Professional Documents
Culture Documents
CJ - March-April 1969
CJ - March-April 1969
T E
No. 33: Allein zur dir, Herr Jesu Christ (Alone in Thee, lord
Jesus Christ)
ATB soli; SATB chorus
2 oboes, strings, keyboard 4.00 I 5.00 I .90 3.25
No. 49: Ich geh' und suche mit Verlangen (I 'Seek Thee
Daily, Yearning Ever)
SB soli; no chorus
oboe d'amore/English horn, cello ("violoncello pic-
colo"), strings, organ obbligato, keyboard 5.00· I 6.00 I 1.10 4.25
No. 52: Falsche Welt, dir trau' ich nicht (Treacherous World,
I Trust Thee Not)
S solo; SATB chorus
3 oboes, bassoon, 2 horns, strings, keyboard 3.50 I 9.50 I 1.00 3.00
No. 73: Herr, wie du willt, so schicks mit mir (lord, As Thou
Wilt, So Deal With Me)
TB soli; SATB chorus
2 oboes, horn, strings, organ obbligato, keyboard 3.00 I 3.50 I .90 3.00
No. 196: Der Herr denket an uns (The lord Cares For Us)
SATB soli; SATB chorus
strings, keyboard 3.75 I 4.50 I .90 3.00
Send for complete listing of orchestral materials for Bach Cantatas. Address EducationalDepartment and please state position.
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MARCH-APRIL 1969
BOOK REViEW -
a masterpiece of effective writing in de-
scribing the mainstream of consistent
vowel alteration for singing 'pu,poses as
practiced by singers who successfully
meet opera requirements. His deliberate-
ly equivocal manner of stating these
singers departures from spoken diction
("Both e and e. may have to be modified
toward C ~J and ,,,,,J
if the vocal line de-
mands it") leaves the individual teacher
the option of when, if ever, he wishes to
introduce this phase of vocal technique
to the student.
For such' a detailed guide to the most
subtle of phonetic distinction, there is a
minimum of typographical error. For ex-
ample, on page 111 the German rule for
a "short'i'" before two consonants is
erroneously given as . . . . . 'i' is pro-
nounced short if it stands in front of
more than one vowel, as in Tisch, Kind,
bitte." The few such instances which es-
caped the proofreaders wHl be easily
spotted and corrected. A number of Maes-
tro Adler's directions which were counter
to other sources were checked by the
r,eviewer against recordings by well
•
PRESIDENT
THERON KIRK
San Antonio College
1300 San Pedro
San Antonio,Te~as 78212
FIRST VICE' PRESIDENT, Official Publication of the American Choral Directors Association
HAROLD A. DECKER
School of. Music; U.· of Illil10is
An affiliate organization of the Music Educators National Conference, 1201 16tf
Urbana, Illinois 61801 Street Northwest, Washington, D. C. 20036
SECOND VICE PRESIDENT ACDA AFFILIATED ORGANIZATIONS
CHARLES C. HIRT TEXAS CHORAL DIRECTORS ASSOCIATION, George A. Mather III, Secretary-
U. of Southern California Treasurer, 1513 Primrose, McAllen, Texas 7850 I
University. Park
Los Angeles, California: 90007'. SOUTHERN CALIFORNIA VOCAL ASSOCIATION, Willard Schmitt, President
9301 Oma Place, Garden Grove, California 92641
SECRETARY:-TREASURER
HARVEY E. MAIER Copyright C 1969 by the American Choral Directors Association
University' of Missouri .
4420 Warwick Blvd.
Kansas City, Missouri 64111 . Volume IX, Number 5
R. WAYNE HUGOBOOM, Managing Editor
•
DOARD OF DIRECTORS.
E.'I'eculive Secretary·
Editor, .The Choral Jourllal
R. WAYNE HUGOBOOM
P. O. Box 17736
Tampa, Florida' 33612
Eastern. Division
MARCH-APRIL 1969
MARY. E. ENGLISH
State University College .
Potsdam, New York 13676'
North Central Divisio"
Highlights of Eastern Division Convention - Mar:;.' E. English ................ 7
MORRIS D. HAYES Developing Satisfactory Sight Singing Techniques for High School
Wisconsin State University··
Eau Claire, Wisconsin 54701
Vocal Students - Lane D. JUS/liS •.•••.. .. , .•••.•.•.....••...••••. ,.. 8
Northwestern. Division Western Division Convention at Honolulu April 3 ........... ,., .. , .. ,........ 12
ROBERT E. ROBINS. . MENC Southern Division Convention Program ... , ................ , ...... ,.. 13
Roseburg Senior High School
Roseburg, Oregon 97470 . North Central Division Convention at Fargo, North Dakota ., ..... ,.,........ 15
SOlltherll. Division Choral Institute '68 - Paul E. Paige ..... , ..... , .......... ,., .... ,........... 20
RICHARD G; COX
University of North Carolina Developing Choral Leadership Through Solo Singing - Allan Lehl ...... "..... 21
Greensboro, N. C. 27412 Success is Assured by Large Registration for Symposium in Vienna , ..... , .. ,. 23
Southweste", DivisiOli
GEORGE E. UMBERS ON The Denominational Hymnal and The Crisis in Congregational
Song - Carlton R. Young ..... , ..... "" .... , ............ ,........ 24
Francis Poulenc's "Tenebrae Factae Sunt" - Larry A. ClvrisNa:l1sen , .. , ...... '. 28
Westem Division
K. GENE SIMMONDS
Rio Hondo Junior. College
Whittier, California 90602
Northwe...<>tern and Southwestern Division Chairman Nominees, Book Re-
Industry Associate Representative
EDWARD W. KLAMMER, short view, 1; Howard Hanson Praises Choral Symposium, 2; President's Mes-
Concordia Publishing House sage, 4; Guest Editorial, 5; Service Sources for Choirs, 6; Gregg Smith
3558 South Jefferson
·St. Louis, 'Missouri 63118
subjects Featured at Two Conventions, IMC to Meet May 9-10, Two UC Choral
Organizations, 11; La Canada Singers at Western Convention, EI Camino
Represelltative-al-La.rge College Chorale, 12; Fairfax Madrigal Singers, 13; Belhaven Concert
MARY E. ENGLISH Choir, The Saint Dunstan Hymnal, Alabama Choir, 14; Hamline Univer-
Potsdam, New York 13676 sity A Cappella Choir, 15; Mary D. Bradford High School Choir, 16;
Summer Workshops, Westmar Chorale, 17; Fairfield Chamber S t~I~~rs, 18;
Avon Lake, Ohio, Conference, Montana Chorale, Midsummer Workshops,
19; Notes of Interest, 22; Record of the Month, School Activities, U. of
Colorado to Hold Workshop, 29; Choral Reviews, 30; Chamber Choir, 35;
The Male Glee Club, Advertising Index, 36.
cover The Alabama College Chamber ChoiI' which will perform a.t the Southern
picture MENC Regional Couveutiou in Mobile, Alabama, April 17. Story ou page H.
Copyright 1969 by The American Choral Directors Association, P. O. Box 17736, Tampa, Florida 33612. Issued 6 times yearly: Sept.-Oct.,
!\nv.-Dec., Jan.-Feb., IIlar.-Aprll, MaY-June, July-Aug. Subscriptions to Institutions Only. Rates: $3.00 a year; Mexico and Canada, $3.50; For-
eign, $4.00; Group Subscription (5 or more copies to one address) $1.;;0 each per year; Single Copy, 60c. Second Class postage paid at Tar-
pon Springs, Fla. PubJlcation Office: (Do not return mall to, 01' communicate with this office) Route I, Box 365A, Tarpon Springs, Fla. 33589
MARCH-APRIL 1969 3
Be OUl" (jue6t
To introduce you, to our newest
sacred choral editions, we invite
you. to request single complimentary
copies of the editio1!,s listed.
» MIXED VOICES «
ASCRIBE TO THE LORD
Donald O. Williams
PresliJent's
Ed. f"C765 with Sop. or Ten. Solo - 35c
GLORIA Sidney Johnson
Ed. PC77S - a cappella - 25c
GO TO DARK GETHSEMANE
Messflge
arr. Lawson Lunde
Ed. PC773 - accomp. - 25c
THE LORD IS RIGHTEOUS
George Brandon
Ed. PC76B - organ accomp. - 25c ff we, as individuals. are to continue to develop as choral directors.
MY HOPE IS BUILT ON our learning must never cease!
---I-NOTMI NG~bESS --arr.-bawson~bunde An~e*eel1ent~0pp0rtunity~t0-add~considerable-deptlrto~0urmusic~knovv----~--
Ed. PC774 - a cappella - 30c ledge and understanding is offered this summer at the Symposiulll for
NO POMP, NO EARTHLY BEAUTY Choral Conductors in Vienna, Austria sponsored by ACDA.
arr. George Brandon This is the first "international" venture of ACDA and is the result
Ed. PC775 - accomp. - 25c of many months of intensive planning and superlb leadership on the .part
NOW THE GOD OF HOPE of Harold Decker.
Joseph Roff I hope that everyone who possibly can will take advantage of this pro-
Ed. f"C772 - accomp. - 25c ject. Details will be found elsewhere in The J ollrnal. For those unable to
o GOD WHO HAST PREPARED go to Europe this summer, we plan to have sessions in future ACDA con-
Ross Hastings \'entions and workshops conducted by participants in the symposium. Watch
Ed. GC 14 - a cappella - 25c for announcement of these in issues of The J OHrl1al this fall.
REJOICE IN THE LORD ALWAYS The ACDA Executive Office frequently receives requests for graded
Joseph Roff music lists. ACDA in cooperation with MENC has just completed work on'
Ed. PC763 - accomp. opt. - 25c a very comprehensive list: Selecti'lJe Music List 1968. The publication is
SANCTIFY THE WORK OF $2.nO and should be ordered direct from MENC.
OUR HANDS George Brandon This list is not just an ordinary compilation but is highly selective and
Ed. PC776 - organ accomp. - 25c £areful1v screened. Robert Hines, ACDA Chairman for the Committee on
THOU SHALT LOVE THE Choral 'Standards and Repertoire, was in charge of the project. He and
LORD THY GOD Joseph Roff his committee members as well as MENC are certainly to be commended
Ed. PC769 - accomp. - 25c on providing this excellent aid to choral directors,
WE KNOW THE PATHS :'II an)' fine ACDA sessions have been held at two Division Conven-
Ross Hastings tions so far this year for which thanks is due to Mary English at the East-
Ed. GC 15 - sop. 50101 accomp. - 25c ern and George Umberson at the Southwestern.
If your Division Convention is yet to be ,held, plan now to attend!
» TREBLE CHOIR « No chora1 director can afford to miss these iJ1fo'r1llati~'e and rejuvena.til1[j
»CHILDREN'S CHOIR« experiences!
HOLY DAY OF DAYS Ross Hastings
~¥:~
Ed.GCI3 - children's & youth SATB-30c
I BESEECH THEE, 0 GOD
arr. Jerry Weseley Harris
Ed. PC650 - a cappella - 25c
THOU ART THE LORD OF HEAVEN
AND EARTH arr. Jerry Weseley Harris
Ed. PC653 - a cappella - 25c
GW .. PALLMA
GENERAL WORDS & MUSIC CO.
of your arrangements.
Send us your itinerary suggestions now!
PUBLISHERS
Music Section, European Ext. Div.
Neil A. Kjos, Jr., Director
Institute of European Studies
. 525 BUSSE PARK RIDGE, ILL. 60068 Palais Kinsky, Freyung 4, Vienna, Austria
. MARCH-APRIL 1969 5
A PLEA - scrupulous examination of ,the musical SERVICE SOURCES
line will ,probably reveal the hig;h points.
· . . A reliance upon "musical intuition" may FOR TOURING CHOIRS
In a Palestrina mass, WIll :hardly deserve be sufficient after many years of study
the same treatment accorded a nineteenth and experience, but .such reliance by the .
century part song. A Chopin~like rubato relatively uninitiated can lead to a musi- ~t t~e conclusIOn of PauJ Peterson's
may be most inappropriate in a Bach mo- cal debacle. artIcle In the, last Choral Journal on tour-
~et. One ,coul? go on ad infinitum. The Musical phrasing can encompass all of ing choirs to E~rope and othe: foreign
Important POint to be made is that one the items previously mentioned. Tonal areas, we me~tlOne~ the InstItute for
should know what!s the appropriate weight, dynamics, flexibility of tempo European .,Studles ~Ith whom A,CDA is
treatment for a partIcular work. Directed within a phrase, the subtle nuances in- co~sponsorlng ~he VIenna SymposIUm but
study and self·study will help. If one volved in expression etc.: all of these are faIled to mentIOn at least two other ser-
feels an inadequacy, there is always the within the phrase ~tructure. vices available to touring ohoirs witt.
recourse of a reputab.le recording, or of Another element is ,taste. This is re- whom our readers should be acquainted
the advice of someone of recognized com- flected in how much of each ,of the above through tJheir advertisements in the Ohor-
petency. Too much trouble? Of course items is synthesized in the interpretation. al J,ourna~ as well as articles and per-
one may be involved in the use of time The ancient Roman adage, "In matters sonal serv~ce. . .
<l:nd. some. expense, but the road to artis- of taste there is no real dispute," does Intern~tI~onal MusI'cales,. wl,th .Professor
tIC integrIty was never fast or cheap. not hold true in the inter,pretation of E.L. 'YlllIams as Mru;aglng DIrector of
The area probably most open to criti- music. T,he composer leaves much to the ~he Umted States OffIce, arrange tours
cism is that of phrasing - the manner musical direction of the conductor but ~n Europe, South America, Asia, the Car-
of expression. Too often phrasing seems there is a great deal which is spelled out tbbean and other areas as well as making
to be equated solely with' the ability ,to in rigorous detail. This detaIl is the total- plans at present for the Expo dn Japan.
carry from one point in the music to an- ity of the notation _ that is the notes They are presently handling the 1969
other without breaking the musical line plus every other symbol affi~ed to the tour for the As1hland, Ohio, College Con-
- without ,taking a breath. To be sure, page. Everything printed has meaning cer~ Choir with Calvin Rogers, director,
this is a concomitant of the totality of and reflects' the composer's attempt to ~,hl~h leaves May 16 for a visiting and
phrasing, but it is not the total entity. elaborate upon a rather inadequate sys- smglng tour 'of ten different countries.
The choral line makes use of words. Not tern of notation. ' They may 'be contacted at, P.O. Box
all words are of equal importance, wheth- We ,have made much of adherence to 21122, Greensboro, North Carolina 27420.
_ _ _ _ er-in_ordinar¥_speech_or_when_set_to_the_pl'inted_page,and-its-im,pol'tance-can Another service of vir.h~()h .A:CDA mem-
music. A well written composition will not be denied. However, the ,page can bers should be aware is Educational T'our
realize the rise and fall of ,the spoken serve as a musical straitjacket if its lit- ConsultanJts, Inc., 19 West Boscawen st.,
llxpression, and treat it accordingly in the eral reproduction is considered, the end Winchester, Virginia 22601 willo are avail-
musical setting. Unimportant words gen- product. Literal reproduction is really the able t~ arrange for. any to';lr desir;d by
erally do not fall on accents, are not point of departure. William L. Dawson's a tourmg or travelIng chOIr. It IS de-
given note values of long duration, and observation that one must eventually signed to. h.a?-dle .any gr?up, from 15 to
are not sung on notes hi,gher in pitch ". . . get in 'behind the notes" is a case 500, speClalIzmg m mUSIC and concert
than words of gre,ater import. Multiple in point. Once the group is "free" in the performin~ gro~ps but with eXlpe~ience
~~amples of exceptions to these general- music, once, all the observ;a.ble symbols and ,assoClla~~s ,m languages, art, hIstory
Itles can be found, but they generally have been synthesized info an entity and humamtles areas as well as ar.rang-
hold true. The choral phrase loses ali of then the conductor must give rein t~ ing tours in conjunction with conventions
its character - its musicality - , when tasteful- deviation from a literal re-crea- and other similar events. While it is
each word is given equal emphasis, when tion. A slig;ht speeding up,' a judicious impossible to list all possible sources,
no word assumes a position of lesser or slowing down, the glossing over of rela- these three gro~ps 8J~ Jeast give our
greater importance., This is such an ob- tively' unimportant elements":" all these members a startmg pomt for future tour
vious musical fact, yet day after day we an<;l more:mean that in a manner of plans.
have sat and .listened to the mutilation speaking the conductor must be allowed
o~ the m~sical phrase in this unimagina- to "forget" the ,printed page.
hve fashIOn. Finally, to be musical a performance NOTES OF INTEREST
The instrumentalist does not have the must have one last ing;edient ~ heart. Three 1\.merican ChOirs, Luther College
obvious textual hinge upon which he can Perhaps "heart" is not the expression to Nordic Ohoir, Decora:h, Iowa; the Ooci-
rely, but :he works just as certainly as use, aIthough ,to the musician it. 'has an dental, College Choir, Los Angeles, Cl1li-
does the singer with ,some notes that de- obvious connotation. Lei us use a differ- fornia, and the Morelhouse Male Glee
mand more tonal weIght than others. A ent terminology and say that musi'c must Club of Atlanta, Georgia, will participate
in the International University Choral
NE FROM CONCORDIA Festival being held March 13-31 at the
• NEW .COLLECTIONS
• Pittsburgh, Pennsylvania will be held
M.arch 28-31, 1969 with a dinner for the
American youth .symphony and Chorus
• •
Ten More Psalms from the "Becker Psalter"-Heinrich Schuetz
Alumni at 6:00 on Friday, March 28. Con-
Edited by Robert Wunderlich 97-4880 $ .75 tact hotel for ,reservations and Miss Mary
Lasko, Sohool of Music, D.U., for dinner
• •
Carols for the Church Year-Carl Schalk 97-4858 $1.00
New unison carols fo'r all seaSons of the year. reservations, writes Donald McCathren,
Musical Director of the organizations.
• VOCAL SOLOS
Blessed Are Those Who Fear the Lord (Ps. 128 I -Max Sinzheimer • be permeated with the totality of the
• 97 -4893 $1.25
Weddin!;! Son!;! (Ps. 128 I-Jan Bender 97-4887 $1.00 • conductor's 'personality: his musica,l sin-
cerity, standards, study, experience, in-
telligence, warmth - everything within
••
6
• .CONcOROIA PUBLISHING HOUSE, ST. lOUIS, MO. 63118. •
•• pened."
MARCH-APRIL 1 969 7
Developing Satisfactory Sight Singing
Techniques for High School Vocal Students
The most significant single test of a LANE D. JUSTUS by man poses so many simultaneous
musician's ability is to be found in the problems.
manner in which he is able to decipher Additional evidence of the complexities
and bring to meaningful life, swiftly, ac- A study of the research in the area of
of the sight reading process can be found
curately, and beautifully the symbols sight singing reveals that little has been
in the studies dealing with eye move-
used in the written language of music. concerned specifically with the im.prove-
ments, span of vision, reading habits,
Instrumentalists usually develop this abil- ment of the teaching of sight singing. A
and characteristics of readers. It is inter-
ity early in their period of training. For significant amount of study has been cen-
esting to note the amount of agreement
them the reading procedure is made rela- tered around methods of measuring the
among researchers in these areas. The
tively simple, since the steps undertaken success in sight singing and in attempt-
findings of Ortmann 3 in 1937 have been
in instrument playing are manifestly ing to solve problems of visual perception.
reinforced by later researchers and have,
physical and therefore, obvious to both The pressures of modern society force
in fact, provided an important source of
the student and the teacher. The vocal- us to seek more effective methods of
ist, however, is at a decided disadvan- teaching sight singing. The writer. is
tage, since his instrument is part of his concerned for improvement in the quality
mental as well as his physical self. The of teaching.
absence of valves, strings, slides,
MARCH-APRIL 1969 9
DEVELOPING by either selecting material which has no diligent application and regular practice.
text or merely disregarding it. To do To be effective, this or any other method
teachers to teach the language of music either will be 10 confine the problems to must be used daily. Christ, who studied
and the mastery of sight singing at the those which are strictly musical in nature. the sight singing problems with empha-
same time they are preparing the next Now that the introductions have been sis on the rhythmic aspects thereof states:
PTA concert. Classes should be so struc- completed, the students are asked to hold Nothing can" replace frequent periods
tured as to provide for an entire training the music up with both hands (thus as- of reading practice, whether instru-
year wherein the beginning vocal student suring improved posture). The instructor "mental or vocal periods spent in
can concentrate on the fundamentals of then proceeds to the piano where the concentrated effort to improve reading
the musical language, sight singing, and tonic chord of the key is sounded. Now, efficiency.5
the use of his vocal instrument. The re- a very important step: the teacher must
maining high school years can then be leave the keyboard and not return to it Selecting Effective Mate1'ials
spent very profitably in creating beauty until ~he completion o~ the re~?in~ ~! the A most important step in the estab-
through music. exerCIse. ~he temptatIOns to assIst. the lishment of an effective sight singing
, class are sImply too great - to be m a program is the selection of the right mu-
Rmtt!-1!e: The Key to Su.ccess 't' "" b' l'k 1 t o . .
pOSI IOn 'LO succum IS ley 0 pr ve sIcal examples to serve the mtended ob-
The use of drill is as old and respected excessively trying, for to "assist" the stu- jective. Material must be selected which
as formal education itself, its appli~ation ?ents by ?laying or sin~ing a dif~icult 'will provide a challenge, yet exhibit po-
in the learning process u~questlOned. mterval, pItch, or rhythmIC pat~ern I~ to tential for accomplishment by the student.
There is comfort and securIty to be defeat the very purpose of the sIght smg- Practice material should advance in level
found in the establishment of a routine, ing instruction. Students must be lead of difficulty slowly and orderly and,
so long as it is obvious to the learner ~o :'~o it alone" and to .ma.ke an honest ideally, should involve the student with
that the routine appears likely to lead to II1dlv~dual effort, even. If It be wrong. constantly changing key and meter set-
success. The mstructor should lIsten carefully" so tings. When making determinations re-
-----I-n-or-d@r-to-de-v@lop-wor-thwhile-indi--as-to-be-awa·r-C:-0f-any-"echo-ef-fect" garaing exercises to be used in prac-
vidual habits leading to complete aware- which would indIcate a lag on part of a tice it would be well to note the diffi-
ness and mastery of the musical score, segment of the class, ~ignifying that cult~ posed by various pitch intervals
the entire class needs to be instructed in some are following theIr ears, rather and rhythmic patterns, being careful to
the techniques of observation. Drill and than their eye~. St~dents sh?uld be en- arrange them in logical sequence. Studies
diligence would make it possible for any couraged to smg wIth a sohd tone and conducted at the Ohio State University
members of the class, when faced with to make their mistal~es audibly. Once the School of Music under Spohn and Poland
a new musical exercise, to stand and give tonic chord has been sounded to estab- (Spohn being the principal investigator)
verbal evidence of his understanding as lish a feeling of key, the students (not indicate the following rank order of dif-
follows: "The (musical exal~ple) . is the instructor) sing the .key c:nter tone ficulty for pitch intervals:
written in the treble clef, the time SIg- (do) and then the startmg pItch. The
nature is 3/4 which means that there are writer uses syllwble nalnes simply be- Intenml Rank Order (E to D)6
three beats in a measure and a quarter cause they are easy, singable, and are Perfect 8 1
note gets one beat, it begins on 'sol' and used for no other purpose than singing, Major 2 2
ends on 'do' and the name of the key is thus avoiding confusion. Since no words minor 2 3
F major. There is a 'b natural' accidental are involved, it is -recommended that a Major 3 4.5
in the third measure. The music begins good neutral syllable such as "100" be Perfect 4 4.5
with a 'pick-up note' on the third beat." used for all pitches within the exercise. Perfect 5 6
He has then introduced the music to the The tempo is established by the instruct- Major 6 7
class and has, in addition, exposed his or who counts one complete measure. Major 7 8
thinking to scrutiny, The ground work The instructor has now done all he can; minor 3 9
has been laid and the entire class is now the students must take over. The really Tritone 10
able to tliink alike. fruitful individual experiences cannot minor 7 11
As has been previously stated, the occur until this point has been reached. minor 6 12
added dimension of text creates unneces- The reader I1lJUSt understand that this
sary problems for the beginning sight method is no panacea for all sight singing The writer has been most successful
singer. These problems can be avoided ills. Success will be achieved only through with this method while using the M elodia
series of sight singing books published
by the Oliver Ditson Company. Although
some discrepancies and errors can be
Fourth Annual found in them, these booklets provide a
very logical pattern of sequential devel-
CHORAL ARTS WORI{SHOP opment and, remarkably, follow the above
interval table with amazing faithfulness.
Each pattern is melodious and singable,
MANI<ATO STATE COLLEGE, MANI<ATO, MINNESOTA no text is involved, ranges are realistic
June 16-20, 1969 for singers, interesting rhythm patterns
are employed, meters and keys are regu-
Guest Clinician: DR. DOUGLAS McEWEN larly varied, and exercises are progres-
Director of Choral Activities sively but gradually more difficult,
University of New Mexico One of the most rewarding consequenc-
es of this approach is the relish with
For Complete Information Write: which students soon take up the chal-,
DEPARTMENT OF MUSIC lenge of reading new material. The sense
Mankato State College, Mankato, Minn. 56001 of personal accomplishment is quickly
evident in the proud manner in which
MARCH-APRIL 1969 11
WESTERN DIVISION
CONVENTION IN
HONOLULU APRIL 3
The ACDA Western Division Conven-
tion will be held in Honolulu, Hawaii,
April 3, following the MENC Western
Division Conference. Schedule of events
will be as follows:
9:00-10:30. Topic: The Choral Di-
rector Relates to the Music of Today.
Guest speaker and clinician for this ses-
sion will be Charles C. Hirt, President-
Elect, ACDA, University of Southern
California. Performing group: La Can-
ada High School Madrigal Singers, John
Kelsey, director.
10 :30 - 12 :00. Topic: Sounds and Te;r-
tures of 20th Cel1.f1~;'y Choral Music.
Guest speaker and clinician: Gregg
Smith, State University of New York.
group:
Chorale, Jane Hardester,
12 :00 - 1 :00. Lunch.
1 :00 - 2 :30. Topic: Music of Many LA CANADA SINGERS TO lege with graduate work at California
State at Los Angeles and taught at Ham-
Cultz/1"es. Guest speaker: Barbara Smith, APPEAR IN ACDA ilton Junior High School pr,ior to coming
University of Hawaii. Organizing chair- to La Canada 5 years ago. He is a mem-
man: Robert Peters, Punahou School, WESTERN CONVENTION ber of SCVA, ACDA, MENC and CMEA,
Honolulu. Performing groups: Various team teaches in the Senior humanities
T,he Madrigal Singers of La Canada program as well as directing the Concert
music groups from the islands. High Schobl will a,ppear as the pevform- Ohoir, Girls Glee arid Choraliers at La
3 :00 11 :00 p.m. Special Aloha Night ing group on the 9:00·10:30 session of Canada.
(open to non-members). Tickets may be ACDA Day in Honolulu April 3 with The Singers' program:
guest clinician, Dr. Charles C. Hirt, ACDA Hark All Ye Lovely Saints Above,
purchased at MENC registration desk second vice-president. In their fourt'h Weelkes; April is in My MIstress Face,
and includes: transportation, entrance year, the group is composed of juniors Morley; Your Welcome 'Smile, De Ser-
and guided tour through Polynesian Cul- and seniors selected by audition who misy; Matona, Mia Cara, de Lasso; My
ture Center at Laie, dinner, Polynesian meet as a regular class five days a week True Love Hath My Hear.t, Silver; Three
and specialize in Renaissance vocal lit- Canzonets, Berger; When Allen~a-Dale
show and entertainment. Busses leave the erature. Their director, Mr. John Kelsey, Went A-Hunting, de Pearsa,ll; J'ay fait
hotel at 3 :00 and return at 11 :00. has his B.A. degree from Occidental Col- pour vous cent mille pas, de Sermisy.
MARCH-APRIL 1969 13
BELHAVEN CONCERT CHOIR THE SAINT DUNSTAN HYMNAL ALABAMA CHOIR fEATURES
By CHRISTINE' TOMLINSON
TO APPEAR AT SOUTHEAST COMPOSERS
SOUTHERN CONVENTION Editor's Note: The following review The Alabama College Chamber Chait·
was submitted by Mrs. Harry Tomlinson, will perform at the Southern Regional
organist-choirmaster at st. Paul's in the Convention of the Music Educators Na-
The Belhaven College Concert Choir of tional Conference in Mobile, Alabama.
Jackson, Mississippi, will appear in con- Desert Episcopal Church at Palm Springs,
California, at the request of Mrs. Winfred April 17, in the recital hall of the Con-
cert at the Southern Convention at Mo- vention Center at 12:30 in the afternoon.
bile, Alabama at the 12 o'clock Concert Douglas, widow of the late Canon Doug-
las, editor of the Hymnal 1940. The thirty minute program will contain
Hour on Saturday, April 19, according to compositions of composers cUl'l'ently re-
Richard G. Cox, ACDA Southern Divi- siding in the Southeast.
sion Chairman. The group of 50 voices, The Saint Dunstan Hymnal of Plain- The following is a list of composers
re,presenting seven states, are selected by song Hymns has been published recently and their compOSitions which will be
audition with most members studying by the H. 'V'.
Gray Company. The hymns performed:
voice privately. Averaging about 10 hours are taken from the manuscripts of the John Boda (Florida State U.), 0 Hu-
in weekly rehearsals, their annual rep- late Canon Douglas, editor of The Hym- man Heart"; Hugh Thomas (Birming"
ertoire includes 'over 70 selections in nal 1940 (Episcopal), The careful editing ham-Southern College), April VI'cather';
sacred and secular music. Concerts in- of the Plainsong Hymnal was undertaken Russell Smith (University of Alabama),
clude their Fall concert, Candlelight by a Sister of Saint Mary who studied Gloria; Dwight Gustafson (Bob Jones
Christmas concert, the traditional Sing- with Canon Douglas. U.), Two Elizabethan Songs"'; Herbert
ing Christmas Tree, a winter concert Of the 93 plainsongs contained in the Grieb (Birmingham, Ala.), Iiedusha;
which this year will feature the perform- book, only 10 are identical to those found Betty Louise Lumby (Alabama College),
ance of a commissioned work, Missa in. the Hymnal 1940; 9 are almost identi- Father in Heaven; Peter Nagy-Farkas
"Cum Jumi" Opus 97, by Paul Creston, cal, some with slight difference in text; (Alabama College), Psalm XIII"'.
a spring tour which this year will take 6 have entirely different texts but identi-
them to Los Angeles, and a final spring "'Works composed for this performance.
cal tunes; 3 have identical texts but dif- Alabama College is a state-supported
concert on the island in Belhaven Lake. ferent tunes; 2 have added stanzas; one
Four performing groups within the liberal arts institution located in Monte-
is a different translation of "Splendor vallo, Alabama. The music department
ohoir are The Clansmen, male-quartet;
Paterna Gloriae" set in a different mode; has a faculty of thirteen, and offers de-
The Tam O'Shanters, girls' triple trio; one, designated for Easter Vespers, would
The Highlanders, mixed group of 14 who grees of Bachelor of Music, Bachelor of
be ideal for a service of lighting a Pas- Music Education and Bachelor of Arts.
perform choreographed numbers; and chal candle; and the one Antiphon on
T.he Trav'lers, male quartet. The Chamber Choir is directed by
Psalm 117 would be very suitable at the ACDA member Ted Pritchett.
This year the choir performed the Ra- closing of a Communion service. But,
vel Daphnis and ChIoe Suite with tJhe A picture of this group appears on the
more than this, there are 60 plainsongs covel'.
Jackson Symphony and have in their for- not included at all in the Hymnal 1940.
mal repertoire the Bach Magnificat, Only 2 of the 34 in The Hymnal 1940 are
Haydn, Mass in D Minor, Vivaldi Mag- not found in some form in The Saint
nificat in G minor, Vaughan W.illiams Dunstan Hymnal. It is so convenient to forementioned Psalm 117 Antiphon. This
Serena,de to Music and the Creston Missa have the plainsong hymns in a separate collection should be added to any library
Solemnis. volume. of plainsong hymns. It will prove itself
Their director, Henry T. Ford, joined a valuable guide to choirmasters who
the Belhaven faculty in 1962. He holds The plainsongs are divided into the fol- have found plainsong singing to be a
degrees from Southwest Missouri State lowing categories: 8 for Advent, Christ- worshipful art, and a great aid to im-
College and Louisiana State University, mas and Epiphany; is for Lent and Pas- proving the skill and expressiveness of
where he was assistant director to Dallas siontide; 11 for Easter, Ascension, Pente- their choirs. :.:
Draper of the University Singers. He is cost and Trinity; 20 for Saints and Holy
well known as director of choral festivals Days; 19 for Sunday, Morning, Afternoon
throughout the area and is also music or Evening; 9 for Eucharist and the be- Send us news with your dues!
director at the Central Presbyterian
Church in Jackson. 111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111
MARCH-APRIL 19G9 16
BRADFORD CHOIR SINGS Bass (Chantry); Praise· to God, Nystedt Residence), (unpublished).
(Augsburg PUblishing House). IV. Laughing .song from "Songs of In-
AT NORTH CENTRAL III. Four Folk Songs, Brahms (Ed- nocence", George (Summy-Bil.'chard Pub-
ward B. Marks Music Corp.); Rise Up lishing Co.); Mary Had a Baby, Dawson,
The A Ca,ppella Choir is the most se-
My Love My Fair One, Will an (Oxford (Music Press - Tuskegee); John Saw Dun
lect of four choirs at Mary D. Bradford
High School at Kenosha, Wis. Regular University Press, Inc.); Two English Folk Numbuh, Shaw-Parker, (Lawson-Gould,
daily choir rehearsals and noon hour sec- Songs (Sally Gardens and Oh No John!), Inc.); Soon-ah Will Be Done, Dawson,
tional rehearsa,ls are required of every Southers (Former Kenosha Composer-in- (Music Press - Tuskegee).
member. Yearly activities include a
Christmas Choral Concert, a District Mu-
sic Contest, a combined Festival with five
other Kenosha choirs, and an Annual ,.-\
Wooq~. , "
Caro Factum Est, Hassler (Broude, Inc.); CALL OR
Ave Maria, da Vittoria (G. Schirmer, WRITE
Inc.); Come Let's Rejoice, Amner (C.han-
try Music Press, Ltd.); Psallite, Praetor-
ium (Bourne, Inc.).
II. This is The Day, Peeters; E'en So, 24J WENGER BUILDING
Lord Jesus, QUickly Come, Manz (Con- OWATONNA, MINN. 55060
cordia Publishing House) ; Ohrist Is 507·451·3010
Arisen, Lenel (Concordia); Sing Unto the
Lord, Zimmermann, Choir with String
MARCH-APRIL 1969 17
THE
EXCITEMENT
OF THE TIMES
The America we live in today approaches
the 1970s as a society making exciting
changes in a period of self-assessment and
re-evaluation. Westminster Choir College
is part of it all and looks forward eagerly
to the coming odecade.
Our fast-moving era has given rise to new
developments in technology, social patterns,
and the arts. In the face of them, a college
such as Westminster must remain alert to
its traditional ideal: the personal, artistic,
and intellectual growth of the individual
student.
Simply being a fully accredited, co-edu-
cational college is not enough in today's
world, nor is a four-year progr,!m leading
to the degree of Bachelor of MUSIC or Bach-
I FAIRFIELD CHAMBER
eJo;LOLMuslc_E!;tuAailoJLFlexibility-.f9r the --S-INGE-RS--'F0--APPEAR-A-'F------ _,_~-'--__,_-C.
fluid needs of the 1970s must be our key-
stone.
NORTH CENTRAL MEETING
The visiting alumnus observes many dif-
ferences at Westminster today. In both The Chamber Singers of Fairfield,
conservatory and liberal-arts classroom the Iowa, High School, a group of 20 singers
student encounters new courses and new ap- selected by audition from the choral de-
proaches to standard ones. He learned un- partment each fall, will appear in concert
der new teaching techniques, and he finds at the North Central Division meeting of
a very high faculty-to-student ratio of 1 MENC, whioh marks their fourth invita-
to 6. tional appearance on a Music Educators
The most visible differences are new fa- program. The group has participated in
cilities - a new women's residence hall, district ACDA clinics, workshops through-
new quarters for the Student Union, as well out the state, in concert and as a demon-
as a million-dollar learning center-library stration group for regular and educa-
now under construction. Also, new practice tional TV. Each spring, the Chamber
pipe organs are being installed to bring Singers sponsor a Renaissance Dinner
our campus total to 27. And new studios where they appear in Elizabethan cos-
are being made available to meet the needs tumes to present music of that period.
of a student body that has grown a third Three choirs and several small ensembles
in the past few years. comprise the choral music department at
Fairfield with Music Appreciation and
Unchanging, of course, are the memor- Humanities included in the school cur-
able Westminster traditions, such as singing riculum.
daily in one of our choral groups, perform- Director of the group, E. Jane Ruby
ing with great orchestras, and the off-camp- has her BA degree from the University E. JANE RUBY'
us concert tours by the Westminster choirs: of Northern Iowa, MME from Drake,
The past and the future, then, are here and has done post-graduate work at the
at Westminster today, ideally combined for State University of Iowa. She has stud- Gamma, Minister of Music at the Christ-
the eager young student who is ready to ied conducting with Stanford Hulshizer ian Church, Little Theatre, Art Associa-
take up his training, for a career in music of Drake, Dr. Daniel Moe, University of tion, and Alpha Xi Delta Alumni Asso-
. for a lifetime of service. Iowa, Robert Shaw, and Charles C. Hirt ciation.
of USC, Los Angeles. She has been choral
~
director at the high school and coordina-
tor of vocal music for Fairfield commun- AGO Announces Sowerby Award
ity schools from 1948 and is now part-
time in the music education department The Chicago Chapter, American Guild
Lee H. Bristol, Jr. at Parsons College as director of choral of Organists, announces the establish-
President activities, where she directs the College ment of the 'Leo Sowerby Memorial Com-
Chorale and Madrigal Singers, as well as position Award in the amount of $500.00,
For more information, her groups at the High School. the recipient to be selected in open com-
write today for your She is active in MENC with various petition. The composition must be a
free copy of the cur- offices in IMEA and is President-elect sacred cantata for mixed voices (SATB)
rent 76-page cata- for 1969-1971. A member of ACDA, Dis- with organ (plus optional small orches-
logue. ciples Musician Association, and the tra), suitable for performance. by a choir
Ottumwa Chapter of AGO, she is also in of average size (30-40 voices). Duration
demand as clinician, guest conductor, of the composition must be not fewer
Choir College
Department C
1961, Pi Kappa Lambda, honorary music
fraternity, 1961, recipient of t.he first
Robert McCowan Award for outstanding
contributions to choral music in Iowa,
manuscripts (signed with a nom de
plume) must be received with an entry
fee of $2.00 no later than October 1, 1969.
All entries and correspondence should be
1967, and was nominee for "Teacher of addressed to: John Walker" F.A.G.O., 410
Princeton, N.J. 08540 the Year" Award in 1968. Community South Michigan Avenue, Chicago, Illinois
activities include AAUW, Delta Kappa 60605.
MARCH-APRIL 1969 19
CHORAL INSTITUTE '68
PAUL E. PAIGE agreed ·to underwrite the cost of the in~
stitute, Miss Hillis and her staff, without
History was made last summer, when, guidelines or models of any kind to fol-
for the first time on an organized basis, low, drew up what came to be known as
conductors of choral background and Choral Institute '68.
training were offered an unprecedented First came the schedule. For the con-
opportunity to work with a professional venience of conductors, the Institute was
orchestra. The grand event was called divided into four two-week segments, and
Choral Institute '68, an eight-week insti- split geographically between Madison and
tute held at the University of Wisconsin Binghamton. Twenty-five choral conduct-
at Madison and SUNY at Binghamton. ors attended each session at Binghamton
The Institute was designed to provide (Classical - Romantic;. Contemporary); Working tlwough conducting problem
practical orchestral experience, and to slightly more took part at Wisconsin with Otto-Werner Mueller.
explore in depth the historical aspect~ (Renaissance; Baroque). Graduate and
and analytical techniques which together undergraduate students also registered
provide a model of procedure for accu- for college credit. All activities were
rate and exciting performance of choral open to them except the directing of the
works. orchestra. These included conducting les-
The concept of choral conductors prac- sons, rehearsals, and lectures on perform-
- . .. a ance practices and approaches to the
- and expensive- one, but
it had been in the minds of people like In an effort to cover all aspects of the
Margaret Hillis and Harold Decker for conductor's art, the daily schedule at
many years. Until 1968 the concept re- Binghamton turned out to be quite de-
mained a dream; money for such a pro- manding:
ject was not available. But when the 8 :45-10 :15 Lecture/demonstration on
National Foundation on the Arts and Hu- conducting
manities, the American Choral Founda- 10 :30-12 :00 Lecture
tion, and the two participating schools
12 :15-1 :15 Lunch
Conducting demonstration by
1 :30-2 :45 Lecture Margaret Hillis.
3 :15-6 :15 Rehearsal with orchestra
HERE 6 :15-7 :00 Dinner
MUSIC 7 :45-10 :00 Chorus rehearsal or; David Buttolph of SUNY Bingham-
Saturdays were devoted to a 3-hour ton; and Otto-Werner. Mueller, Univer-
MATTERS!
dress rehearsal in the morning, two hours sity of Wisconsin; and to the superb
of "open critique" in the afternoon with guest lecturers: Wilton Mason, Chair-
Carnegie -Mellon the staff, and an evening concert. All man, Music Department, U. of North
Carolina ("Performance Problems"),
performances and rehearsals with the or-
Robert Trotter, Dean, School of Music,
University chestra were video-taped so that conduct-
ors could study and review their own U. of Oregon ("Aural Imagery in Chor-
College of Fine Arts technique. al Texts and Music"); Julius Herford,
Six major works were performed at U. of Indiana ("Score Analysis"); and
DEPARTMENT OF MUSIC three concerts: (1) Haydn's Creation,' Allen Sapp, Chairman, Music Depart-
(2) Mozart's Grand Mass in C Minm', ment, SUNY Buffalo ("Aesthetics in
INSTRUMENTAL K. 427, and Berlioz' VEnfance Dtt Style").
VOICE CI11'ist; (3) Webern's Kantate No.1, Much emphasis at Choral Institute '68
Hindemith's Apparebit repentina dies, was placed on "team" work. Faculty
COMPOSITION and Stravinsky's Sym.phony of PsalmlS. members attended each other's lectures,
TEACHER Choral Institute '68 was an experi- and, in general, tried to relate what they
EDUCATION ment that succeeded beyond all expecta- were doing with the overall direction of
tions. A second one is planned for this the institute. The final session, for ex-
Graduate and Undergraduate summer at Norman, Oklahoma, from July ample, attempted to illustrate the inter-
Degree Programs 25 to August 24. This Choral Institute relationships between score analysis and
'69 will devote one week each to Renais- conducting. While Margaret Hillis pre-
sance.. Baroque, Classical-Romantic, and pared the chorus (so that the conducting
Teaching Assistantships Available Contemporary music. The schedule will students wouldn't fall back into old habits
be lightened somewhat so that evenings at the concert!), Julius Herford led the
FOR ADDITIONAL INFORMATION class into an exciting analysis of the
will be free for personal study and pri-
WRITE: Director of Admissions vate coaching sessions with the conduct- works to be performed, and Otto-Werner
Carnegie-Mellon University ing staff. Mueller took charge of all conducting
5000 Forbes Avenue Credit for the first year's success must assignments.
Pittsburgh, Penna. be given to the inspired efforts of the Mr. Mueller's lectures and demonstra-
15213 resident staff: Sheldon Soffer, Project tions revealed the many ways in which
Director; Margaret Hillis, Music Direct- conductors abuse, thwart, prevent, and
~~ W~ ~ .
~~:OOL'
stimulated within the choral rehearsal
itself by requiring the singers - each a clearer understanding of what sounds
are being sung in the native tongue. COLLEGE
and everyone to be soloists, regard- & CHURCH
less of their vocal talent or quality. The Requiring a student to sing a solo for CHORAL
theory is that choristers who think of a grade may he helpful to the teacher in GROUPS
themselves as singers of solo calibre are determining a valid grade for a parti-
much more likely to become leaders than cular unit of work, and a series of solos
followers. over the span of a student's membership
To implement this idea the choral di- in the choi r is a superior measurement of
rector might well be advised to teach vocal achievement.
some art songs, preferably in Italian, in Those singers who do well in their
addition to the choral literature. The semi-public appearance for the chorus Introducing the
songs can be taught hy rote, if necessary, might be encouraged to take their song
in short sessions that are treated some- to the solo contest. The judge may be- STUDIO
what like class voice lessons, and per- come groggy from hearing twenty reneli- ORIGINAL
haps in lieu of the traditional warm-up tions each of Alma Del Core, Sebbe-n
period. Prohlems of vocal production enldele, and Caro Mia Ben, but his grad- SERIES
such as hreathing, voice placement and ing and criticism will awaken a new from Capella
resonance, phrasing, and purity of vowel awareness in each singer, and the ex-
Swing choirs are sweeping the country.
Every school has one, and many churches
111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111
have found them a great morale builder for
teen-age members.
CHORAL INSTITUTE - "Conductors should· not be seen more
But oh, those old songs that comprise most
than the music can be heard." "swinging" catalogs. Tunes from the '30s,
discourage players from doing their best. "The worst fakes are conductors, auto with dated lyrics and difficult arrangements.
Whether through ignorance of instru- mechanics, and politicians." In response to a general SOS from con-
ments and the score, or insensitivity to "It is the conductor's fault if at least ductors throughout the country, Capella
music and human beings, conductors can half the orchestra hates him." proudly presents the Studio Original Series.
- and do - force music to go in ways "The bar line should be seen but not New songs, written in 1969, especially for
contrary to what the players know it heard." swing choir. Arranged for realistic rehear-
"Players don't react to beating pat- sal requirements by Bob Burroughs and
should. Directing his ire toward choral James Cram.
conductors in general (and his class in terns; they react to what reflects the
music." Try these two titles:
particular) Mueller observed that "the
second violinist can read his one line of "When does the music start? When THE FAIR!
music better than you can the full score. you walk on the stage!"
by Don McAfee & Richard lamb
This m1tst not be /" "Music is not written for the conduct-
If your group liked "Up, Up & Away",
It is impossible to capture in print the or's arm. Our conductor's arm must nev- they'll love this I
vitality, wit, insight, and tenacity with er be in the way."
which Mr. Mueller adhered to the goal "Conduct as little as possible; as much ANGIE
of "honesty to the music and the musi- as necessary." by Mark Best & Philip Craik
cians." Over and over again he would "Never take the first statement for Wistful as "Windy", a beautiful ballad
say, "Don't interfere," "Let them play," granted; it is usually explained in the with a beat.
"Respect their intelIigence," and "Don't development."
Write for sample copies:
make the beat more important than the "The larger the group the easier it is
to get precision."
QCDI
music." His remarks were sometimes
controversial, often profound, and always "Why do musicians not hold out to
quotable. A sampling: full value, or stop together? Because we
"No musician has a right to be in the
profession if he doesn't give the composer
don't conduct the melodic sense of the
note." , FELtA u51c
a chance." And, finally, to a conductor who was 197 CLINTON STREET
"Don't learn by trial and error (only) ; obviously afraid conducting a fortissimo BROOKLYN, N.Y. 11201
learn by understanding your problem." orchestral entrance: "Sock it to them!" :.:
MARCH-APRIL 1969 21
some of the literary giants and adapt
tlH';ir material into some frame of refer-
WITH CHOIR
TWO COMPOSITIONS BY RICHARD FELCIANO
more creative minds of the church who
are really interested in updating congre-
gational song. .
3. \Ve must take a second look at the
':'''''''r."';-:7'''::'':0:-:-:,,'~1
PENTECOST emerging new style of congregational
For unison voices with singing. It is not enough today to think
organ accompaniment and in terms of the organ and choir up front
electronic tape. and the congregatioIf in another room
An extraordinary choral (commonly called the nave of the church)
composition that employs joining together in some great affirma-
the electronic tape, not tion or doxological outburst and hoping
as a gimmick or novelty, that anything of real meaning will come
but as a valid and en- out of this mess! For the most part the
hancing accompaniment. congregation is not led by the choir or
All the sounds described the instrument and the room itself does
in ACTS 11 verses 1-11 not lend itself to a person enjoying what
are here produced in a he's actually participating in. It's some-
most clever and authentic what like attempting to dance while wear-
way. ing a straig-htiacket or
stanClmg on
Chorus Part .................... $ .35
Electronic Tape (not returnable) . .. 5.00 We need to experiment with other
styles of congregational expression. Rog-
er Ortmayer in some of his "services"
GLOSSOLALIA Glossolalia, s pea kin g has reduced congregational participation
Ritual for solo voice, electronic with tongues, is the Latin to clicks, groans, sighs, whistling, and
tape, percussion, and organ.
text of Psalm 150. The stomping of feet. Obviously this does not
work is a "ritual" in
require a great deal of talent to partici-
that the central instru-
ment. the organ, is in- pate. But beyond this I think the appeal
voked from the outset and importance of the so-called happen-
by the others; the organ ings and other such experimental forms
takes aural shape only has been the fact that the individual wor-
gradually, the sound of shiper or participant has felt less re-
its bellows being heard strained in doing very simple things like
before the sound of its standing, moving a bit here or there or
pipes, attaining full uttering some simple sound; rather than
definition only at the having to participate in a rather compli-
end. Sung by baritone or cated vocal display which perhaps should
dramatic tenor, the text be relegated to a trained group that has
is exploited for its phonic had considerable performance experience.
qualities as well as its All of this is the long way of saying
literal meaning, and the that there are many ways for a congre-
effect of .• speaking with gation to participate and sometimes the
tongues" is accomplish- most demanding and least effective way
ed in a striking and in- is what we now term "hymn singing."
genious way. Moreover, I would hope that we would
Score ..................................... $4.00 want to look at the occasion for the learn-
ing and singing of hymns as perhaps
Percussion Part. . . . . . . . . . . . . . . . . . . . . . .. . . . .. 3.00 being better suited to small groups as
Electronic Tape (not returnable). . . . . . . . . . . . . .. 12.00 opposed to the usual mob scene at a
------------------------------- given Sunday morning service. So much
ORDER BLANK of hymn singing in large groups is un-
fortunately so predictable and stilted that
o at no charge Pentecost Sunday chorus part ... (.35) an individual seldom really wants to get
o on approval: Glossolalia score .............. 4.00 out of his shell to sing because he has
o Pentecost electronic tape (not returnable) .. " 5.00 so little distance in which to get caught
o Glossolal ia electronic tape (not returnable) ... 12.00 up in the event before the whole thing
stops and he sits down and closes the
NAME ____________________________________ hymn book !
STREET ___________________________________ Obviously guitars and the whole realm
CITY STATE ZIP_ _ of folk expression is readily available.
Or for that matter we could have another
Il'rIi I World Library 01 Sacrad MUSIC
2145 Central Parkway, Cincinnati, Ohio 45214.
"New Testament" try at unaccompanied
singing. In reality if the choir and organ
aren't leading the congregation anyway,
MARCH-APRIL 1969 23
The Denominational Hymnal and
The eri~i~ in eongregational f]ong
CARLTON R. YOUNG reVISIOn committees have attempted to
provide their churches a broadly con-
The denominational hymnal is basic- ceived book, retaining many previous
ally a 19th century phenomena and func- features, improving the format and add-
tionecl at its best in the days of denom- ing a few hymns and dropping a few.
inational exclusiveness. A particular All denominations have increased the
denomination's doctrinal stance and wor- size and the cost of their hymnals, and as
ship principles were fully expressed in a a result hymnbooks today comprise a
hymnal. Official committees, usually a significant dollar investment.
majority of them ministers, from time to An inventory of the sources of hymn
time reshaped the contents of denomina- texts provided in a typical mid-20th cen-
tional hymnals and dellominational pub- tury denominational hymnal illustrates
lishers sold the new hymnals to a more the broad scope which has been an ideal
or less captive market. The cycle of built into these products. Most hymnals
planned obsolescence was repeated over incorporate generous offerings in the CARLTON R. YOUNG
and over again and provided · a lucrative following categories: . . Car It on R . Young, A ' t e P ro f essor
SSOCla
____mark e:Lf.ox_chUl:ch_pubIIshers.-RymnaL--l.--Evange!tcal--wFlteFs-of----the---18th--of-ChuTCh-Music-Perkins-Sch-o-ol-of-T:lHi-
sales provided the bulk of their income century, Watts, Wesley, etc. ologyand The S~hool of The Arts, South-
until the advent of mass church school 2. Translations dating from the mid- e::11 Methodist University, Dallas, Texas,
literature and supplies and the more re- 19th century from the Greek Latin and dllred<;ts tthe thgradMuatte p:~grsam °df Mstu~y
. ' ea lng 0 e as er VL acre USIC,
cent adventures 1l1to general book pub- German. and is conductor of tJhe Perkins Semin-
lishing. (Elsewhere I have written about 3. Texts of the 19th century church a:ry Singers. He holds the Bachelor of
the process of revision and the content writers Science degree in Music Education from
of the new Methodist Hymnal. See: In- 4 Gospel hymns from Reconstruction tl·he unfivMersi~y of CdintChinnBati hanld the C01-
.' I MId' l . . ege 0 USIC, an e ac e or 0 f 8 a-
fro d llctWn. to t le et W 'Mt Hymma, C. days forward. cred Theology degree, with a major in
R. Young, Graded Press, 1966.) 5. 19th century hymns from Ameri- Church Music, from Boston University
Printing and binding standards were can mystics, Unitarians and transcend- School of Theology. In add~tion, he h~s
. .. . taken graduate work at Umon Theo1ogI-
constant~y uP!5raded: f?ll musIc :dlttons entaltsts.. " cal Seminary, New York City.
(words 1l1ter11l1ed wIth1l1 the musIc), ap- 6. SOCIal gospel hymns beg1l1n1l1g He is Editor of the revised Methodist
proximately the trim size of today's with writers such as Gladden. Hymnal, puhlished in 1966. From 1959-
hymnals became the norm and this for- 7. Post-Victorian English hymns in 1?64, he :vas director of music publi~a-
, . . ' tIons, Aibmgdon Press, The Method~st
I:18:t won out over the words only. or tune partIcular from the Engltsh Hymnal PUblishing. House, Nashville, Tennessee.
11l1e and words only format which was (1906). A member of the Northeast Ohio Con-
so serviceable in the 18th and early 19th The musical content of American fe·rence of Tihe Methodist Church, Mr:
century I b k . d t b d' . _ Young served as minister of mu.sic at
. lymn 00 s cont1l1ue 0 e IsapportlOn Trinity Methodist Ohurch, Youngstown,
About the turn of the century an ac- ately 18th and 19th century. Recent minister of music at Cleveland Heights'
commodation was made in some den om- editions, however, have included some 'Dhe Church of the Saviour (Methodist),
inational hymnals to include a Psalter, tunes by contemporary composers and a;td was a teach in?, fel~ow in Choral Mu-
. . . d .. f I Id . I SIC at Boston Umverslty. He has' also
other BIble readmg:s, prayers, rItes, an representatIve mUSIC rom t le wor WIC e ta:ught music in the Hamilton County
services. The point of course being that folk sources. Hymns from Asia and Afri- Public Schools (Ohio), and has directed
worship services could be more efficient- ca and now even from the American choirs in Medfor·d and Cambridge, Mass.
ly conducted out of one book rather than frontier offer the only distinct break Mr. Young has served as secretary of
. . fl' I I 1" I I d h the National Fellowship of Methodist Mu-
two or three. Other denommatJOns e tWIt 1. t 1e trac ItJ?na 1ymno y of t e two sicians and is a member of Phi Mu Alpha
another pressure; that pressure was pro- prevIous centunes. Sinfonia. His professional activities in-
vided Iby the music of the revival as it There are few who would dismiss the clude many published choral composi-
came to rest in the repertoire of local importance of the denominational hym- tions, articles contributed to leading de-
c . • I I I I . . d I. I nominational and professional periodi-
congregatIons .. UltImate y t 1: dem~nc )y nal as. It. has provI~e a common ~e lIC e cals, and is a f~equent lecturer and
laymen that thIS type of mUSIC be 1I1c1ud- for smglllg, teachJ11g and learn1l1g of choral director in Methodist and inter-
ed in the denominational hymn book was hymns in the context of traditional pat- denominational choral festivals and
realized. tel'ns of 19th century worship and Christ- training sessions. He is director of music
. . . I . for the 1966 and 1968 General Conference
Narrow sectional denominatIOnalIsm tan ec ucatIOn. of the Methodist Church.
reluctantly waned. Family groups, for ex- In recent years both worship and In 1966 'he received the Distinguished
ample the northern and southern wings Christian education have been moving Alumnus Award from Boston University
of the Methodist Church, worked towar~ls awav from traditional patterns and forms, WschhOO! ofMTthheOdl?gy aMnd iSylisted ih~ W~of's
.,. ., . .. . . 0 In e 0 Ism. r. oung, IS WI e,
U11lftcatIOn. Their fIrst efforts, sIg11lfI- methods and styles. These changes III and four children reside tn Dallas.
cantly, ""ere at the point of agreeing upon themselves have been sufficient enough
a common hymnal. This trend has con- to threaten the idea of the indefinite
tinued until very recent times and is maintenance of a large inclusive denom- for YOllng Christians (Published by
reflected even to~lay in the proposed work inational hymn book. The ultimate threat Friends of the English Liturgy) which
of the Lutheran churches of America in has been posed by those who have re- utilizes the folk idiom exclusively. Others
the shaping of a common hymnal. jected the hymnbook and have resorted have taken' the questionable route of re-
In this century, increasingly, hymnal to the use of sources such as the Hymnal producing copyrighted pages from a wide
MARCH-APRIL 1969 25
NOTES OF INTEREST THE DENOMINATIONAL -
Dr. Daniel Moe, chairman of choral ac-
tivities at the University of Iowa in Iowa ship anel education; (2) as such, this
City, was recipient of the Robert Mc- presents a problem of style and function
Cowen Memorial Award, sponsored by and does not logically lead to a discard-
the Iowa ACDA chapter, at the recent ing of congregational song as a category
IMEA Convention.
but really to a reformation and a re-
-***-
The Northwest Iowa ACDA spring definition of style and function.
dinner will be held April 19 at Ken-a-Bob In conclusion, I will set down what I
with the remainder of the session at the consider some guidelines as we proceed
storm Lake, Iowa, High School. Guest in this reformation of congregational
speaker for the occasion will be Dr. W.
Douglas Pritchard, head of Choral Af- song.
fairs, ~tate Univ~rsity of Iowa at Ames, 1. Congregational song has a future
who Will be assisted by the Chamber . I . . . A. New Choral Collection
Choir from Boyden-Hull High School 111 t lat It has a past. This IS to say that
Hull, with David Van Sickle, director: we never quite hegin afreSh in whatever
The topic for the evening will be "Cre- we're doing. It is almost overpowering CHORAL PERSPECTIVE
ative Historicism in the Choral Music of to consider that we have available to Compiled by Don Malin
Hugo Distler" which will be the out- .' ,
growth of his doctoral thesis in 1966. work with about 1600 years of hymn
_***_ writing and compilation. Now many of • A rich and varied repertoire of choral
Knut Nystedt, one of Norway's out- these hymns exist in 17th, 18th and 19th works, representing a cross-section from
standing composers and choral conduc't- century language, yet they could be trans- the Renaissance to our own times.
ors will be featured in lectures and per- lated into contemporary symbols and pro- •. .
formances of his music during Northern. . . . . Eighteen composers represented Include
Illinois University's Scandinavian Music Vide a real COl pus .of reh~;tous expressIOn. Palestrina, Purcell, Bach, Handel, Mozart,
-----Week-Mal'ch-16-23--at-DeKalb,"-Illinois.---Qne-example_wilLsufftce.-A_good"_case----- --Ha,>,dn-Brah-nrs-Dellb-;Joib-"Stc'-rer-~Hld-
-***- in point is the translation of the Clement many ~ore.' "
At the January luncheon meeting of hymn (ca. 200) traditionally titled "Shep-
the Florida ACDAchapter, Kenneth R. herd of Eager Youth" now retitled in • An aid to studies in the Humanities and
Marshall, Ohoral Director at Brevard tl tIt' b' K d' k G b I excellent for illustrating the significant
Junior College, Cocoa, was unanimously le new .rans a IOn y en rIC ro.e
approved as Chairman Elect for the Flor- as found 111 hymn 84, the new Methodist types of choral music and the different
ida organization to succeed present Hymnal, "0 Guide to Every Child." The styles of important composers.
Chairman Donald Bisdorf following his first stanza of the unrhymed poem will (SATB) $1.95
term of office which concludes in 1970.· tl I'd f h D
By moving the election of the new state give you. le. gene:a I ea 0 w a.t r.
chairman ahead one year, a smoother Grobel did with thiS Clement homtly:
changeover and continuation of coordin-
o Guide to every child of thine, to un- Choral Overtures
ated activities will be achieved.
tamed colt, the bridle, arr. by Chuck Cassey
-***-
Six outstanding leaders in the music To bird in flight, controlling wing, to
world, Goddard Lieberson, President, periled sailor, rudder;
CBS Columbia Group; W. McNeil Lowry, CHORAL OVERTURE
We'll follow thee, a King's own flock,
Vice President, The Ford Foundation;
And praise in all simplicity
from 'George M!'
Arnold Gingrich, Publisher of "Esquire";
Charles Gary, Executive Secretary, Music The Guiding Christ, our shepherd. A ro~sing medley of Cohan songs from the
Educators National Conference; Hy current Broadway hit. 1neludes, Give My
Faine, Executive Secretary, American N ow this is just one example of what it Regards to Broadway, Harrigan, Mary,
Guild of Musical Artists; Ralph Burgard, takes to recast some of the ancient yet
Executive Director, Associated Councils Yankee Doodle Dandy, Rose, 45 Minutes
of the Arts; were featured during the very lively writings of the church fathers. from Broadway.
winter session of bhe National Music We could of course extend this whole en- (SATB) 75c
Council held Friday, February 21, in List terprise into the. Bible itself including
Hall of the Metropolitan Opera House at the Psalms and Canticles. Is it out of
Lincoln Center Plaza, New York. Eacih DIXIELAND
speaker presented his special subject in the question to ask why the several de-
relation to arts in general: Communica- nominations and now the Roman Catho- CHORAL OVERTURE
tions, Mr. Lieberson; Fonndations, Mr. lics have simply accepted the earlier
Lowry; Business Obligation, Mr. Ging- translations of the Greek, German and The exciting beat "of Dixieland jazz, brightly
rich; Education, Mr. Gary; Labor, Mr. arranged for choral groups. InCludes a full-
Faine; Arts Programs, Mr. Burgard. Latin hymns without attempting to re-
throated medley of Original Dixieland One
-*-l(.*- cast them .into contemporary language?
The Early American Moravian Music We haven't felt so constrained about
Step, Jazz Me Blues, Blues My Naughty
Sweetie Gives to Me and Ballin' the Jack.
Festival will be held from June 16-22 in Bible translation or, indeed, the Book of
New York City under the musical di- Common Prayer or its equivalent. I • (SATB) 75c
rection of Dr. Tl10r Johnson. Consisting
of workshops,seminars and concerts of would suggest that we get to work and
sacred and secular music, the festival is make some new hymns out of old. For more information
open to anyone regardless of religious
affiliation. This will be the ninth of a 2. The reformation of congregational write to Dept. DM 134
series of biennial festivals started in 1950. song has to do with the possibility of
Frederick Swann, Director of Music and paraphrasing some of the great contem-
organist at the Riverside Church, will porary literature. Each year in my hym-
conduct a workshop on organ; another
MARKS MUSIC
on "How to Sing" for church choirs and nological class at Perkins one of the re-
directors will feature Alec Wyton, Mas- quirements is for each student to either
CORPORATION
ter of the Choruses and Organist at the paraphrase scripture or some other text 136 W 52 st., New York, N.Y.
Cathedral of st. John the Divine and a and versify it for congregational singing.
third will bring Lee Bristol, President
of Westminster Choir College, Princeton, Some students have attempted to take
New Jersey. A further announcement will the words of Malcolm Boyd, for example,
appear in the next Choral Journal. and other contemporary writers including
MARCH-APRIL 1969 27
Francis Poulenc's ~~Tenebrae Factae Sunt"
LARRY A. CHRISTIANSEN
A composer of exceptional interest to most choral di- altered at the turn-like figuration on the fourth and fifth
rectors is Francis Poulenc. A highly individualistic composer, beats. Also, the dynamic level has been drastically reduced
Poulenc's peculiar choral style most certainly warrants ex- creating an echo effect. In example No.3 the repetition is
amination. The motet, Tenebra,e Factae SlI.nt, reflects the an octave lower, at a lower dynamic level, and has a differ-
basic characteristics of Poulenc's music and will serve well ent harmonic resolution.
to illustrate his choral style. 'The melodic structures throughout this motet are pri-
Tellebrae Factae S1mt is the third of the QUATRE marily of step-wise motion and short duration, often only
MOTETS POUR UN TEMPS DE PENETENCE (pub- one measure long. Frequently, the melody is doubled at the
lished in 1938 by Salabert). The motet is based on the octave below as in example No~ 1. There is but <;me example
following text: of imitation (Ex. 4), the rest of the work being homophonic.
Tenebrae factae sunt, dum crucifixissent Jesum Judaei: The tonal center of B minor is evident throughout the
et in circa horum nonam excamavit Jesu voce magna: motet. It is sustained as a pedal point through the first line
Deus, meus, ut quid me dereliquisti? of text and each succeeding line of the text ends with either
Et inclanato capite emisit spiritum. an F sharp major triad or the open fifth, F sharp - C sharp,
Exclamans J esu voce magna, ait: functioning as a dominant to the following phrase. This, of
Pater in manus tuas commendo spiritum meum. course, is also an important unifying factor.
Et inclanato capite emisit spiritum.
~~~----.------- 'I'er-tian-stFuetures-are-the-basic-harmonic-materials-of
Each successive line of this text is set to new music with this motet; however, to the words "exclamavit Jesu voce
one exception: line seven of the text, being the same as line magna" (Jesus cried out with a great voice) "sharp" dis-
four, is set to the same music as the fourth line. This repe- sonances are employed pointing up the anguish of the text's
tition creates a cohesive unity which is frequently absent in meaning. It is at this point that the only example of a
through-composed works. rhythmic pattern other than simple duple divisions occurs,
Another way in which structural unity is achieved in further amplifying the prominence of this phrase (Ex. 5).
this motet is by the immediate repetition of a phrase (Ex. Peculiar to Poulenc is the abruptness resulting from
1). This device is employed frequently in this motet. Most short phrases and their immediate repetition. This, com-
often the repetition is subtly altered to avoid predictability. bined with his lyrical melodIes and tonal security, accounts
In e;xample No. 1 the repetition has some different pitches for the fresh yet performwble nq.ture of Poulenc's choral
and is one beat shorter. In example No.2 the pitches are music.
Example 1
~ 1'P rf
Example 2
I jf , '~,'- 19
:I; I· ~q-
ff ' "
•
~
Example 3 Example 4
;- .... . p
f:l::I r-
PIe 5
Exam
tt .. - .:
'5t
..-.:::r .-- ---=- " I) - c:..1:. ''''1lL -. 'l!.\ I<. "
e:t
J.
- ("'1 <4.
..It
- .'\'IAo
}.
l1'j+-~-1f-Tfi~ii
j. ,1.\:.
:-$ ...1
#f"\
~:Jti...tt-L
A
11:.e-
'fir
The above examples are reproduced with the kind
permission of Editions Salabert - Paris.
MARCH-APRIL 1969 29
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~, .~ ~
C. F. PETERS minutes, 45 seconds. Con Moto. excellent material for introits. sentences,
No.6. Alleluia, 6617_1~,_?J1QL;LminJlteEl, responses or short anthems. The __ten
---~Alexander-Tcherepnin;-Six-L;turgical' . i5 seconds: --,- Largamente, animato, sos- pieces for a cappella choir, or choir with
Chants >for mixed VOices, a cappella, Opus tenuto. organ, are about usual hymn length and
103. Available separately, price for 8111 six are clearly edited. Five oof the Psalms
is $1.75. Total performance time, approx- CONCORDIA are also available for TTBB in a colle{l-
ima~ely 19 minutes. English translations tion called Five Psalms f.or Male VOices,
by Jean Lunn. Felix Mendelssohn (ed. David Nott), No. 98-195.
T.hese pieces will be musically rew81rd- In Deep Despair I Call to Thee (Aus
ing for the mature choir than can sus- tiefer Not), Opus 23. No.1, 97-4857, $1.50. PALLMA
tain pitch and tone quality through a This is one of the rela.tively unknown (Sole distributor: Kjos)
number of passages that require the ut- works of Mendelssohn's youth, written in Sanctify the Work of' our Hands, by
most concentration for p'roper intonation, 1830 when the composer was twenty-one George Brandon (Ed. PC 776, 25c) is a
and passages Which lean heavily on per- years old. Aus tiefer Not is the first of simple anthem, scored for organ accom-
cussive vocal effects and repeated melod- a set of Three Chur{lh Pieces comprising paniment, which should prove a worthy
ic notes. Great contrast is found in oc- Opus 23. If the other two of the set, Ave addition to the church choir repertory
casional sudden moves, from quiet, slow, Maria and Mitten Wir are of the quality for those occasions when a good big
almost sweet sections ·to thunderous dis- of Aus tiefer Not, then it would seem sound is needed and numbers of voices
sonant repeated chords. The works in- fitting that the entire group be made are short. The lines are clean, the
volve considerable use of mixed meter available for performance, unless t'h~s rhythms vigorous, the melodies interest-
and rapidly ohanging harmonic patterns, has already been done. (Grove's lists the ing, and the judicious use of doubling
most 'of which are inventive enough to entire set as unfinished and the intro- insures that the piece will "sound."
satisfy the musically alert singer. Appro- ductory comments to this edition do not Brandon, in his arrangement of No
priate for a "high church" service, the mention the other parts of the group.) Pomp, No Earthly Beauty (Ed. PC 775,
works maintain an austere quality In Deep Despair is a motet in five sec-
tions based on an imitation of the Bach 25c) uses compositiona,i techniques simi-
throug.hout. lar to those found in "Sanctify the Work
style. The opening and clOSing stanzas
Many choirs which might not have the are chorales on the same theme. stanza of our Hands." The anthem is especially'
forces to tackle the entire set may find three is an aria for tenor or soprano appropriate for Lent and poses no tech-
individual pieces suitable for its needs: which, according to Mr. Nott, ,could con- nical diffi{lulties.
No., 1. Oherubim Song, 66177a, 30c; 4 ceivably be omitted. The motet may be MUSIC PRESS,
minu.tes, 20 seconds. Two sections. slow performed unaccompanied if the continuo TUSKEGEE INSTITUTE
and fast. is not desired. The work is one which
No.2. 0 My God, I Cry to Thee, 66177b, will receive a number of performances in I Wan' to be Ready, set by William L.
30c, 4 ,minutes, 15 seconds. the near future, as it is excellent music Dawson (No. 127, 35c) is a mixed choir
and within the technical range of most (with divisi) arrangement of the tradi-
No.3. Light so Tender, 66177c. 30c. 3 choirs.
minutes. 5 seconds. Slow. tional spiritual. As one has come to ex-
Robert E. Wunderlich's edition of Ten pect of WiHiam Dawson, the work is
No.4. Prayer to the Holy Spirit, More Psabns by Heinrich Schuetz (Beck- well-done musically and is one Which di-
66177d, 250. 1 minute. 15 seconds. Moder- er Psalter, 1628) is a collection which rectors looking for new treatment of
ato. should be received warmly by church spirituals would do well to look into. Ar-
No.5. Tmnsfiguration, 66177e. 30c, 2 choir directors w.ho need additional short, rangements for TTBB (No. 128) and
MARCH-APRIL 1969 31
CHORAL REVIEWS ing") combines a ·hunting effect with the sible flaws, this music, if carefully re-
familiar "fa la la's" of the balletto. In hearsed, will definitely "sound".
number three, "La Bellezza", the range
chestra parts, from $5.50 - a full score is in the lower ·part of the voices. There FRANK MUSIC CORP.
is available). is also a possrble error in musica ficta,
Beginning with a series of chords util- since the soprano part on both pages 13 Days of Glory, by John Cacavas, SATB
izing modal har.mony, the composition in- and 14, on the word "foco'" seems to lack divisi chorus with snare drum or band
cludes an unaccompanied section (with a B-f1at, especially when compared with (Choral score F591, 30c; band parts from
cued instrumental parts), a chant using other sections of the music. $7.50).
the words~ of ·the Lord's Prayer, and a A good setting of this movie theme. A
presentation of the Doxology, among its Ich stund an einem Morgen, four set- whistling chorus is found at the begin-
other choral devices. It is extremely well- tings by Senfl, edited by Jean Berger, for ning. T·he drum part is included as part
written, without excessive difficulty, but chorus and miscellaneous instruments of the choral score.
requires a good ear on the part of choir (Lawson-Gould, No. 51162, 75c).
members, since several sections have sud- The first two, SATB and SATBB, are La Bella Roma, by John Cacavas, SATB
den harmonic and enharmonic changes. best suited for mixed chorus, since the divisi chorus with band or orchestra
Length of performance exceeds four difficulties of t.he last suggest the need (Choral score F561, 30c; band and or-
minutes. for soloists. The first setting would also chestra parts from $7.50 - condensed
seem to sound better without instruments. conductor score only.)
For something of substance for your In both cases suggestions are given for Very easy. An excellent sound whether
spring concert, try: Six BaIletti, by Gas- the use of instruments, either doubling with band, orchestra, or piano. Editing
toldi, .sSATB chorus with recorders and a part or substituting for a missing voice. will be required because of instrumental
strings, (Ed. Peters, Set I, No. 6877a, 40c). A viola could be used in no. 1, while two doubling. In a ballad style, there are few
This \'ldition, ·by Harold C. Schmidt of wind instruments would fit no. 2. syncopated sections.
Stanford University, presents several new In both of the previous instances, no
numbers by this late Renaissance com- We're Thr.ough, by Phyms Williams,
parts are furniShed and the director will mixed chorus with bass, guitar, and drum
poser. The music is excellent for a mad- need to extrapolate whatever parts he
rigal ensemble. All parts lie comfortably set (Choral score F634, 30c, includes sep-
may wish to use. This is in the context arate instrumental part).
within the individual voices. The choral of accepted Renaissance practice.
parts are only in Italian, although a This is one of two vaudeville-styled
~-----translaUon-accompanies-~-the-musi-c:-Sug-~-------~~~--+-~.--.~------''-- ----compositions-~--~(t:he--other~-is--"This--is--an
gestions for performance with instru- Opening" - a number which is less suc-
ments are mentioned, but the manner of The following will add an interesting cessful), designed to begin and end a
presentation is left to the director. The touch to your spring or "pop" concert. program. One can imagine the straw hats,
first one, "II Bell' Humore" is familiar canes, and red-and-white stri.ped jackets.
in other editions, while the second one, LAWSON-GOULD T·here is even a built-in reprise. The in-
"Caccia d' Amore" (Qr "Love Goes Hunt- strumental .par.ts are not cued in the
Demon Rwn, by J. F. Reeves, ed. by choral score. Excellent for certain kinds
Walter Rodby, for SATB chorus with of ~ programs.
piano, bass drum, and tambourine accom-
paniment (No. 51415, 30c). * * •
The Original Commemorate the 50th anniversary of Finally, a miscellaneous item recently
~q~i~
the Volstead Act with this salute to the published for use in church.
joys of a non-alcoholic existence. Humor-
ous, with an authentic sound. A possible Twelve Folksongs and Spirituals, arr.
soprano solo may be used. by David N. Johnson, for unison or mixed
voices with flute and/or guitar accom-
Dance, Gal, Gimme the Banjo, by Rob- paniment (Augsburg, Ih9505, $1.00).
ert De Cormier and Eric Weissberg, for Other than the fact that this collection
SATB ohorus and small instrumental en- ought to be pitched at least a third hi-g.h-
semble (No. 51243, 35c).
<Babrirljfaurr ~
Very l'hythmic, with somedivisi ·pas-
sages, this resembles a dance tune. Two
er, the parts for both instruments are
well-presented. The songs may be sung·
THE PERFECT MUSICAL OFFERING FOR in unison or in four or five parts. The
Lenten, Palm Sunday, fugal sections are found in the music. No music is arranged in typical hymn-tune
and Memorial Services actual parts are shown, but flue, clarinet, style. Guitar fingering is also included
banjo, and accordion would provide an in the music. -Burton A. Zipser
with Latin and English Text by excellent accompaniment.
MACK EVANS Raise a Ruckus, a post-Civil War Negro
folk song, arr. by Robert De Cormier,
Vocal Score .... complete $ 1.25 mixed Chorus with baritone (or tenor) MIXED VOICES
Chorus Parts .......... Each .60 solo (No. 51277, 40c). Warren Benson, Love Is, Eng. text,
Full Orchestral Score .... $10.00 Much simpler than the preceding work, MCA Music, two 8-part choruses and ST
but with the same vitality. Piano, banjo, soli. (brief) a cappella, 14 pp., 40c, D.
Harp part $2.00 accordion, and some woodwinds could be Donald Keats, anyone lived in a pretty
(from the orchestration) used for accompaniment. Again no parts how town, Eng. text (Cummings), Boosey
Organ part $3.00 are shown or are available. & Hawkes 5647, .sSATBB a cappella, 15
(from th£. orchestration) pp., 35c, D.
NEIL A. KJOS
Rental materials supplied only WaI'ren Benson has produced an im-
direct to the Performing Relax!, by Paul Yoder, mixed chorus aginative setting for May ,Swenson's
Organization. (Choral score 5253, 40c, including a per- poem, "Love Is." The music consists of a
Orchestratfon Includes Full Score, 2 cussion part; with band B-190, from $6.50 series of loosely connected sections, each
Flutes, 2Bb Clarinets, 2 Bassoons, 4 '--'band score includes no choral parts or
Horns, 2Bb Trumpets, 2 F Trumpets, devoted to one line of the text. At vari-
3 Trombones, Timpani, Harp, Organ cues; condensed score only). ous times the two choirs interpenetrate,
and Strings. An excellent encore number, this piece move against sustained chords of the
All orders should state string re- may be performed either with piano and other, appear alone, and, at one point,
quirements and give the date or one percussionist (.playing bongo, guiro, .... combine male sections in a brief l'hyth-
dates of Performance. and cowbell) for which a part is included, mic pedal. Texture varies from thick
or with band, in which case a few prob- polychords to single notes. There is little
Text ........ per hundred $ 5.00 lems occur. First, there is no choral part musical imitation, but single words, and
(Latin and Eng-l1sh) - printed (j) side in the condensed score, nor are there any even parts of words, occasionally appear
Orchestra parts available on cues. A few sustained choral passages out of context, to linger in the mind as
rental from the (pages 3, 9, and 13) may not sound well the music slowly unfolds. A striking ef-
with the band instrumentation used. Also fect is achieved with the continuously
H. T. FitzSimons Co., Inc. one or two places in the work may not staggered entrances and exits of the in-
615 N. LaSalle St., Chicago, III. be clear because of the instrumental dividual vocal lines. The music is in open
doubling of the voices. Despite these pos- score.
~haw;e~ess
Shawnee A-985, SSATBB a cappella, 4 Here are three challenging and stimUlat-
pp., 30c, ME; Seaweed, Eng. text (Long- ing tunes within one piece. They are
fellow), Shawnee A-995, SSATBB a cap- well written. The rhythms, harmonies
pella, 7 pp., 30c,. M. Both have piano re- and sounds might interest you. The text
ductions. is from the Chinese Book of Songs. Col- for outstandingly useful
lege level material; also a prize winner
Houston Bright's music, which emplo:ys
in the above mentione·d contest.
harmonic resources of pre-1900 vintage,
is rather charming. Midnight Hours, writ-
ten in simple ABA~codetta form, opens
with a brief semi-£mitative passage which
HERITAGE MUSIC PRESS
501 East Third Street
CHORAL MUSIC
quickly coalesces into familiar style. Sea- Dayton, Ohio 45401
weed is more complex - ABCDEB -
and includes contrasting sections of Shall I Compare Thee to a Summers' Send attached coupon today
ground bass, Ug'ht staccato, imitation, Day?, a madrigal for mixed voices, a ca.p- for catalog at no charge.
etc., which lead to a big climax, then pella, Don McAfee, 30c, H 19. My, 0 My!
quietly subside. For high scliool choirs. What a fine, tender ,setting by Mr. Mc- _ _ _ _ liliiii - - - I11III . . " "C-::3~6':1
Afee! Surely he was akin to Shakespeare.
<l)O~!~~~;~~~P~~~' ~~3~:
The novelty number of the month is This was taken from Sonnet 18, and
Nevett Bartow's The Tower of Babel,
says just what it is supposed to say - in
Eng. text by composer, Shawnee A-l002,
a contemporary style. This is good spring
S(S)ATB(B), piano and four percussion
concert mate·rial for chorus or madrigal
players (2 timpani, snare drum, gong, Please send at no charge the latest
group. Get this!
tam~am, glockenspiel, xylophone, and Shawnee Press
wood block), 38 pp., $1.25, M. o Freedom, GUbert Martin, SATB,
This 12-minute cantata is in four move- piano, 35e, H20. This is a fine setting of CHORAL CATALOG
ments, each having its own tempo and an old slave song, which exemplifies in
the text the spirit of the Negro in the Narne __________________________
emotional level. SpeCial effects abound,
in both the accompaniment and chorus. days of slavery. It is exciting, and the
Address _____________________
The "Finale", for example, concludes with accompaniment is very good. High school
the singers " . . . yelling furiously in any ohoirs will like this one and it is worth City _______________________
language, shaking fists, scowling at each your attention. Rhythms will need to be
other, etc.," creating a "sound" remin- very clean and precise - but you can State Zip _____
handle that!
iscent of Gregg Smith's Campaign '68.
Tower of Babel should have great appeal
at the high school level.
-Paul E. Paige
Proclaim Liberty, SATB or TTBB,
with optional speaker, chimes or bells,
and piano, Frederick H. Williams, 30c,
"... "_"_" ___ IIIIIIIIIIIIIiII_." ~
MARCH-APRIL 1969 33
CHORAL REVIEWS - all sorts of engagements, from the ladies'
Thursday evening impromptu up (or NOTES OF INTEREST
down, to eaoh his own regarding taste CORAL GABLES, Fla. - Dr. Lee Kjel-
an excellent work for the unusual and here) to the annual hi-county glee club son, chairman of the department of mu-
creative musician. If you like to "hide" contest, or thereabouts. With all of these si~ education at the University of Miami,
your choirs or do antiphonal work, this SCintillating events uppermost in my con- has been named musical director for The
one would fit in nicely and there aren't sciousness, I offer for your consideration American Community Singers' 1969 Con-
too many of this kind. T-his work is ex- the following new releases: cert Tour of Europe Aug; 3-25. The choir
citing, interesting, and worth the effort Two by M-ozart from AMP. This would wili visit Switzerland, Germany, BeJ.gium,
- it isn't difficult and you should be be a good year to do a nice sorta major ~he Netherlands, England and Scotland.
able to knock it out without too much piece by our friend Wolfgang, being the
trouble - but it is rewarding. ninetieth anniversary of his bar mitzvah, -***-
The Chicag'O Chamber Choir and the
An Easter Introit, SATB divisi, brass, or something (depending upon your pro-
organ, Richard W. Slater, 30c, S 39. This gram notes - I like mine rare, with Chicago Chamber Orchestra have sched-
is a very fine work, with brass parts in- mushrooms), and either of these looks uled a joint concert for Sunday, April 20,
cluded, and in the right keys! It is ex- fine. First a Missa Brevis, KV 220, SATB when they will perform Mozart's Ves-
citing and worthy of presentation. It is with two Violins, two trompeten, tympani, perae Solennes de Confessore, directed
medium difficulty and a very fine work. bass, und orgel (if you don't have an or- by Dieter Kober. The concert is at 3:30
gel, try a flugel, or a fliegel - the effect p.m. in the Museum of Science and In-
Easter - Folk Style, a folk cantata by is wierd), Edition Breitko,pf Nr. 6580, dustry. T,he Chicago Chamber Choir
Rosemary Hadler, for unison or two-part $2.00. Seriously, this is a very nice lyrical under its director George Estevez, will
choirs with optional guitar chordings, piece that the good college group would perform the Pater Noster and Ave Maria
piano accompaniment, $1.50, 48 pp., Lor- find delightful, and it could easily be per- by StraVinsky and Matona Mia Cara by
enz Publishing Company, 501 E. Third formed with keyboard alone. Right along- Lassus. No <admission will be charged.
street, Dayton, Ohio. '!Ihis is another ad-
dition to the growing list of folk dramas,
side we'd recommend Te Deom, KV 141,
SATB with two Violins, bass, and organ.
-***-
Joseph ott's Matrix i l l was given a
folk musicals, and folk cantatas. Miss Slightly less auspicious but still groovy tour premiere by the St. Paul Chamber
Hadler uses traditional Easter carols and Mozart. Oh, yet, Edition Breitkopf Nr. 'Orchestra which included performances
spirituals to base her work. A good idea: 6546, $1.75. And as we all know, Breit- at Carnegie Hall, Dallas, Albuquerque,
there is a separate page listing guitar kopf is distributed stateside by Associat- Atlanta, Memphis, St. __ Paul,~ well as
----'c"':tiOi'CIs andpi"ctures Of-fingerings. Tliis ed MUsic Publishers, 609 Fifth-Avenue'; many other performances in coJ.leges and
is good and very adaptable for the be- NYC 10017. universities. Other premie,res include
ginning or progressing guitar player. The Music and the Humanities. You know Matrix I for Band /iiven at Milton Col-
work is not difficult and would be very me, I'm always looking for ways to rein- lege, Wisconsin; Music for Brass and
adaptable to most church situations. force learning in other - (and especially Percussion, Georgia Brass Symposium;
:Notes on performance, at the beginning, related) areas, since the mark of a good and Sancms given by tJhe Milton Co-lIege
give excellent ideas and suggestions as choral man is his ability to relate to the Choir on tour.
to how to use and stage the work. total curriculum, and I see that Associat-
ed has done it again with Four Songs by teenth Century Prohibition Songs, ar-
ABINGDON PRESS Leonard Berkowitz, poetry by ( you ranged by Walter Rodby. Do them both
201 S. 8th Ave. Sonth guessed it) Emily Dickinson. Now old (and if you write me I'll send you a vin-
Nashville, Tennessee 27203 Emily was a gas as a poet, with a good tage parody text on The Star S.pangled
ear for the music therein, and Berkowitz Banner that will make you an excellent
Poverty, M. Lee Suitor, SATB, 30c, lhas set these pieces very nicely, in a set of three - the parody text is legit,
APM-634. Suitor has taken the Welsh contemporary vein but not unduly diffi- too, and really should be a show-stopper)
carol, "0 Deued Pob Christi on" and writ- cult - the advanced high school group, this spring as part of an Americana pro-
ten a most lovely Christmas setting, with particularly the ohamber group, can han- gram. This movement, which began as
full organ score included in the work. It dle it. The poems are all well known: 1. the Temperance movement around 1819,
is easy to sing, but meaningful to con- I'm Nobody; 2. Hope; 3. The Wind; 4. I really produced some wonderful music,
tribute to worship. '!Ihe organ registra- Never Saw A Moor, all for a dollar (25c and Rbdby has done the choral society
tion is left basically up to the individual, each) SATB acap. Just the thing to close a great favor by editing these into print.
with a few suggestions here and there. that tasty spring concert, and worth the The lesser of the two is Sign Tonight,
The accompaniment is very good and effort. SATB with piano, optional bass drum and
complements the work. Dvorak - Stabat Mater. If you haven't tambourine, Lawson-GOUld 51415, 30c.
done a Dvorak choral piece yet, this is Now, let's finish with a nice 'revolution-
Litany of Thanksgiving, John Ness a great place to start: Inflammatus, from ary part-song that will turn your kiddies
Beck, SATB, piano or organ, three trum- the Stabat Mater, Op. 58. SATE with or- on and probably upset everyone. This is
pets in Bb, minister and congregation, gan, here is ,high Bohemian Romanticism Guantanamera, SATB with piano or gui-
APM-711, 65c, 14 pp. Here is an excellent at its most Romantic, and I for one en- tar, Sanga· Music HL 512, 30c. The poetry
work. It involves the choir, congrega- joy this sort of thing tremendously every is by Jose Marti, music by Hector Angulo
tion, and even the minister gets to par- once in a while. Its busy yet nicely sing- and Pete Seeger, and it's been recorded
ticipate. It is well written. 'I\here is chant able, and While it requires a somethin' by everyone from Joan Baez to the Mor-
included to be done by the choir. The else organ picker it can be done by the mon Tabernacle Choir (not really, but
congregation gets to join on the last with good high school group - excellent fare that sure gives me a lot of latitude for
a unison setting to "Now T,hank We All for the -coming Lenten season. G. Schirm- error, don't it?) - really, it is one of the
Our God". er No. 11583, 35c. better Latin folk songs around today and
Let Us With a Gladsome Mind, Eugene Another top-flight Lenten piece (text- this setting is nicely conceived: predom-
Butler, SATB, organ, APM-659, 25c. An- ually, at least, I feel) is the William inately Spanish, but with spoken solo
other excellent anthem by Mr. Butler. It Boyce Verse Anthem, By the Waters of lines in the middle. The poetry makes a
is interesting, easy, and with excellent Babylon. Of all the psalm texts this is nice closing thought for us all:
accompaniment. 'I\his one won't be diffi- perhaps the most poignant, and the Boyce
cult, but will ,be liked by your choir. setting is rich in the post-HandeJian tra- I am a truthful man
-Bob Bnrroughs dition of Georgian England, and believe From the land of the palm tree.
me, this period is not too well known at Before dyin.g I want to share
all, in spite of the fact that -there were '!Ihese poems of my soul.
a handful of excellent pieces. Again SATB My poems are light green,
SATB with organ (now you've got that excuse But they are also flaming crimson.
Now that 1969 is upon us and festivals, you needed to reqUisition a used Ham- My verses are like a wounded faun
mond B-3: look at all the organ pieces Seeking refuge in the forest.
spring musicales, greased pIg contests, With the poor people of the earth,
county fairs, and the like are in the im- you can buy), SSATB soli, and it's pub-
lished in the USA by MCA Music, in the I want to share my fate.
mediate offing, it seems appropriate to The little streams of the mountains
scan the offerings of my favorite people Massey College Series, No.5, 50c.
Please me more than the sea.
(my publishers, duly assigned and kindly These two came in a while back and
catalogued) with regard to choral music. I've waited until this early 1969 column n may be a bit far out to us older
If you are like we are you can see al- to review them because I want every- guys, but the kids will dig it. Amen.
ready a calendar completely crowded with body to know they're available. Two Nine.. -Bryan Lindsay
MARCH-APRIL 1969 35
30c, TTBB, four trombones (ad. libitum). are humorous, some s8Jd. They offer some
The Male Glee Club . .. Range would exclude most 'high sohool enjoyable moments. I would recommend
organiz8Jtions from performing this se- you obtain a study score. :.:
RODNEY G. WALKER lection. The composition requires excel-
Music Department lent first tenor section as the tessitura
t~mW:~l~~i:1:~::1:~:i:j:i~{::i;·~:}~:t ~;j:~:]:!;i:l::'~:~?jil;~i;:;:;:~;:iMjl;:;:m~;:;:::j~@3~;:;$t;:fl i:;f::j:~:~~; jili}i;; ;::@~i~
Kansas State University is hig'h for that ,part. Particularly effect-
ive is the manner in which the composer
Manhattan, Kansas 66502
handles the "alleluia" se·otion, which ends Advertisers Index
ilie piece. I would recommend your se-
J. FISCHER & BROTHERS curing a copy of this selection. Associated Music Publishers, Inc. .. C2
Praise the Name of the Lord by P. LUDWIG MUSIC PUBLISHING CO. Augsburg Publishing House ....... 9
Ivanoff, arranged by Howard McKinney, Brodt Music Co................... 27
9166, TTBB, ilnaccompanied. I would rec- She Walks in Beauty by Raymond Capella Music .................... 21
ommend that you write for a sample copy Rhea, 025,25c, TTBB, unaccompanied.
This selection coines from the "Singing Christ Congregational Church ...... 2
of this selection if you are looking for
a good solid training piece for a male Sergeants Choral Series",' T1he rich, har- Carnegie-Mellon University ........ 20
chorus. The selection is primarily homo- monic treatment of the Lord Byron text, Concordia Publishing House ....... 6
phonic and demands sustaining ability on makes an effect'ive composition in this
the part of the singel'. piece. A strict homophonic treatment Educators Music Supply, Inc. ...... 30
with simple rhythmic pa1:iterns make this
FitzSimons Co. ................... 32
Now Winter Fades from Sight by J. S. piece easily performable.
Bach, 9018, 25c, TTBB, accompanied. Typ- Institute of European St'udies .. 4 & 31
ically Bach four~part chorale style, the NEIL A. KJOS MUSIC COMPANY Neil A. Kjos Music Company ...... 2S
voice pavts ride above a running accom-
paniment.This selection is not difficult, Turtle Dove, ar,ranged by Gerhard Mankato College .................. 10
has no range problems, and would be Schroth, 5556, 25c, TTBB, with medium E. B. Marks Music Co. ....•....... 26
quite usable with any high sOOool or col- voice solo, unaccompanied. This is a.rela-
lege ensemble. tively easy sele'otion, however, the ar- MCA Music ...................... 23
. ranger does employ enough rhythmic, . .
-----.C;-F:-FETERS--CORPORATIOW-----ha1:'monic-variety-wlthf.n-th-e-fou;r-voicEfS-·--Meadow--Bl'ook-£chool-of--Muslc--.-.-.--C4
t~ keep interest alive. I should think th~s PaUma.. . ... . . . . . . . . . . . . . . . . . . . . . . 4
Protest and Prayer by Alan Hovhaness, pIece would be usa ble at both high sOOool .
66198, 30c, TTBB, tenor solo and or·gan and college levels. G. Schirmer, Inc. ................. C3
(piano). This composition is in two sec- Shawnee Press ................... 33
tions. The first, entitled Prelude, is de- OXFORD UNIVERSITY PRESS
voted to the tenor soloist, while the Temple University ................ S
second section, entitled Hymn, is for Catches for Men's Voices by Henry C. E. Ward Co.................... 21
four· part glee club. The second section PurceH, $1.00. T'his series of thirteen
as its t'itle suggests, is in the style of a catches could offer some interesting va- Wenger Corporation .............. 16
hymn. riety to your repertorie. The text, all well Westminster Choir College ........ 18
suited for male presentation, cover a wide
Inveni David by Anton Bruckner, 6318, variety of SUbjects. Some of 1:Jhe texts World Library Publishers ......... . 22
CD State Chairmen
Alabama-John M. Fowler Jr .• (C) 1500 Primrose Place, Birmingham 35209 Mississippi-Leonard Metts (HS), P.O. Box 581. Jackson 39205
Alaska-Elvera Voth (C), 610 West 18th St., Anchorage 99501 Missouri-Kenneth E. Miller (C), 5558 Norway Drive, St. Louis 63121
Arizona-Carl C. Wachsman (HS), 215 E. McKinley, Tempe 85281 Montana-Arthur.L. Brandvold (HS). 1417 Avenue D, Billings 59102
Arkansas-Don R. Davis (HS), Box 304, Bald Knob 72010 Nebraska-William Lynn Jr., Kearney State College, Kearney 68847
California- . Nevada-L. Kay Barney (HS), 1216 Reynolds, Las Vegas 89030,
Southern: Willard Schmitt (HS), 9301 Oma Place, Garden Grove 92641
New Hampshire-Theodore W. Garland (HS), 161 High Street, Keene 03431
Northern: Mrs. Mariorie Remington (HS), 1359 Drake Ave., San Leandro 94579
New Jersey-Chester L. Cable (HS), 45 Hopewell Lane, Willingboro 08046
Colorado-Archer Hayes (HS), 2911 Virginia Ave., Colorado Springs 80907
New Mexico-Charles K. Smith, 212 North Walnut, Carlsbad 88220
Connecticut-Charles H. Man (HS), 3 Friendly Road, Norwalk 06851
New York-George F. Reynolds (C), 103 Park Ave., Saranac Lake 12983
Delaware-William W. Young (HS), 312 W. Holly Oak Road, Wilmington 19809
North Carolina-Carl .G. N. Cronstedt (HS), 5636 Preston Lane, Charlotte 28211
District of Columbia-Vito E. Mason, American University. Massachusetts and
Nebraska Aves. NW., Washington 20016 North Dakota-Hardy D. lie berg (HS), Rt. 3, Box 923, Minot 58701
Florida-Donald L. Bisdorf (C), 1741 Idle Drive, Clearwater 33516 Ohio-George E. Wilson (HS), 690 N. South St., Wilmington 45177
Georgia-Haskell L. Boyter (Ch), 1135 Lanier Blvd. NE., Atlanta 30306 Oklahoma-Thomas Shaw (C), 125 Orchard Drive, Chickasha 73018
Hawaii-Robert E. Peters (HS), RR No. I, Box 101, Waialua, Oahu 96791 Oregon-Stephen L. Stone (HS). 8310 SW Leahy Road, Portland 97225
Idaho-James H. Gabbard, College of Idaho, Caldwell 83605 Pennsylvania-George W. Bentel, State College, Slippery Rock 16057
Illinois-Leonard Van Camp, SIU· Edwardsville Campus, Edwardsville 62025 Rhode Island-John C. Higby (HS). 150 Fairway, Wickford 02852
Indiana-Darrell G. Church (HS). 1739 Lake Ave., Whiting 46394 South Carolina-Mrs. Elizabeth' P. Gray (HS), 509 Byron Rd., Columbia 29209
Iowa-Marvin E. Kelley (HS), 1526% Broad St., Grinnell 50112 South Dakota-Robert Ellingson (HS), 1001 East 4th Ave., Mitchell 57301
Kansas-Daniel L. Zollars (HS), 331 East 4th St., Newton 67114 Tennessee-Ronald R. Manley (C), Cedar Springs Rd., Rt. 5, Athens 37303
Texas-Jim L. Casey (HS), 1411 Spur, Odessa 79760
Kentucky-Robert K. Baar, Murray State College, Murray 42071
Utah-Lyneer C. Smith, Weber State College, 3750 Harrison Blvd., Ogden 84403
Louisiana-H. Dorman Clayton (HS), 1708 Horseshoe Dr., Alexandria 71301
Vermont-Mrs. Isabelle Erickson (Supr.), 10 Harvard St., Springfield 05156
Maine-Donna A. Trefrey (Supr.), 34 Gleckler Road, Portland 04103
Virginia-Alton L. Howell (Supr.). 4207 Monument Ave., Richmond 23230
Maryland-Lois M. Rogers (Supr.), 705 Americana Dr., Apt. 57, Annapolis 21403
Washington-C. Jerome Semrau (HS), 1819 N. 135th St., Seattle 98133
Massachusetts-Allen C. Lannom, Boston U., 855 Commonwealth, Boston 02215 West Virginia-Mark C. Aamot, Glenville State College, Glenville 26351
Michigan-Thomas Hilbish, School of Music, U. of Michigan. Ann Arbor 48104 Wisconsin-Harold B. Porter (C), 1316 liberty Street, Oshkosh 5490 I
Minn'esota-Donald Gunderson, Austin State Junior College, Austin 55912 Wyoming-Clarice J. Shubert (HS), 1711 E. 21st St., Cheyenne 82001
WOMEN'S VOICES
THE VIRGIN MARTYRS. (8386) ................................................25
HEAVEN - HAVEN. (A Nun Takes the Veil). (10860) . : ......................... '" .25
MEN'S VOICES
A STOPWATCH AND AN ORDINANCE MAP. Full Chorus and
Three Kettledrums. (8799) ............................................... .30
HEAVEN - HAVEN. (A Nun Takes the Veil). (10859) ...............................20
NEWLY RELEASED
ON THE DEATH OF CLEOPATRA (from "Antony and Cleopatra")
SA TB (11569) .................................................... .30
ON THE DEATH OF ANTONY (from "Antony and Cleopatra")
SSA (11568) .................................................... .30
AGNUS DEI (Transcribed from "Adagio for Strings", Op. 11)
SATB (11486) ......................................................30·
LAMB OF GOD (Transc.ribed from "Adagio for Strings", Op. 11)
SATB (11495) .....................................................30
"This composition is so impressive, so magnificent, so extraordinary, I sincerely
urge a director with a large, capable group to look it over carefully. If the string-
sound can be approximated by voices, this could become one of the great choral
experiences of the decade. The melodic beauty of the composition is gorgeous
beyond description."- NATS BULLETIN.
TWELFTH NIGHT
SATB (11644) ....... 30
TO BE SUNG ON THE RIVER
SATB (11643) ....... . ........ 30
Sample copies of any 10 of the above octavos available to Choral Directors on request.
Please state your position. Address Educational Dept.