehearsal
unedited
Composer ____________________ _
Recorded in:
Live Concert
Selection #3
(from '07-'08)
Title
Recorded in: Live Concert Performance
edited unedited
Composer ___________________ _
Recording Studio __
edited
Rehearsal
unedited
IV. Programs
Applicants must submit one program (or photocopy) for each year represented on the recording.
V. Non-Refundable Application Fee
In addition to the required recording and programs, applicants must submit a non-refundable application fee of $25, by check or
money order made payable to ACDA in U.s. Dollars.
Mail this completed form with recording, programs, and $25 application fee to
ACDA National Headquarters
Attn.:Audition Committee
p.o. Box 2720
Oklahoma City, OK 7310 I
The package must be postmarked no later than May 2,2008. Material will not be returned.
by May 2, 2008
by June 22, 2008
by June 30, 2008
Schedule of Dates
Audition recordings, application forms, and programs mailed to ACDA.
Applications postmarked after May 2,2008 will be ineligible.
National auditions completed.
Applicants notified of audition results.
Final Recommendation by National Audition Committee for 2009 National Convention
Invite? Yes
No __ _
Hold for waiting list _______ _
Type of Session:
Concert Performance
Interest Session
Conducting Competition __
Signed _________________ _
(Signature of National Audition Committee Chair)
Date ___ 1 1 __ -
Director of Music
The Church ofthe Red Rock in Sedona,
Arizona, is seeking a director of music to
work fifteen to twenty hours a week. De-
gree and experience required. The start
date forthe position is January 1,2008. For
more information on this position, turn to
the display ad on page 63.
Director of Choral Activities
Belmont University, a thriving private
liberal arts university of 4,500 students,
seeks an outstanding candidate to:
conduct three major choral ensembles.
administer a large, highly visible and di-
verse choral program which includes
15 ensembles, and
teach undergraduate and graduate
conducting
The School of Music has an enrollment
of over 550 music students and offers
nine majors leading to a BM degree and
five majors leading to an MM degree.
Caree
Belmont's School of Music is a significant
contributor to the vibrant cultural life of
Nashville, Tennessee, a mid-size city of
extraordinary music resources. More infor-
mation about this position can be found in
the display ad on page 59.
Minister of Music
Hendricks Avenue Baptist Church of
Jacksonville, Florida, a progressive church
of approximately 700 resident members,
affiliated with the cooperative Baptist
Fellowship, is seeking an experienced indi-
vidual for the position of Minister of Music.
This position requires an undergraduate
degree in choral music, with a graduate
level degree from an accredited seminary
preferred. Other qualifications include the
proven ability to lead a traditional sanctu-
ary choir with both musical excellence
and spiritual inspiration. Experience and
familiarity with a liturgical style of worship
and a broad range of musical styles are also
important attributes for this position.The
music minister is a worship leader who
directs our sanctuary, senior adult, youth,
and handbell choirs, and recruits and trains
leaders for our graded choirs. More infor-
mation about this position can be found
in the display ad on page 77.
Chair of Music Department
Union University, a liberal arts-based
university located in JacksonTennessee,
with an enrollment of 3,200 students is
conducting a search for someone to chair
their music department. The department
of music is a fully-accredited institutional
member of NASM with eleven full-time
faculty members. It has appoximately
75 music majors and minors, and offers
Bachelors of Music and Bachelors of Arts
degrees. The successful candidate will
also be a director of choral activities or a
faculty member.in the area of theory and
composition. He/She must be a professing
Christian who is an active member of a lo-
cal church, ethusicastically supports Union
university's identity, mission and core val-
ues, and articulates a Chiristian workview
in their work and life. More information
about this position can be found in their
display ad on page 67.
The November issue of the Choral Journal will contain a tribute to Dr. Gene Brooks.
54 Choral Journal October 2007
" "
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Position Vacancy Announcement
POSITION: Executive Director of the American Choral Directors Association
(ACDA)
REQUIREMENTS: Evidence of successful music administration experience; passion
for and commitment to the choral art; interpersonal, managerial, and assessment
skills to include staff evaluation, development, strategic planning, grant writing,
and fiscal responsibility; advanced degree either in music or in arts administration
with an emphasis in music; command of appropriate technological skills.
DUTIES: With the Executive Committee and National Board, provide
administrative leadership and artistic vision; oversee fiscal operations of the
organization; develop private and corporate philanthropic partnerships; provide
leadership for a twelve-person office staff; coordinate business negotiations for
national and division conventions; represent ACDA with national and international
choral and other music associations; work in a non-profit arts setting with a
national volunteer leadership of elected/appointed officers, including members of
the Choral Journal board. The Executive Director serves at the pleasure of the
National Executive Committee.
ACDA is a professional organization of 19,000 members that includes choral
directors in public/private P-1 8 schools/universities, churches, and communities.
ACDA is comprised of seven geographic divisions with division conventions and
national conventions occurring in alternate years. The National Headquarters
is located in the arts district of downtown Oklahoma City, OK, in an elegant,
contemporary building completed in 2004. ACDA has only had two Executive
Directors in its history, .which has contributed to its musical and financial stability.
2009 will mark the fiftieth anniversary of ACDA. For more information about
ACDA and supporting organizational policy documents, visit <www.acdaonline.
org> .
APPLICATION: Send resume, three letters of reference, contact information for
four additional references, and transcript of highest degree earned to Dr. Jerry
Warren. If possible, materials should be transmitted electronically to <www.
acdaonline.org>. If it is necessary to send reference materials by hard copy, they
should be mailed to Dr. Jerry Warren; American Choral Directors Association; P. O.
Box 2720; Oklahoma City, OK 73101.
Salary will be commensurate with experience. Screening of candidates will begin
November 15, 2007, and continue until the position is filled. The successful
candidate could begin March 1, 2008, or earlier, if available.
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II
A Tribute in Honor of Donald Paul Hustad
n Ecclesiasticus 44: 1-2 we read,

'.,'.,,',c,', "Let us now praise those of fame,
i and OUI' forbeal's that begat us.
',' God has wrought great glory by
them through God's great powel' from
the beginning."
Approaching his ninetieth year, Donald
P. Hustad is the reigning "Dean" of evan-
gelical church music in the United States,
and those of us that have been and remain
the fortunate beneficiaries of his teaching,
mentoring, writing, publishing, cl'eativity,
collegiality, and friendship will soon have
an opportunity and a moment to expl'ess
our appreciation to him fOI' his lifetime of
teaching, scholal'ship, and sel'vice.
On March 8, 2008, as a part of the
ACDA Southern Division Convention
held in Louisville, Kentucky, papers fj'om
a Festschrift in honor of Don Hustad will
be read in a Satul'day afternoon session of
the convention, and in the evening, a musi-
cal tribute will be presented in Hustad's
These events will be open to all
Convention attendees as well as to any
and all foi'mer students, colleagues, fj'iends,
and admil'el's of this I'enowned teacher
and
A Festschrift is a collection of essays
written by former doctol'al students, col-
leagues, and professional peers, compiled
as a book in honol' of an individual. The
Festschrift (in honol' of Don Hustad)
includes contl'ibutions byTom Bolton,Wil-
liam Clemmons, Cad P. Daw, Rhonda
C. Michael Hawn, Christopher Idle,
Chol'al Journal October 2007
Debol'ah Loftis, Hugh T. McElrath, David
W. Music, Bert Polman, Milbum Pl'ice, J.
Michael Raley, Paul A. Richal'dson, Ray
Robinson, Cad Schalk,Tim Sharp, George
Shomey, Mel RWilhoit, Paul Westermeyer,
and Bl'ian WI'en. The topics of the Fest-
schl'ift embrace val'ious al'eas of sacred
music scholarship. The afternoon concur-
I-ent paper sessions will present simultane-
ous readings by authors fj-om the above
list. The Hustad Festschl'ift is co-edited by
former Hustad doctoral students Paul A.
Richardson and Tim Sharp. The book will
be published by Pendl-agon Press in theil-
Festschrift Series <www.pendragonpress.
com/sel'ies.php#9>.A significant contl'ibu-
tion to this collection is an extensive bi-
ogl-aphy of Hustad along with a complete
catalog of his works, written and compiled
by Rhonda
Of the more than twenty essays in
the Festschrift, the following will be of
particular interest to choral and church
musicians. William Clemmons has wl-itten
on the topic "Phrase Structure in Selected
Wesley Hymns"; Bert Pol man has wl'itten
on "SaCl'ed and Seculal- Issues Periain-
ing to Performances of the 'Magnificat"';
Milburn Pl'ice's topic is "Heari and Mind
or Heart vs. Mind; Cad Schalk's essay is
titled "Proclamation and Praise: Music and
the Church's Song";Tim Shal'p's contl'ibu-
tion is "Johannes Hel-bst: Norih Carolina's
Chol-al Connection to the Second Bedin
Song School"; and Paul Westermeyel- has
written on "The Church's Music in Church
Related Colleges." Many more essays ad-
dress issues including church music history,
hymnody, and pelfol-mance and worship
practice.
In the evening, a musical tribute to Don
Hustad will be presented as a part of the
Louisville ACDA Convention schedule. In
a special tribute to his choral legacy, two of
the institutions where Hustad established
his chol'al career will be I-epl-esented by
pelfol-mances from two of his fOI'mel-
ensembles, The Moody Chol'ale from
Chicago's Moody Bible Institute, and the
Oi-atorio Chol-us from Louisville's The
Southern Baptist Theological Seminary.
Belmont University, a thriving private liberal arts
university of 4500 students, seeks an outstanding
candidate to
conduct three major choral ensembles,
administer a large, highly visible and diverse
choral program which includes 15 ensembles, and
teach undergraduate and graduate conducting.
The School of Music has an enrollment of over 550
music students and offers nine majors leading to
the B.M. degree as well as five majors leading
to the M.M. degree. Belmont's School of Music
is a significant contributor to the vibrant cultural
life of Nashville, Tennessee, a mid-size city of
extraordinary music resources.
For a detailed job description and information
regarding the application procedure, see
www.belmont.edu/hr/Employmentiindex.html

59
The evening tribute includes choral com- are former Hustad doctoral students Irwin at Louisville's Christ Church Cathedral
positions by Hustad, movements of choral Ray and William Bradley Roberts, Follow- (Episcopal),421 South Second Street.The
masterworks representing Hustad's con- ing the evening's musical tribute there will reading of the Festschrift papers will take
ducting legacy, and new hymns contributed be a reception honoring Don and Ruth place in three concurrent sessions, from
to the event by Timothy Dudley-Smith, Hustad, 5:00-6:30 PM, and the musical tribute
Austin Lovelace, Michael Saward, Ronald All Hustad tribute events will take place will take place from 7:30-8:30 PM in
A. Turner; and Carl P. Daw, Jr. Program on March 8, 2008, within the schedule of the Cathedral sanctuary, followed by the
direEteFs-feF-the-eveRiRg-musi<;;al-tr:ibut@--tl:1eACDA Soutl:1er:n All events offered free and -=-c=-__
60
MM, DMA in Choral Conducting
Recent/upcoming ensemble
appearances
Women's Chamber Ensemble, ACDA
Central Division Convention, 2008
University Chorale, ACDA National
Convention, 2007
Men's Glee Club, Intercollegiate Men's
Choruses, Inc, National Conference, 2006
UniverSity Chorale, ACDA Central
Division Convention, 2006
UniverSity Chorale, Handel "Messiah"
(2007, 2005, 2003, 2002) and Mozart
"Requiem" (2003) with the Detroit
Symphony Orchestra
UniverSity Chorale, College Music
Society National Meeting, 2002
Men's Glee Club, ACDA National
Convention, 2001
For information on programs and auditions, contact:
David Ray!, Director of Choral Programs
Michigan State University College of Music
East Lansing, M148824-1043
(517) 353-9122 musgrad@msu,edu
as a bonus to those attending the ACDA
Southern Division Convention,The public
is invited to attend all the Hustad tribute
events, and no reservation is required,
Southern Division President David
Castleberry wrote"" ,the tribute event
for Dr. Don Hustad will acknowledge the
years of service and contributions to cho-
ral music by one whose influence reaches
many of our members, This event, held
in his home city in this, his ninetieth year;
could not come at a more opportune time
or be more fitting,"
Hustad's published scholarship includes
the books Jubilate! Church Music in the
Evangelical Tradition, Jubilate II: Church Music
in Worship and Renewal, True Worship: Re-
covering the Wonder & Majesty, the hymnal
The Worshiping Church (the seventh hymnal
Hustad edited for Hope Publishing Com-
pany), and a long list of choral, organ, and
hymn publications,
Hustad earned his M,Mus and D,Mus
degrees from Northwestern University,
He also earned diplomas as an Associ-
ate of the American Guild of Organists
(AAGO) and as a Fellow of the Royal Col-
lege of Organists (FRCO), London, From
1961 to 1967, he was ol-ganist for the Billy
Graham Crusade, He is Senior Professor
of Church Music at The Southern Baptist
Theological Seminary, Louisville, Kentucky,
For questions related to any aspect
of the Don Hustad tribute events
planned for Saturday, March 8, 2008, in
Louisville, please direct inquiries to Tim
Sharp sharp@rhodes,edu>; 90 I /843-
3781), William Bradley Roberts (-Cbill.
roberts@stjohns-dc.org, or Irwin Ray
(iray@oglethorpe,edu),
/'
~ .j
J ,.
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Malcolm Arnold: Rogue Genius
Anthony Meredith and Paul Han"is
Norwich, NOlfolk:
Thames/Elkin Publication, 2004.
529pp. @$60.00.
ISBN: 0"903413-54-X (Cloth)
Distribution by William Elkin Music
Sel"vices; Station Road Industrial Estate;
Salhouse, Norwich, NOlfolk NR 13 6NS
<sales@elkinmusic.co.uk>
n Apl"il 1996, while teaching ovel"-
seas in England, I attended an all-
Amold concert at the Bal"bican,
given by Richal"d Hickox and the
London Symphony Oi-chestra, one of the
two hundl"ed and eighty concerts in the
United Kingdom that yeal" celebl"ating the
seventy-fifth birthday of the composer. I
knew nothing about Amold except that
he was the composer of film music, es-
pecially "The Bddge on the River I<wai"
fOI" which he won an and I wanted
to heal" what all of the fuss was about.
The concert included the Tom O'Shanter
OVel"ture, the English Dances, the Fantasy
on a Theme of John Field, the Sound Barrier
Rhapsody, and the Fifth Symphony. I enjoyed
it immensely and the audience loved it.The
music moved from the exhilal"ation of the
first work, through the shifting moods of
the second and the pianist's gentle phras-
ing-cum-savage battle in the third, to the
harmonic sleights of the fOUI"th and the
soul-baring, emotionally profound finale of
the last. At the conclusion of the concert,
Sil" Malcolm was taken to the stage where
he acknowledged the exuberant applause
in a I"athel" childlike fashion; to be fi"ank, I
am not certain he undel"stood where he
was ol"the significance of the event, for his
actions I"evealed, quite obviously, that he
was not in his right mind. What had hap-
Choral Joumal October 2007
pened to him? SUI"ely his peculial" behaviol"
did not stem fi"om old age but, I"ather, fi"om
some pathological disorder.
Malcolm Arnold: Rogue Genius by An-
thony Meredith and Paul Han"is answel"S
this and many other questions without
equivocation, colTecting the inaccurate
information found in many articles and re-
views, and going beyond what one usually
encounters in refel"ence works. Furthel"-
more, it is a book of erudition that reads
like a novel, telling the fascinating, sad, yet
repulsive life-stol"y of the composer who
died in 2006. Amold's
devil-may-care attitude
made him a legend-
al"y figure. He was a
lal"gel"-than-life
strongly left-wing and
anti-establishment, and
a trumpetel"-turned-
eclectic composer who
wrote wildly-popular wol"l<s in an es-
sentially conservative harmonic language,
ranging from nine symphonies to almost
120 film scores. The I atte I" made him
wealthy, incredibly so by any standard of
measurement, e.g. in the I 950s, he eamed
around I 0,000 pounds-about 250,000 to
300,000 pounds or $500,000 to $600,000
in today's figul"es-on each film (p. I 65)!
Because of his easy compositional virtuos-
ity and expel"iments with populal" idioms,
he was not taken seriously by music CI"it-
ics (he was deprecated and, eventually,
ignored altogether) though he remained
a favodte of concert-goel"s. Amold was
profligate with his riches, e.g., he blew his
eamings on alcohol and women, clothing
and cars, to name a few. As the authors
document, his outrageous life-style was the
effect of a lifelong mental illness and the al-
coholism that stemmed from it.This led to
debauchel"y of all kinds (these incidents are
descdbed and documented), the bl"eak-up
of his two mardages, the disinhedtance
of his children, and the intellectual dete"
dOl"ation that I witnessed at the Barbican
concert. And, it became worse.
All of this and much more is recounted
in the nineteen chaptel"s of the book, as
follows: "Myth and Reality: A Celebration
in 1996" (chapter I), "An Ol"iginal Educa-
tion: Northampton, 1921-38" (chaptel" 2),
"Master of the Revels: The Royal College
of Music, 1938-41" (chaptel" 3), "The
Ti"umpet Virtuoso: Sheila and the LPG,
1941-44" (chapter 4), "Pdvate Amold: In
War and Peace, 1944-48" (chapter 5),
"Enfant Terdble: St Mal"garet's, Twicken-
ham, 1948-52" (chaptel" 6), ''The Midas
Touch: Richmond, 1953-56" (chapter 7),
"The Hoffnung Yeal"s: Comedy, Ti"agedy
and an 1956-59" (chaptel" 8), "A
Symphony for the BBC: ... and Othel"
Mid-life Cdses, 1959-60" (chapter 9),
Director of Music
The Church of the Red Rock in Sedona,
Arizona is seeking a Director of Music
(15"20 hours/week).
Please check their Web site for
information at
<www.churchoftheredrocks.com>
Degree/experience required.
Salary negotiable.
Start date January 1,2008.
For more information
please contact Carol at
<carolmcdougald@aol.com>
or at (928) 284-3628.
63
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www
64
"The People's Champion: In the Age misunderstood composer;" is indicative
of Piotr Zak, 1961 63" (chapter 10), of Arnold's reception in the music world,
"Dances and Lifeboats: The Cornish whereas the ordering of the subtitle, life
Rhapsody. 1964-67" (chapter I I), "Bard before music, underscores the approach
of the Gorsedd: The Later Cornish Years, taken by the authors in their book. Their
1968-72" (chapter 12), "The Dubliner: purpose is to correct the misunderstand-
Camelot in Monkstown, 1972 -75" (chap- ings through an extensive discussion ofthe
__ comp.ose(sJife,_aod_tbougtLtbe_musicis __
Dun Laoghaire, 1975-77" (chapter 14), considered,Arnold's life is emphasized. As
"Madness: The Belsize Park Nightmare, the authors write in the first chapter;
1977 -79" (chapter 15), "The Lost Years:
Northampton, 1979-84" (chapter 15),
"Norfolk and the Ninth: Bunwell and Wy-
mondham, 1984- 86" (chapter 16), "Sir
Malcolm:Wymondham and Attleborough,
1986-96" (chapter 17), and "Continuation:
Ten Scenes in the Life of an Octogenar-
ian" (chapter 19).These are preceded by a
"Foreword by David Mellor" and a' 'Preface
and Acknowledgments" and succeeded by
a "Chronological List of Works" and an
"Index." Unfortunately. a bibliography is not
included but the footnotes are extensive
which helps to overcome this deficiency.
A list of illustrations would have been
welcome to find quickly the many fine
photographs and two facsimiles of Arnold
manuscripts: a page of sketches for the
third movement of the Eighth Symphony
(p. 383) and a page of the first draft of the
Ninth Symphony (p.455).
The subtitle of Malcolm Arnold: Rogue
Genius, "The life and music of Britain's most
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Malcolm's will not be a comfortable
story. Headstrong and self-
destructiv.e" he. Tlot . only .hasgiv.en
millions enormous pleasure with
his music but also, paradoxically. has
wreaked considerable havoc on his
impetuous journey through life. That
he is touched with genius is clear. But
it is a rogue genius, ungovernable,
and sometimes leading him to
strange shores and climes ....
The greater Malcolm's reputation
grows as one of Britain's leading
twentieth-century musical figures,
so too the need to extricate reality
from the entangling myth of his
personal life. A most moving story of
triumph and tragedy will emerge, for
the reality is even more remarkable
than the myth (p.5).
To tell his story. the authors enlisted the
aid of Arnold's caregiver and companion
of many years, Anthony Day, and Arnold's
relatives-Katherine, Malcolm's daughter;
his son, Robert; Robert's brother; Edward;
Malcolm's niece, Penny; her mother; Ruth
(her poetry and diaries, interwoven in the
narrative, are an attractive feature); her
sister; Jenny; and Malcolm's nephew, Robin;
Sheila, Malcolm's first wife; as well as, Sir
Malcolm himself Their participation gives
the book a great deal of credibility and
makes it eminently invaluable .
- -Th-e-great -bull<:-ofAmold's-ootpot-was
instrumental and he composed very little
vocal music. For that reason, the book has
limited appeal to the aficionado of choral
music, the choral musician, and the choral
conductor: Having written that, several of
the vocal works are discussed bdefly: the
John Clore Cantata for SATB cho,-us and
piano duet, Op. 52; the Song of Praise for
unison voices and piano, Op. 55; the Song
of Freedom for SA chorus and brass band,
Op. I 09; and The Return of Odysseus, a
Cantata for SATB chorus and orchestra,
Op.119.
Malcolm Arnold: Rogue Genius closes
with a chapter titled "Continuation: Ten
Scenes in the Life of an Octogenarian."
In each of these-"I: A Birthday Concert
(Malcolm continues to be feted)," "II: Dis-
putes Continue (Alongside the music),"
"III: A Holiday Broadcast (Malcolm con-
tinues to meet the media)," "IV: Malcolm's
New Biography (Anthony continues to
give guidance)," "V: Malcolm in Hospital
(Puzzling Katherine)," "VI: Malcolm's Music
Interests A New Generation (His biogra-
phers meet a young admirer)," "VII: The
Family Continue Their Independent Lives
(Robert and Edward in middle age), "VIII:
. Malcolm's 82nd Birthday (In a Wymond-
ham nursing home),""IX:Anthony Contin-
ues As Malcolm's Attorney (A battle in the
Courts)," "X: Finale (On the telephone)"
-we witness the progressive disintegra-
tion of a person's mind and the reaction
of those who see it. I found these vignettes
disturbing and sad, though other readers
may respond to them differently, and il-
lustrative of the authorial gifts of Meredith
and Harris to create an evocative portrait
of Malcolm Arnold. In my opinion, the
book is essential reading for the student
of twentieth-century English music and is
recommended.
Stephen Town
Book Reviews Editor
Singing with Your Whole Self:
The Feldenkrais Method and Voice
Samuel H. Nelson and
Elizabeth Blades-Zeller
Lanham, MA'
Scarecrow Press, 2002.
I 84pp. $36.95.
ISBN: 0-81 08-4049-9 (softcover).
<www.scarecrowpress.comICatalog/Mul-
tiBook.shtml>
II
n the world of movement stud-
. ies and voice, there exist several
schools of thought, among them
the Alexander Technique, body
mapping (Barbara Conable et aI., <www.
bodymap.org, and the Feldenkrais
method. The Feldenkrais method, invented
by Moshe Feldenkrais in the first half of the
twentieth century after devastating injury
to his knees, is a system of movement
where the person develops kinesthetic
and sensory awareness of movement. The
method has been around for a long time,
and I have used it with my voice students
in some instances, but this is the first use of
Feldenkrais specifically codified for singing.
The work describes itself as "a handbook,
not a scholarly tome" (p. vii).
Nelson, a Feldenkrais practitioner; and
Blades-Zeller; a voice pedagogue, do not
delineate between the solo and choral
voice. A sensitive teacher can observe vo-
cal problems manifest
themselves in lock- i
ing muscles or excess
tension somewhere
in the body. The tradi-
tional way of solving
such problems is with
a "manual" solution.
However; the body's
nerve responses may not be receptive
to overt commands. "The Feldenkrais
method uses the body's neurological lan-
guage to b,-eak down those subtle barriers,
resulting in an almost magical adjustment
that truly frees the singer and the voice"
(p. I).
Nelson and Blades-Zeller use the
traditional Feldenkrais approach and ter-
minology: Awareness Through Movement
(ATM). Control of the vocal function-
through the body is presented as tradi-
tional active control, or as the method's
more allowing or passive control. Exercises
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65
are given throughout; again, this is a hand- devoted to student use of the book, class look up and down. Notice how far
book. Some of the Awal-eness Through voice and ensemble rehearsal use, and you can go.Then look up. Stay in this
Movement modules include taming tongue teacher (private studio) use (pp. 157ft). position and open your mouth. You
tension, balance in standing, the connection Blades-Zeller reports of successful use will feel your head go back a little
of feet through to head, strengthening the by a university choral ensemble of these further. Close your mouth while
adductor muscles, the role of the pelvis, modules while on tour. keeping your head in this new posi-
shoulder releasE!, [eleasjDg .the if you can do so without strain.
relating to jaw, and softening the mouth. university choir had ended its semester, but moPe-" -"
Thel-e are many more areas. The authors before giving a session on "Working with times. If your head does not shift
have left no vocal stone unturned, it seems, the AgingVoice" at the Region VI American position on the repetitions, that is all
in theit- discussion of vocal problems. Par- Guild of Organists convention (Lincoln, right. Do not force any movement!
ticularly enlightening for this authol- were NE, June 2007). I I-ead the book while on Bring your had back to neutral and
the chapters on Intentionality and Effort, the plane and decided to incorporate the pause fOI- a minute.
BI-eathing, Head and Neck, and The Eyes ATM module Releasing the Neck, p. 130,
(including the use of glasses!). into my session, abbreviated perthe book
The exercises have been used in both for class and ensemble use. We sang a
studio and ensemble situations. Frequently, verse of a familiar hymn in unison and then
a suggestion is made fOI- adapting a longer I had them do the module:
solo module into a shorter chol-al warm-
up, and separate sections of the book are Sit on a flat chair. Move YOUI- head to
66
Look down. Stay in this position, and
open and close your mouth. You
will likely feel your head drop slightly
when your mouth closes. Stay in
this new position as you open your
mouth again. Repeat this sequence
slowly 2 more times. Then return
your head to neutral and pause a
minute.
The group of 45-50 singers, a majority
over the age of 50, sang the verse again,
and was more than pleasantly surprised
when they realized an improvement in
quality and ease of singing in such a short
time. I know that I will try more of these
modules in warm-up and rehearsal when
I reconvene my choirs in the fall.
Donald Callen Freed
Alpine,Texas
IFCM is organizing
the celebration of the
International Day of Choral Singing
An event created with the strong belief
that choral singing makes us better per-
sons, thus it helps for making this a better
world.
the proclamation that was written for
this purpose. For more information visit
<www.ifcm.net>.
Please let them know if you celebrated
the day with pictures or videos so they
can have a record of what happened.
Choral Masterworks from Bach to Britten:
Reflections of a Conductor
Summer, Robel't J.
Lanham, Mal"yland:
The Scal"ecmw PI"eSS, Inc., 2007.
203 pp. $45.00.
ISBN-13: 978-0-81 08-5903-6;
ISBN-I 0: 0-81 08-5903-3.
The Rowman. & Littlefield Publishing
Gmup, Inc.;
450 I FOI"bes Bouleval'd, Suite 200; Lan-
ham, Mal'yland 20706
1-800-462-6420
<www.scal.ecmwpl.ess.com>
obel"t Summel"s extensive
expel'ience includes thil"ty-
three years as a faculty mem-
bel' at the Univel'sity of South
Flodda, decades as founding conductol' of
the Mastel' Chol"ale of Tampa Bay, and a
plethol"a of intemational conducting en-
gagements. Summer earned his gl"aduate
degl'ees at Indiana Univel"sity, a student
of Mal'gal"et Hal"shaw, Fiol"a Contino, and
Julius Helfol"d. Infol"med by scholal'ship of
the highest Choral Masterworks trom
Bach to Britten: Reflections of a Conductor
is wdtten fi"om the pel"spective of a sea-
soned
At fkst glance, one immediately notices
the book's bl'evity. Aftel' all, the authol"
addl'esses vadous facets of sixteen majol"
wol"l<s in slightly mOl'e than 200 pages
(including appendices). aftel'
I"eading the text, one discovel's evel"y wOl'd
in this book is cl'afted with intention and
integdty. Summel' writes in an
accessible style void of
excessive academic jal"-
gon, successfully distilling
a wealth of infol"mation
fmm divel'se soul'ces.
His citations include
(but al"e not limited to)
composeI' biographies,
Cambl"idge Music Handbooks, Howal"d
Smithel"'s mammoth foul'-volume A History
of the Oratorio, texts by Helmuth Rilling
and Chl'istoph Wolff, lectul"es by Julius
Helfol'd, I'eheal'sals with Robel"t Shaw,
convel"sations and colTespondence with
Sil' David Willcocks, Donald Neuen, and
Robel't Page, plus the authol"s considel"-
able pmfessional experience, the sum of
which I"esults in an authoritative text.
In fifteen concise chaptel"s, Summel"
explol"es Bach's B Minor Mass, Handel's
Messiah, Mozal't's Requiem and Vesperae
solennes de confessore, Haydn's The
Creation, Beethoven's Missa Solemnis,
Schuberi's Mass in G, Mendelssohn's Elijah,
Bmhms's Ein deutsches Requiem, Vel"di's
Villa-Lobos Choral Octavo Series
Up-to-date critical editions: don't settle for less!
CQ9712 Ave Maria (1938), SATB with divisi
CQ9808 Praesepe (The Manger), Mezzo solo, and SATB
CQ9906 Pater Noster, SATB
CQ9909 Tantum Ergo, SA TB
CQ2000 Ave Verum & Pan is Angelicus, SATB
CQ2003 Preces Sem Palavras (Prayers without words), TTBBB
CQ2015 0 Salutaris Hostia (1915 & 1916 versions), ATTB/SATB
CQ2020 Ave Maria (1945), SSATBB
All a cappella. Edited by Wilbur Skeels.
Cantus Quercus Press : <www.cantusquercus.com>
Fax 805.494.4250 / Tel 805.497.0400
Chol"al Joumal Octobel" 2007
UNION
UNIVERSITY
Department of Music
announces a search for
Chair of the Music Department
The successful candidate
will also be
or
a faculty member in the area of
Theory and Composition.
Tenure-track Appointment
beginning Fall 2008
Review of applications will begin
October 22, 2007
Union University is a liberal arts-based
university located in Jackson, TN with
an enrollment of over 3,200 students.
The Department of Music is a fully-
accredited institutional member of
NASM with 11 full-time faculty
members, has approximately 75 music
majors and minors, and offers both the
Bachelor of Music and Bachelor of Arts
degrees.
The successful candidate must be a
professing Christian who is an active
member of a local church,
enthusiastically supports Union
University's Identity, Mission and Core
Values, and articulates a Christian
worldview in their work and life.
For access to a position description and
a faculty application, visit our website
at: www.uu.edu/humanresources.
Send the completed application,
resume, and cover letter to: John
Carbonell, Director of Human
Resources, Union University, 1050
Union University Drive, Jackson, TN
38305, or by fax to 731-661-5177, or
via E-mail to: hrdept@uu.edu.
67
Manzoni Requiem, Mahler's Symphony No.
B, Faure's Requiem, Durufle's Requiem,
Stravinsky's Symphony of Psalms, and Brit-
occurs at the conclusion of Summer's
chapter on Verdi's Manzoni Requiem:
more strongly than any other
work (p. 98).
ten's War Requiem. While each chapter's If comparing different Requiem All five of the appendices focus on
content is distinct, a broad spectrum of settings, the Mozart Requiem has matters of text. The first three appendices
historical perspective and musical analysis a certain universality about it deal with text organization in Handel's

relationships or performance practice musical forms and its conservative St. Matthew Passion. The final two ap-
considerations yields a comprehensive harmonies. At the other extreme pend ices are English translations of Mass
approach to the repertoire. Summer also is the Berlioz Requiem with its Ordinary and Requiem Mass texts.
incorporates delightful anecdotes and a extravagant use of huge forces, Forthis reader,two aspects ofthe book
humorous memento from his experiences multiple musical colors and could be enhanced. First, in the chapter
working with Robert Shaw. its sudden changes of musical devoted to Mozart's Requiem, there is
The chapters on Bach's B Minor Moss, expression. Verdi, in his Requiem, no discussion of the different performing
Beethoven's Missa So/emnis, Mozart's Ves- bears his soul in an outpouring editions currently available (completions
perae solennes de confessore, and Verdi's of emotion. And perhaps by Robert Levin, Richard Maunder and
Manzoni Requiem in particular demon- because this is so personal, its H. C. Robbins Landon come to mind).
strate the author's ability to synthesize the high emotional level draws the Since Summer did outline several edi-
fundamental essence of these large forms performer and listener close to tions of Handel's Messiah, including their
in an eloquent fashion. One such example the community of mourners unique strengths and weaknesses, I was
68
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A Division of EXTREMELY LTD.
disappointed he did not offer his insights
on this topic with reference to Mozart's
Requiem. Secondly, the chapter by chapter
organization is inconsistent. While Chap-
ter 8, "Felix Mendelssohn: Suggestions for
Abridged Versions of Elij'ah" and Chapter
I 5, "Benjamin Britten: Relationships of the
Latin Requiem Mass to Wilfred Owen's
Poetry in the Britten War Requiem" are
helpful segments, they seem out-of-place
as chapters unto themselves and seem
more appropriate as appendices. Neither
chapter includes extended "Historical
Perspective" or"Musical Analysis" sections,
a format the author generally adheres to
throughout the rest of his book.
In short, Robert Summer's Choral Mas-
terworks (rom Bach to Britten: of
a Conductor is not a musicological treatise
concerned with historical minutiae; rather,
it is a practical resource written from the
vantage point of a performing musician.
I strongly recommend this text for the
libraries of individual choral conductors
Sean Burton
Sioux City, Iowa
Experience our graduate programs in
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Handel:Tobit
Junge Kantorei
Frankfurt Baroque Orchestra
Joachim Carlos Martini, conductor
Naxos 8.570 I 13-14
(2007; 156' 22", 2 discs)
n the past couple of decades, we

; have become accustomed to en-
f': sembles spitting out recol-dings of
.... Handel omtorios as frequently as
we send e-mails. In this recol-ding of the
Handelian assemblage Tobit, Joachim Car-
los Martini with the Junge Kantorei and the
Frankfurt Baroque Orchestm take us away
from the bettel--known Handel and allow
us a glimpse into a world that is rarely
sampled today: that of the pasticcio.
Although Handel's ol-atorios have been
extensively studied, especially by such
noted scholars as Winton Dean, I the
pasticcio tends to fall
by the wayside. Tobit !.NDEL
was actually compiled
by John Christophel-
Smith "the youngel-"
(often confused with
his who was
Handel's principal copyist and assistant
from 1719 to 1759). The elder Smith's
collection of Handel manuscl"ipts, which
had passed to him after Handel's death,
later passed to his son after his own death
in 1763. By that time, the pasticcio, a form
in which excerpts fj-om other works are
brought together to produce a more or
less cohesive whole, had enjoyed a con-
crete commercial purpose for nearly a
century. Though used primadly fOI- show-
casing a composer's abilities in opera, the
pasticcio was also an excellent vehicle for
producing "new" oratorios.
In Tobit, Smith used arias, chol-uses, small
ensemble pieces, and instl-umental sections
fj-om several of Handel's oratorios and
even some operas. Smith's main sources
of matel"ial are ail-s and chol-uses from
Athalia, with other extl-acts fj-om Deborah,
Theodora, and Esther: Most of the I-ecita-
tives wel-e written by Smith himself. with
an occasional ventul-e into Esther the
Occasional Oratorio. In putting together
this recording (which he engineered and
edited himself), Martini has also made
additions of his own, mostly symphonies
and ritornelli from othel- Handel works.
In some cases, such as Sarah's air "Paid be
my Adol-ation," which is odginally "Rendi'l
sereno" fj-om Sosarme, librettist Thomas
Morell (1703-84) I-eplaced the odginal
texts with new ones frtting the story.
The perfol-mance itself provides an
excellent presentation of a now-extinct
form. Maybe if conductodeditodproducel-
Martini had not worn so many hats, the
quality of the recording would be even
higher. If you can get past the all-too-au-
dible page turns and sitting down/stand-
ing up of the soloists, all will be well. The
vanguard
chorus effectively conveys the chambel--
choir feel and balance pelfect fOI- Handel,
though it sounds distant at times (due to
inadequate I-ecording, not weak voices).
Standout choral numbel-s include "Heal-
us, 0 Baal," "All POW'I- in Heav'n above,"
"Impartial heav'n," and "0 Baal, MonalTh of
the Skies." In the first ofthese, the chorus
delightfully introduces a fugal theme ovel-
a low stl-ing drone that effectively conveys
the image of pdests and people coming
before their heathen god.
The soloists are excellent in evel-y
role. In particular; sopl-ano Linda Pedllo
shines as Sarah, bl"inging to the chal-actel-
both the innocence of her youth and the
desperation of her plight. Bass Stephan
Macleod bl-illiantly I-eflects the paternal
anxiety faced by Raguel as his daughtel-'s
suitors fall pl-ey to a demon. Tenol- Knut
Schoch effectively conveys Tobit's staunch
faith amid personal turmoil.
This recording is ideal for choral di-
rectors intel-ested in resealThing Smith's
pasticci or perfol-ming Handel ol-atol"ios
with full ensemble.The Frankfurt Baroque

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Entry Deadline: AprilJ8, 2008
UJUJUJ. vangliardvoices. org
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71
Orchestra's execution is superb, both in
technique and style. Since related numbers
from wholly different works are presented
side-by-side, it provides an excellent lesson
in fluidity of performance within a work.
Overall, not a performance on the level of
Gardiner or Hogwood, but certainly worth
the attention.
Vicente Chavarria
Miami, Florida
The Feast of St. Edward, King and
Confessor at Westminster Abbey
Choir of Westminster Abbey
James O'Donnell, conductor
Robert Quinney, organ
Hyperion CDA 67586 (2006; 75' 57")
n the mid-I 950s the Argo Record
Company issued several LPs rep-
resentative of services conducted
in King's College, Cambridge; the
orders of service for Mattins, Evensong,
and the Nine Lessons and Carols were
faithfully followed, and nothing, sung or said,
was omitted, save the occasional cough. prayers or readings). Now we can enjoy a
The BBC had been broadcasting a weekly uniquelyWestminsterfeast,the celebration
Choral Evensong from various cathedral of the Abbey's founder; Saint Edward the
and college chapels since 1926, but the Confessor; last of England's Saxon kings
Argo records now offered a ready and (1005-1066). No representatives from
repeatable access to the "King's sound" the belfry this time, and still no spoken
whenever the needle hit the groove. Many elements, but nonetheless a full reflection
-EnglishTecord-labels-followed-Argo's-lead-, -Gf-tne-musiG-w mignt-nar:..at-the.Abbey--
and numerous recordings were made on October 13, Edward's feast-day. As
of church services throughout the land. with the Trinity Sunday recording, choir
Gradually, however; the spoken prayers and organist are put
and biblical "lessons" that had punctuated through their paces for
the early King's recordings were replaced the services of Mattins,
by more music. Instead, LPs were issued Evensong, and the Holy
of favorite hymns, favorite carols, favorite Eucharist, and they as-
anthems, favorite organ voluntaries, and sert most persuasively
ultimately, the "best of your favorites." their position as one
The advent of the CD has done little of England's finest musical establishments.
to stem this reduction of musico-liturgical The sound in the Abbey is well-captured
context, of understanding how, where, and by Hyperion's engineers, down to the dis-
why a piece fitted in worship. We should tant but constant rumble of the great city
applaud, then, the efforts of Hyperion Re- outside the Abbey's precincts.This is pretty
cords and Westminster Abbey in reviving much how you would hearthe music if you
a holistic approach to recording cathedral were sitting in the Quire.
choirs. First, in 2005, came Trinity Sunday The musical range on this disc is ex-
at Westminster Abbey (CDA 67557), traordinary, from the opening plainchant
which even included the inviting peal of Laudes Regiae to the concluding Te Deum
the Abbey's bells (though still no spoken by Jeanne Demessieux (1921-1968)-
who, by the way, was the first WOman to
give an organ recital in the Abbey. Within
Our expertise guarantees careful attention to travel and performance details,
itineraries, well-received concerts, and a.E1emorable tour for the entire group.
this musical perimeter lie a morning ser-
vice (in C) by C. V. Stanford, and evening
canticles by the Abbey's most famous mu-
sician, Henry Purcell. The latter's anthem,
"0 God, Thou Art My God," is also sung,
ending with an extended "Hallelujah" that
was later adapted as a hymn tune and fit-
tingly named "Westminster Abbey." Brief
or incidental music to the services include
some Tudor "Preces & Responses" by Wil-
liam Smith (ca. 1550-1600), a homophonic
setting-the first in English-by Robert
Stone (1516-1613) of the Lord's Prayer;
and two psalms sung to chants by Crotch
and William Morley (d. 1721). All are
-perfbrmec:l without flJssor-exaggeration,
as one would expect. The only "foreign"
choral work is Os Justi, a saint's day motet
by Bruckner. The choir foregoes the chant
that customarily concludes the piece, and
eschews any attempt to pronounce Latin
as Bruckner would have done; however;
the glorious rendition diminishes any such
72
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concerns.
Two works more recent than Demes-
sieux's portentous organ voluntary, and
written expressly for Westminster Abbey,
are among this CD's highlights. The King
and the Robin was premiered at the 2005
Feast of St. Edward and is a collaboration
between Britain's Poet Laureate, Andrew
Motion, and the distinguished church
musician Philip Moore. Moore's experi-
ence-as organist and choirmaster atYork
Minster-of a splendid choir, a grand organ
and a resonant acoustic pays off with this
new work, though it is quite lengthy. It
provides a stark contrast with the Missa
Brevis of Jonathan Harvey (b. 1939), a
work of concentrated intensity and origi-
nality, commissioned in 1995 by Martin
Neary, a champion of Harvey's music
and O'Donnell's predecessor. Readers of
this journal may be familiar with Harvey's
much earlier I Love The Lord and Come,
Holy Ghost; this Mass setting employs their
aleatoric features as well as some Sprech-
stimme. Harvey's vocal lines are well-writ-
ten, and there is much here to admire, but
it is not forthe faint-hearted! It provides an
interesting counterpoint to Francis Grier's
Missa Trinitatis Sanctae, written for the Ab-
bey in 199 I and heard on the previously
mentioned Trinity Sunday recording. Both
Mass settings demand virtuosic singing but
Choral Parts
from Pocket Coach
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the most out of your rehearsals.
Handel Messiah
(e\ Vivaldi Gloria
~ o ~ o Bach Magnificat
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Mozart Coronation Mass
Choral Art Songs Opera
Diction Accompaniments ~
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sound remarkably different in their use
of harmony and expression; Hal-vey's in
particular makes a virtue of the Abbey's
long echo.
Yet for a thorough understanding of
the building's acoustic we must chiefly ap-
plaud the work of James O'Donnell. He
has trained a superb ensemble of men
and boys, and his readings of repertoire
both known and unfamiliar are exemplary.
Dynamics are scrupulously observed, and
everywhere sensitivity and phrasing are
to the fore. He is impeccably assisted by
Robert Quinney, one of Britain's most
73
gifted organists, whose talents are quaintly are uncharacteristically sensitive to dec- rubato that lend the earlier recording its
understated in his job title of "Sub-Organ- lamation and rhetoric, while maintaining emotional immediacy. By contrast, the new
ist" In the late I 990s, clergy and musicians the group's customal-y purity of blend version is boldly architectural in concep-
at Westminster Abbey were in turmoil; and balance. Seasoned devotees of the tion: lucid, solid, unsentimental.
these Hyperion recordings suggest that ensemble will welcome this album, as will The recording features two separate
a much happier state of affairs now pel-- those approaching these works for the renderings of Allegri's Miserere. The first
vades St. Edward's ancient precincts. They first time. follows the standard version, which has
..
the English choral tradition. celli-that Palestrina's adoption of a text- centuries of elaboration by singers ofthe
Philip Barnes
St. Louis, Missouri
Gregorio Allegri: Miserere; Palestrina:
Missa Papae Marcelli et al.
The Tallis Scholars
Peter Phillips, conductor
Gimell CDGIM 041 (2007; 76' 05")
n this recording of music written
for the SiStine Chapel, the Tallis
Sdlolars showCase new recordings
of the most popular pieces in their
centered style saved liturgical polyphony papal choir, and includes the famous high
from being banned at the hands of zealous C in the solo treble. The second features
reformers-is open to speculation. But the additional elaborations by soprano Debo-
innovative nature of rah Roberts, which have been reproduced
Palestrina's text set- in the liner. Both make use of an unusual
ting, specifically in the version of the chant verses, gloriously sung
heavily texted move- by cantor Andrew Carwood to the tonus
ments of the Gloria peregrinus rather than to the customary
and Credo, is made second psalm tone. Although the perfor-
exquisitely clear in mances sufferfrom some of the difficulties
this recording, which of intonation for which this piece is notori-
matches clarity of diction with sensitive ous, they offer a refreshing look at a classic
declamation. In overall style, the perf or- of the choral repertory. And perhaps it is
mallce offers up beguiling c6ntrastst6the only natural that after performing the work
group's 1980 recording (GIMSE 40 I, reis- 300 times in concert, the singers would
sued at budget price in celebration of the feel an impulse to ornament, as singers in
album's 25th anniversary). Perfol-med with the papal chapel have done for centuries.
repertory:Allegri's Miserere and the Misso
Popoe Marcelli of Palestrina, as well as his
remarkable Stabat Mater and Tu es Petrus.
a much smaller ensemble, the new record-
We hear a new side to the Tallis Scholars ing adopts faster tempi, and is less inclined
in this recol-ding, with performances that to those slight relaxations and moments of
I<ristin Kane
San Francisco, California
74
Johann Michael Haydn: Requiem in Bf
Major MH 838 Wolfgang Amadeus
Mozart: Short Sacred Works
Kammerchor SaarbrOcken
Kammerphilharmonie Mannheim
Georg GrOn, conductor
Carus 83.353; (SACD; 2006; 62' 46")
<www.carus-verlag.com>
ichly rewarding" is an apt
description of this recording
of Michael Haydn's second
Requiem Mass and four short
sacred compositions by Mozart. The CD
e"M 18 EM
Classical Award 2007 in the category of
"First recordings."2
Conductor Georg GrOn's mastery of
both choral and orchestml elements brings
together a performance of clarity, balance,
and dynamic expressionThe rhythmic en-
ergy gives the performance considerable
vel"ve. Gri.in is professol" of chol"al conduct-
ing at the Musikhochschule Mannheim and
is active as a guest adjudicatol"
and
On a commission fj"om Empress Made
Therese, Haydn began this Requiem in
1805, but due to his illness the unfinished
wod< compdsed only the opening move-
ments Requiem and Kyrie and a pOI"tion
of the sequence Dies iroe. At his own Re-
quiem Mass in August, I 806, other move-
ments from Haydn's
Schl"attenbach Re-
quiem of 1771 were
included. Completion
of the Requiem was
undertaken in 1839
by P. Gunther Kro-
neckel" (1803-47), choirmastel" of the
Benedictine monastel"y of KremsmOnstel";
it is this completion that is used fOI" the
present, premiel"e recording.
The formal layout was influenced by
Haydn's eadier Requiem and by expected
conventions of solo and choir settings.The
KYI"ie double fugue employed forthe "Cum
sanctis tuis" at the conclusion bl"ings the
work to an unexpectedly rousing finish.
The Requiem evidences the quality which
Franz Josef Haydn recognized when he
reportedly said his brothel"'s Masses were
bette I" than his own.
"God is OUI" refuge," the only English
text Mozart set, is somewhat deceptively
difficult to sing, and is notable writing for
a nine-year-old. The evel"gl"een Ave verum
corpus, I(V 6 I 8, gets a freshly conceived
penormance on this disc that once again
confil"ms that it is arguably Mozart's most
beautiful choral work. It is pelformed 0110
breve with a relaxed tempo in which the
voices and stdngs float seamlessly from
beginning to finish.
The important and interesting music
of Michael Haydn is now becoming more
widely known, and this recol"ding desel"ves
a prominent place in serious music col-
lections.
James L. Queen
San Angelo,Texas
NOTES
I See Dean's landmark study; Handel's Dramatic
Oratorios and Masques (Oxford:
Clarendon, 1990); also David Ross Hurley;
Handel's Muse: Patterns of Creation in His
Oratorios and Musical Dramas, 1743"1751
(Oxford: OUR 200 I)
2 MID EM, for March international de I'edition
musicale, is the world's largest music
industry tl"ade fair market, held annually
in Cannes.
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75
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Future Conductors
2009 Joan Gregoryk
2010 Janet Galvan
Pra.9lAe (hildrerl's MlAsi< festiva.I,,,
Francisco J. Nunez, Guest Conductor
Austria & Czech Republic July 10-21, 2008
Capacity Audiences
Yale Alumni Chorus audience at Teatro,
Municipal, Rio de Janeriro, Brazil
Prestigious Venues
Choral Arts Society of Washington at
Royal Albert Hall, Proms Festival, UK
Fantastic Destinations
So Come to Him
Graham Elliot
SATB
Enco,-e Publications
1.75
<www.encorepublications.com>
his setting of I Pete,- 2:4-5 by
Graham Elliot was written in
1983 for the ,-ededication of
Chelmsford Cathedral, where
the composer served as Master of the
Music for eighteen years. (He now serves
as music director at Washington D.Cs
historic Rock Creek Parish.)
This brief, unaccompanied anthem
features a largely homophonic texture
and a brief soprano solo. In the treble
parts, there are a few measures of three-
part divisi and one measure of four-part
divisi. The work consists of two sections,
corresponding to the text. The first urges
listeners to come to Christ "our living
stone", the second urges the listeners to
allow themselves to " ... be built as living
stones." The piece begins and ends with
the same exhortation "So come to him,"
set to the same rhythm but using different
harmonies.
While this work is certainly demanding,
as music for church choirs, the composer
makes each part logical through the use of
stepwise motion, common tones between
chords, and sensible leaps. Each part has a
comfortable tessituro.These relatively sing-
able lines combine to produce unexpected
harmonic progressions, which makes the
A section. of this anthem sound harder
than it is.The B section will require careful
rehearsal for good intonation.Throughout,
the use of fourths and seconds creates
tension, leading to major and minor triads
at key points, approached in slightly unex-
pected ways.
Directors of experienced church choirs
and collegiate ensembles should be grate-
ful that this piece was finally published this
year: In addition to church dedications,
it could be programmed whenever one
wishes to emphasize the t,-ansformative
effect of Christian discipleship.
Frank Martignetti
New Haven, Connecticut
Christus
Felix Mendelssohn
ed. Walter Rodby
SATB, Narrator; I<eyboard
Colla Voce # 15-96610
$7.50
he late Walter Rodby discov-
ered the manuscript of an
uncompleted o,-atorio begun
by Felix Mendelssohn in the
Uniwesytet Jogiellonsko, Biblioteko, I<rakow,
Poland. This work, based upon the life
of Jesus Christ, was
an eight-year project
for Rodby. The mu-
sic that Mendelssohn
completed includes an
Advent Chorus and
several recitatives and
choruses relating to the
trial and crucifixion of Jesus. This edition
consists of an Introduction, Prelude with
narration, and six choruses with recitatives
interspersed. The conclusion is a moving
chorale based upon the text, "0 Sacred
Head Sore Wounded."
Performance time is approximately
25 minutes. The recitatives require a
Minister of Music Position-Hendricks Avenue Baptist Church
Hendricks Avenue Baptist Church of Jacksonville, Florida, A progressive church of
approximately 700 resident members, affiliated with the Cooperative Baptist Fellowship, is
seeking an experienced individual for the position of Minister of Music. This position requires
an undergraduate degree in choral music, with a graduate level degree from an accredited
seminary preferred. Other qualifications include the proven ability to lead a traditional sanctuary
choir with both musical excellence & spiritual inspiration. Experience & familiarity with a
liturgical style of worship & a broad range of musical styles are also important attributes for this
position. The Music Minister is a worship leader who directs our sanctuary, senior adult, youth,
& handbell choirs, & recruits & trains leaders for our graded choirs. Music, as much as any
single element, defines the worship and reveals the heart of HAB. If you feel called to serve
in this position, please send resumes or inquires to Hendricks Avenue Baptist Church, Attn:
Music Minister Search Committee, 4001 Hendricks Avenue, Jacksonville, Florida 32207. Email:
laraine@habchurch.com. (Please also visi\our website at: www.habchurch.com.)
77
rather accomplished soloist. The choral Pacific Song t the 2007 ACDA National
parts are easily accessible by an average (Chants from the Kingdom of Tonga) Convention in Miami, Florida,
to advanced choral group. The keyboard David Fanshawe Rollo Dilworth conducted
accompaniments, while challenging, are SATB (Double Choir) or the Multicultural Honor Choir
performed most effectively by alternating SATB (Single choir) in a premiere performance of Pacific Song.
the keyboard parts between organ and Flute/Piccolo, Piano (opt), Double Bass, This three movement choral work is based
_piaoo_-".tbe __ orgao_foLJbJ;_ Introduction, __ .. ancient Tongan chants and is p-art of
Prelude, and Recitatives and the piano Hal Leonard #08747009, a larger work called Pacific Odyssey. Com-
for the choir accompaniments. Rodby has Vocal Score (Double Choir) $ 5.95 poser David Fanshawe describes the work
provided performance suggestions and Hal Leonard #087470 II, as a "Salutation to the past, a respect for
Colla Voce has published a clear, easy to Instrumental Score, Parts, and CD the preservation of culture, and a plea for
I-ead octavo choral score. This is a sure (Double Choir) $65.00 the Peace the Tongan way."
winner for the church or community choir Hal Leonard #087470 I 0, The first movement, Hula Hula, opens
director looking for a Lenten season or Vocal Score (Single Choir) $5.50 with a flute solo, which substitutes for the
Passion cantata. Hal Leonard #08747226, fangufangu, a traditional nose flute. The
Robert A. Guenzlel-
Aurora, Illinois
78
Instrumental Scol-e, Parts, and CD choral writing is largely homophonic in
(Single Choir) $65.00 texture with call-and-response phrases.
<www.halleonard.com> As the phrases build, they soon subside to
the recorded sound of the Pacific Ocean
Moana. A recorded chant follows sung by
the late renownedTongan composer, poet,
and historian, the Honol"-
able Ve'ehala.
In the second movement titled Muli Tu
Pe, a recording of the Mu'a people begins
with the folk song and then a Tongan acce-
lerando ensues. 'Otuhaka,
is the final movement
and is based upon a
traditional noble dance
where women or girls
of rank are seated by
rows and perfol"m spe-
cific arm movements.
Suggested chol"eography is well notated
in both the vocal and instrumental scores.
The high quality digital recording blends
seamlessly with the live pelfol"mance. Dil-
worth suggests that monitor speakers are
essential for the instrumentalists and
to synchronize tempo and pitch.
The soprano voicing of c
l
to c
3
may be
a range considel"ation.The alto and tenOI"
parts contain average vocal ranges. The
bass voice part indicates pitches of grand
E and grand C. Although the instl"umental
double bass part is optional, its inclusion
provides the required dynamic pl"esence
and helps to SUPPOI"t the fundamental
pitch in the bass voice part.
Often with a multicultural choral work,
the amount of detail in the supporting
documentation can determine for the
choral director whether it is feasible to
perfol"m and teach. Pacific Song has two
publication options available. The single-
choir version has a vocal score fOI" singel"s
and a full-scol"e package that includes the
CD and instrumental parts. The double
choir version has the same options. Al-
though the double-choil" version offers
a unique sound experience, the pelfor-
mance is not diminished by the single
choir version. Hence, this work can be pel"-
ACDAQuick Tip
vi':?iI L.WWw.()vJ()&n(ine_&pg7
Choral Journal Octo bel" 2007
formed by high school, community, or col-
lege choil"s.The vocal instrumental scores
provide ample background infol"mation:
such as a glossal"y ofTongan terms; a glos-
sary of chol"eography actions; a concert
set-up diagl"am for instl"uments; and
CD, and technical notes descdbing how
the modern instruments should I"eplicate
various ethnic instl"uments.The scores are
easy to I"ead.
In the vocal score, thel"e is a piano re-
duction fOI" I"ehearsal purposes and the in-
stl"umental pack contains a separate piano
pari. Please note that the pl"ime sources
fOI" pitch al"e the flute, doubling on pic-
colo, CD recol"ding, double bass, and tim-
pani. Furiher supporting documentation
includes the CD, which is an impol"tant
teaching aid as well as pelformance tool.
Fanshawe began his I"esearch and
recol"ded elements of this wol"l< in 1978.
Sounds such as the Pacific Ocean Moana,
conch shells, and cylinder bells were I"e-
col"ded at original Tongan locations. The
CD also includes a discussion of the Ton-
gan countl"y and culture and a Tongan lan-
guage, song text, and choreogl"aphy guide.
ANNOUNCING THE INAUGURAL
The clapping demonstl"ation is pal"ticulal"ly
helpful to hear the different timbres of the
three types of claps: cup clap, stl"ike clap,
and flat clap.
A performance CD or DVD of the
2007 ACDA Multicultul"al Honor Choir
pelformance is available fi"om ViaMedia
Productions Inc. Web site: <http://www.
ztotal.com/viamedialindex.html>.
Pacific Song is a wol"l< of musicological
significance. The rehearsal and pelf 01"-
mance of this piece provide numerous
OPpol"tunities fOI" discussion of culture
and music. The instl"uction aids provided
ensure a successful learning and teaching
experience. The blend of digital media
with the live perfol"mance adds cultUl"al
authenticity to the overall sound palette.
David Fanshawe's Pacific Song is a model
fOI" how to make multicultul"al music ac-
cessible to everyone.
Adam Jonathan Con
Statesboro, Georgia
Tucson Boychoir Festival
In assoCiation Tucson Arizona Boys Chorus
l:iernarldo Dr. Julian
Festival Conductors
2008 Tucson, Arizona
- COME HAVE A ROOTIN'
Pridngwill allow family members to come and many
resort activities in Tucson a la carte while the choir rehearses!
Each choir performs alone inan evening concert! .. . . . .
All choirs join together for a final concert conducted by Fernando Malvar-Ruiz and Dr. Julian Ackerley!
Sightseeing and features: . .. ., .'
Tucson's famous Arizona-SonoraJiDesert Museum
Old Tucson Studios - where the real West meets the reel Ui'st ...' .' ..
Dude Ranch BBQ with a mechanical bull, quick-draw contest, swimming 'and much more!
The Gaslight Theatre - Dinner and a show at dlis acclaimed home of old-fashioned melodrama; .
Resort hotel accommodations. All . .' and most included.
79
WHEREAS, the human spirit is elevated to a broader understanding of
itself through study and performance in the aesthetic arts, and
WHEREAS, serious cutbacks in funding and support have steadily
eroded state institutions and their programs throughout our country,

their affirmative and collective support for necessary funding at the
local, state, and national levels of education and government, to ensure
the survival of arts programs for this and future generations.
Articles submitted for publication in the Choral Journal should meet
established specifications. Although the length of articles varies con-
siderably, submissions generally consist of ten to twenty typed, double- .
spaced pages: Referenced material should be indicated by superscript
and end notes. Any artwork and a one- to two-sentence professional
identification of the author should also be included. Complete writer's
guidelines can be found on the ACDA Web site at <www.acdaonline.
org/cj/writersguidelines>. Articles submitted via e-mail attachment
should be sent to <choraljournal@acdaonline.org>.
Book and Music Publishers and
Compact Disc Distributors
Send books, octavos, and discs
for review to:
Choral Journal
p.o. Box 2720,
Okla. City, Oklahoma 73 I 0 I
Telephone: 405/232-8161
Book Reviewers
ACDA members wishing to
review books about choral
music should contact:
Stephen Town
Telephone: 660/562-1795,
<stown@nwmissouri.edu>
Compact Disc Reviewers
ACDA members wishing to
... .. =. ... .... = .. = ..
ACDA members wishing to contact:
review choral music should
contact:
Lyn Schenbeck
Telephone 770/683-6837,
E-mail <Iynmusic@numail.org>
Lawrence Schenbeck
Telephone: 404/270-5482
E-mail <Ischenbe@spelman.edu>
ACFEA Tour Consultants 33
ACIS Performance Tours 61
Ambassador Tours 74
Arts Bureau for the Continents 28
Augustana College 23
Belmont University School of Music 59
Bridgewater College 73
Br!tish-European Specialty Tours 36,79
Cantus Quercus 32,67
Capital University 65
Chor LeonLMen's ChoiL .. ..68
Choral Conductors Retreat 20
Clarion Records 29
Classical Movements IFC,76
Concept Tours 24
Distinguished Concerts International 35
Ellison Travel and Tours 12
EMI Classics II
Friendship Ambassadors 10,49
GIA Publications, Inc. 48
Gladde Music Publications 38
Glencoe 46
Hawaii Music Festivals 47
Hawaii Pacific University 29
Hendricks Ave. Baptist Church 77
Heritage Festivals 69
Houghton College 27
Interculture Association 21
Interkulture Foundation 26
Kaleidoscope Adventures 75
Knight-Shtick Press 68
Lawrence University BC
Lyric Choir Gowns 64
Michigan State University 60
Music Contact International IBC
Music Manager Software 10
Nancy Wertsch 65
Oberlin Conservatory of Music 78
Part Predominant Recordings 22
Pocket Coach Publications 73
Regency Cap & Gown Company 49
Small World musicfolder.com, Inc 43
Smoky Mountain Music Festival 42
Southern Methodist University 13
Southern Music Company 44
St. Olaf College 58
Stage Accents 28
The Church of the Red Rock 63
The Hartt School of Music 37
Tour Resource Consultants 22
Travelink, Inc. 16
UCLA 62
Union University 67
.. University.of Kansas .. . .. 70 ..
University of Memphis 34
University of Missouri-Kansas City 39
University of Southern California 66
University of Wisconsin-Milwaukee 44
Valdosta State 14
Vanguard Voices 71
Witte Travel & Tours 72
World Projects 64
Yale Univ. Institute of Sacred Music 48
Music Contact International

&CHORAL EXCHANGES
Germany Happy Birthday Handel International Choral Festival, Halle
USA New York City Choral Exchange, New York City, NY
March
Holland Cantate Amsterdam
Germany Cantate Bavaria, Munich
April
Italy Days of International Choir Music in Verona
Italy Cantate Adriatica, San Marino
USA Vermont International Choral Festival, Stowe, VT
Sweden Cantate Smaland, Vaxj6
Italy International Choral Festival in Tuscany
Austria International Music Festival, Salzburg
Czech Republic Cantate Budweis
Spain Cantate Barcelona
Puerto Rico Discover Puerto Rico Choral Festival, Ponce
Lt.Tr'lr", West Africa Choral and Performing Arts Festival, Ghana
IMRillUalIll'Il'IIlf!lalIr & December Weekends of Thanksgiving & Advent
Austria Advent Sing in Vienna
Czech Republic Advent Choral Festival, Prague
CALL Now FOR 2008:
800-624-0166' ,
www.Music-Con1:a.c1:.com.
/ J '
American Choral Directors Association
p.o. Box 2720
Oklahoma City. Oklahoma 731 0 1-2720
<www.acdaonline.org>
******flUTO**3-DIGIT 352
39152 fleDfI! 08/2008
.NICHOLAUSB .CUMI'IINS
130714TH flUE S
Al3S:::05-5314
S109E
111111111111111111.1 11 111111.1111.111111.11.1111111111111.111111.11.11
NEA

AMERICAN
MASllllU'1ECES
Lawrence University
Appleton, Wisconsin
Rick Bjella, director of choral studies
Phillip A. Swan, associate director of choral studies
Registration deadline: November 2007
Fax: 920-993-6284
920-832-6620 richard.l.bjella@lawrence.edu
920-993-6282 phillip.a.swan@lawrence.edu

CJ - October 2007

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