CJ - March-April 1969

MARCH-APRIL 1969
T E
Official Publication of the AMERICAN CHORAL DIRECTORS ASSOCIATION

ORCHESTRAL MATERIALS
Score Set Parts I Keyboard
No. 28: Gottlob! Nun geht das Jahr zu Ende (Rejoicel The
Old Year Now is Ended)
·---SATBsol iiSATBchorus-------
2 oboes, solo instrument alto range, cornetto, 3
trombones, strings, keyboard 4.50 B.OO .90 I 3.50
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. 55: Ich armer Mensch, ich Siindenknecht (Poor Wretched

Man, a Slave of Sin)
T solo; SATB chorus
flute, oboe d'amore, strings, keyboard 3.00 I 4.00. I .75 3.00
No. 59: Wer mich liebet (He Who loves Me)

SB soli; SATB chorus
2 trumpets, strings, keyboard 3.00 I 6.00 I .90 2.50
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.
Published by BREITKOPF & HARTEL / Wiesbaden

Sole Selling Agents
Associated Music Publishers, Inc.
A SUBSIDIARY OF G. SCHIRMER. INC.
609 FIFTH AVENUE. NEWYORK. N.Y. 10017
Southwestern Division Chairman Nominees
Northwestern Division
(hairman Nominees
RUSSELL MATHIS RODNEY G. WALKER

University of Oklahoma Kansas State University RUSSEL L. CREASER
Norman, Oklahoma Manhattan, Kansas
Billings West High School
Billings, Montana
111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111
master composers of song and opel'a.

Book Review. Just as a good composer borrows, adapts,
or develops form and format appropriate
CHARLES G. BOODY to his material, Adler has structured his
1248 St. Clair Ave., Apt. 9 small book to combine the impact and
St. Paul. Minnesota 55105 economy of a Mozart overture.
Two organization devices are especially
effective in cutting through the maze of
BOORS RECEIVED
misconceptions which many singers bring
Berger, Donald Paul (cd. and arr.). Folk- to singing in foreign languages. First,
songs of Japanese Children. Rutland, Adler takes special care to describe in
Vermont: Charles E. Tuttle Co., 1969. concise, but colorful prose both the me-
Cloth $6.00. chanical and the poetic distinctions Which
Ferguson, Donald N. Masterworl{s of the characterize those vowels and con.sonants
Orchestral Repertoire. Minneapolis: unique to each language. Second, through-
Univ8I'.sity of Minnesota Press, 1968. out each separate language section he
(Cloth edition 1954). Paperback $3.95. skillfully relates the similarities and dif-
Cloth $12.00. ferences of sounds partially or entirely
Ferguson, Donald N, The Why of Music. common to the Italian, French, ·Spanish,
Minneapolis: University of Minnesota and German languages. T,his accom-
Press, 1969. Cloth $7.95. plished, Adler distinguishes further by
Syverud, Genevieve Wold. This is my carefully describing how the degree of
Song of Songs: Devotions for Church stress or emphasis of a particular con-
Choirs. Minneapolis: Augsburg Pub- sonant varies from one language to an-
li.shing House, 1966. Paperback $1.50. other. This is, of course, the very poetic
REVIEW OF essence of a language and to render this
in clear pro.se in a smal·l paperback book
Adler, Kurt. Phonetics and Diction in is a considerable achievement. RODNEY EICHENBERGER
Singing (French German Italian
The singer's retention of both mechan- University of Washington
Spanish). Minneapolis: University of
ics and poetics of the languages should
Minnesota Press, 1967. Paperback Seattle, Washington
be substantial, because Adler has chosen
$1.95. the examples of each con.sonant and
Adler, Kurt. The Art of Accompanying vowel with great care. Almost a.ll illus-
and Coaching. Minneapolis: Univer- trations are from those places in familiar
sity of Minnesota Press, 1965. Cloth masterworks in which the composer sup-
$9.75. CHOIR HELPS
plied a musical underling of the same
A word which embodies the es.sence, persuasion as Adlers prose intent. Ad- In very soft (pianissimo) passages
philosophy and structure of Maestro Kurt ler's knowing collaboration with Brahms, each musician must not hear himself, but
Adler's slender masterpiece on phonetiCS Verdi, Bizet, Halevy and others thus ,rein fortissimo passages eac,h must hear
and diction is "impact". ,Say it slowly; duces the number of pages of this book the others. -Arturo Toscanini
repeat it with emphasis; then turn to to a practical minimum.
Adller's phonetic guide which combines Although many successful and experi- The best choir singer is the one who
near total descriptive accuracy with the enced studio teachers may not find all can produce the strongest tone without
same aesthetic feel for poetry whiClh de- their individual vowel 8ilteration devices being heard above the rest.
termines the musical underlining of mentioned, Maestro Adler has achieved -F. M. Christiansen
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
tongues and Herr

were, in eadh instance, borne
good majority. Left to right: Dr. Gordon Johnson,
The reader who wants a one page key
HOWARD HANSON PRAISES USF Symposium Chairman; Allan
to give out to his preparatory or "B" Blank, composer from Paterson State
choir, should be warned that a book of
PARTICIPANTS IN College, Wayne, New Jel'sey; and
Dr. Howard Hanson, guest
such careful detail as "Phonetics and
Diction:" does not and should not even
USF CHORAL SYMPOSIUM composer/consultant.
mention the generalizations which prom- "Hats off to Florida hil5'h school choral
ise ninety-five percent accurate pronun- directors and students" was the senti-
ciation. Adler is determined that the con- ment frequently and loudly expressed by those that received a superior rating at
scientious student of his book will suffer Dr. Howard Hanson at the first annual the state contest. Judging .from the com-
no embarrassment when he sings for the contemporary vocal and choral music posers' reactions to the performances,
most fluent. Although generalizations symposium held at the University of this selection procedure should be used
can sometimes be justified, Adler's book South Florida on February 7 and 8. again next year.
should be kept accessible to the chorister Serving as guest composer and consult- In addition to the high level conversa-
who wants to be sure, of each detail. ant for the two-day event, Dr. Hanson tion carried on between Dr. Hanson, the
Especially valuable in the section on was particularly impressed with the abil- composers, and the conductors, there
German Diction is Adler's skillful and ity of the higlh school choirs to maintain were many informal remarks by Dr. Han-
selective use of a ,primary source, pitch levels when' singing dissonant mu- son concerning the structure of musi'c.
Deutsche Buhnenausprache-Hochsprache, sic. "Fifty years ago", he said, "this would One cannot easily forget symposium
the publication officially sanctioned by have been impossible". highlil5'hts such as:
the association of German Theatrical The fifteen composers from various -the Love Duet from Dr. Hanson's ap-
Stages and the German Actors Union. parts of the nation attending the sym- era "Merry Mount" as sung by USF Pro-
This source, previously unknown to this posium were delighted in hearing excel- fessors of Voice, Elizabeth Wrancher and
reviewer" resolved and ordered what had lent performances of their works and Jerald Reynolds
previously seemed to be a downright were stimulated by hearing interesting -'-the standing ovation given to Peggy
whimsical. departure from close and open works of other composers. "You must Joyce Barber's Stranahan Singers for
vowel rules by otherwise patriotic Ger- have this again next year" was a typical their performance of Jeffrey Thomas
man opera stars. 'l1his is just one mus- reaction of the composers. Choirs and King's "Dialogue for Piano and Chorus"
tration of Adlers scholarly as well as pro- soloists for the event were selected from -Dr. Hanson's conducting of the USF
fessional preparation in his field of solo Fine Arts Chorale in his Psalm 121 and
and ensemble vocal music. Just as we,l- Psalm 150.
come is the clear guidance on when to handsome book which, in addition to the The Brodt Publishing Company is now
voice the "s" consonant. total contents of "Phonetics and Diction examining performance tapes made at
'The studio teacher, coac,h, accompan- in Singing," includes extremely valuable the symposium and will probably inaugu-
ist, or choral director will of course want sections dealing with elements of musi- rate a USF Contemporary Choral Music
to know more of this man' Adler, and cal style and is a veritable treasury of series as an outgrowth of the event. Sym-
the University of Minnesota Press has know how for the keyboard accompanist. posium Chairman, Dr. Gordon Johnson
previously (1965) made this possible by In particular, Adler's concise words and reports that because of the success of
publishing Adler's "The Art of Accom- musical illustrations on French musical this venture, it is planned to repeat it
panying and Coaching." This is a large style are richly complementary to his next year. 'l1he event was co-sponsored
section on French diction in ":Phonetics by the Florida Vocal Association and the
and Diction." Florida Chapter of ACDA.
To sum up, the student singer of solo High School ,choirs and directors par-
COMPOSITION CONTEST or ensemble music could well be re- ticipating were Boca Ciega, st. Peters-
quired to have his paperback copy of Ad- burg, Christine Baker; Chamberlain,
2-SACRED OPERAS ($500 each) ler's "Phonetics and Diction in Singing" Tampa, James Copeland; Eau Gallie
2-ANTHEMS ($100 each) ever at the re!l!dy. The singer w.ho wishes Girls Chorus and Choir, H. Tom Sylvest-
2-PRELUDES ($50 each) to express his gratitude to a devoted er; Largo, James Johnston; Melbourne,
4-HYMNS or ARRANGEMENTS ($50 each) teacher, coach, or accompanist would find Barry S. Lindley; Merritt Island, Nathan-
For Details: Adler's beautifully bound "The Art of iel J. Chambliss; Niceville, E. Neil Rawls;
ALFRED NEUMANN Accompanying and Coaching" a most ap- Northeast, st. Petersburg, Velma Rowe;
Christ Congregational Church propriate gift. Sarasota Girls Chorus and Mixed Choir,
9525 Colesville Rd. -Arnold F. Caswell Andrew J. Wright St. Petersburg High
Silver Spring, Maryland 2090 I Professor of Choral Music Education School, Kay Mutert; and Stranahan,
University of Minnesota Fort Lauderdale, Peggy Joyce Barber.
2 THE CHORAL JOURNAL

THE ().::;;-~
EDPRESS
•
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.
- All communications regarding The Choral Journal should be addressed to

The Editor, p, O. Box 17736, Tampa, Florida 33612. Phones: 1813) 935-9381;
ACDA - Choral Journal 932~4484 lif no answer at other number}
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
Request special Planning a furop{!an {!one{!rt Tour?

Mother's Day Editions
Let us offer you 15 years of experience
In Vienna, Austria, we are right on the spot for all
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

this seemingly obvious statement. We are
A Plea for Musicality even more confused by the frequency of
utter disregard for the obvious. Soft sing-
ing, or playing, is terribly precious, be-
cause it is so rare. In our pragmatic
well scrutinize the reputation of the edi- society, success is often equated with
tor; but in most cases his advice is prob- quantity-how many, how loud, how big.
GUEST EDITORIAL ably good. The rationalization, "I do not MusiC, however, is an art dealing with
feel it (the tempo) that way," is too often quality; so let not the two be confused.
The following editorial is printed with an excuse for tawdry musicianship. Or Tempo and dynamics have been touched
the permission of the author, Robert it may be a rationalization expressed to upon, but what a great spectrum of other
Campbell, Editor of the New York State excuse the choice of music not suita;ble symbols we find. Everyone should be
School MUsic News. for the technical equipment of the group. read, studied, pondered, and thEm ob-
Or it may reflect the .poor judgment of served. A musical dictionary s.hould be
the teacher. the conductor's third hand.
If a composer indicates that a passage Style might be considered the appro-
Over the years we have been fortunate should be sung softly, the conductor's priate mode of expression or execution in
in being invited to ~hear many choirs par- problem is quite simple: sing it softly. any art. The juxtapOSition of parts with
ticipating in Competition-Festivals. T·his You, poor reader, may be befuddled by their soloistic musical lines as portrayed
privilege encompassed all areas of the
state. There were choirs from small
rural communities and others from large
urban centers. It is always an interesting
experience to sally forth from one's rel-
atively small domain, to observe what is
ihappening elsewhere in the state. It is Announcing the second
stimulating and heartening to hear the
beautiful work being done by many de-
voted teachers, who enrich the daHy lives
Temple
of their students through music. Of
course, this comment applies equally to
the directors of bands and orchestras who
University
serve with equal fervor.
It is ·cause· for. gentle concern, however,
when one notes the many groups which
Music Festival
fall short of excellence because of the
conductor's inadequacies. The subsequent
and Institute
comments apply particulal'ly to the Choral DAVID STONE, artistic director
field, but certainly many must be pertin-
ent to the instrumentalists. June 23 to August 3, 1969
We will not attempt to itemize short- on the 180 acre AMBLER CAMPUS
comings, but will mention, in a general
manner, the elements most found want- in Upper Dublin Township, Pa.
ing.
Music consists of tone, with the inter- INSTITUTE, offering an intensified'
polation of moments of silence. The si- music curriculum including opera,
lence gives no problem, but tone quality
is a different matter. If all else is .per- voice, piano, orchestra instruments,
fect, and the tone is poor, beauty is lost. chamber music, large ensembles,
The greatest fault with tone ,lies in forc-
ing. Much singing is poor simply because composition, conducting, theory and
the students are asked to give too muc!h literature ...
without ,having the control needed to
meet the conduotor's demands. In fact, CONCERTS, featuring internationally
muoh singing is too loud all the time. famous artists.
W'hen the dynamic range gamut runs
from mf to ff, the conductor ha;d better Artist Faculty includes
look to his score . .synonymous wit'll forc- Carlton Cooley, viola
ing in a choral group' is, of course, the
band which overblows. Todd Duncan, voice
Many of our intonation problems arise Lehman Engel, opera and
from forcing. Pressure is overexerted and composition
the pitch sharps. When norma;l pressure
is relaxed the pitch flats. What is needed Alexander Fiorillo, piano
.is control throughout, plus an ever carp- Raya Garbousova, cello
ing voice' pointing out the pItch fluctua-
tions. Good physical control, plus mental .Sascha Gorodnitzki, piano
alertness, wtll do much to ·resolve faulty Natalie Hinderas, piano
intonation. Of course. the wind player
must further .contend with achieving a Anna Kaskas, voice
proper embouchure. Helen Kwalwasser, violin
It is disquieting to observe the bland
disregard of many conductors for the James Lucas, opera
stylistic symbols printed on the music. Vincent Persichetti, composition
Every indication of tempo, dynamics, etc.
is put there by the composer or editor George Rochberg, composition
for a reason. It is there to assist in re- Eleanor Steber, voice
creating the composer's artistic inten-
tions. After all, what else is musicality Riverside Singers, chamber music
but the ability to re-create with verity Plus Members of
and sincerity that which the composer the Philadelphia Orchestra
created? If a contemporary composition
bears the composer's tempo marking, 'one For application and details write to:
should come very close to that tempo in Temple University Institute
performance, or he is bearing false wit-
ness. If one is performing an older work Robert Page, Director
with an editor's tempo defined, one may Philadelphia, Pennsylvania 19122
. 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
• LARGER CHORAL WORKS ' •

Lincoln Center for the Performing Arts.
Among the 13 foreign choirs attending
will be those from Japan, Australia, Ar-
• Mendelssohn, Felix-In Deep Despair I Call to Thee

For mixed voices, soprano or tenor solo, and organ.
97-4857 $1.50
• gentina, Ghana, Germany and Czeoho-
slovakia.
-***-
• Hassler, Hans Leo-Laudate Dominum---:Praise Yet 0 Praise the Lord
(SSAB and AITB I 97 -4879 $1.00 • Tenth Annual Duquesne University
School of· Music Mid-East Instrumental
Music Conference,William Penn Hotel,
• 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
• (9ncopdia • the scope of his experiences.

Adherence to the printed page will
enable one to perfonn music. The last
• MUSIC • ingredient - ,personality - wHI enable

one to make music. Never let it be said
that in your performance "nothing hap-
••
6
• .CONcOROIA PUBLISHING HOUSE, ST. lOUIS, MO. 63118. •
•• pened."
THE CHORAL JOURNAL

:.:
BELWIN, INC. ACQUIRES
Highlights of the Eastern FRANCO COLOMBO, INC.
Martin Winkler, President of Belwin,
Division. Conference Inc., Rockville Centre, N.Y. has an-

nounced the acquisition of Franco Colom-
bo, Inc., as of February 1, 1969. Donald
Griffith will remain as the Executive Di-
MARY E. ENGLISH On Thursday evening, the session with rector of Franco COlombo Publications,
Eastern Division Chairman Chester L. Cable, New Jersey State the new division of Belwin, Inc. He will
maintain the present New York office at
Chairman presiding, included a beautiful 16 West 61st Street, with many of the key
TIle International Ballroom of the program by the Hartt Chamber Singers personnel in the rental and .performance
Washington Hilton Hotel was the scene and the Hartt Madrigal Singers under libraries.
for all sessions of the Eastern Division the direction of Gerald Mack. The care- Present plans call for the distribution
fully chosen literature covered a span of of all published music for sale from the
Conference which had as its theme: The Belwin facilities in Rockville Centre,
·Choral Conductor: Musician, Teacher, Heveral centuries and the fine perform- N.Y., and all rental and performance ma-
Scholar and Innovator. The Princeton ance was enthusiastically received by the terials from the New York office.
(N.J.) High School Chorus under the large audience. The second portion of Belwin, Inc., leading publisher of· edu-
direction of WilIlam R. Trego opened the evening's program was a performance cational music for more than half a cen-
by the Lowell (Mass.) State College tury, now enters the field of serious mu-
the conference with an outstanding per- sic, both in "for sale" material and
formance of works by Persichetti, Brit- Concert Choir and Wind Ensemble, Ed- through the rental library. Through tlhe
ten, Vaughan Williams and Poulenc. The ward Gilday and Willis Traphagen, con- Franco Colombo Publications, they will
chorus is an extremely capable one and ductors. This program was designed to continue to add selected serious and con-
present a representative sampling of cur- temporary music to the sales and rental
it was interesting to learn that; in addi- libraries. As a result of the acquisition,
tion to smaller compositions from all rent literature for band and chorus rang- Belwin becomes the exclusive agent in
eras, performances of four major works ing from the very easy to the very the United States for an impressive
are done each year. difficult. Dr. Gilday's excellent program group of foreign catalogues among which
are Ricordi of Milan, Paris, London, and
notes will be a great help to those who South America; Novello & Co. of London;
Dr. Warner Lawson, Dean of the are interested in exploring this particu-
School of Fine Arts at Howard Univer- De Santis of Rome; Sala,bert of Paris,
lar medium of musical performance. The Casa Musicale Sonzogno. of Italy;' and
sity, chose from the conference theme as program, well performed and well re- Amphion of Paris.
his topic: The Choral Conductor: Musi- ceived, had an interesting sidelight: the
cian-Teacher illustrating his lecture with president of the college and his wife, Dr.
a demonstration with the D.C. Youth and Mrs. O'Leary came to Washington Remember to patronize our advertisers.
Chorale and the Princeton High School for the performance. The audience gave
chorus. Because of limited time, he used Dr. O'Leary a warm welcome when 'he
only two numbers: How Shalt I Fitly was introduced. pared by the Connecticut choral directors
Meet The,e.'! by Bach and Jesus Christ as part of their state wide project.
Is Risen Today by Hovhaness. The two Friday morning was the first of the The final session held on Saturday
groups had not previously rehe(l.rsed the ACDA sessions as part of the Eastern afternoon was a joint Elementary and
.second number and Dr. Lawson very MENC conference. Dr. Paul Traver's ACA session. The first part of the pro-
effectively demonstrated techniques for lecture-demonstration was entitled: Six- gram: "Use of Kodaly-Richards Tech-
presenting this piece and accomplished a teenth and Seventeenth Century Perform- niques in Developing Pitch Discrimina-
very creditable performance in a few mo- ance Practices for the Elementary and tion and Rhythmic Independence" was
ments. Secondary School Choruses .. He was as- demonstrated by Mrs. Frances Suggs
sisted· by the University of Maryland
The Church· Music session at the and the Mattaponi Elementary School
Chamber Chorus and Instrumental En- Chorus from Upper Marlboro, Maryland.
Washington National Cathedral was mu- semble. This session revealed the choral
sically and spiritually inspiring. The re- The second part of the program, pre-
conductor as a scholar in the realm of pared by Mrs. Agnes Abernethy demon-
hearsal in the Nave of the Cathedral of research important for good performance
the choir boys and students in the Col- strated choral techniques using contem-
practices. It was an excellent session, porary music. The demonstration group
lege of Church Musicians included the very musically done and very practical
music to be performed at the Evensong was the Hillsmere Elementary School
for elementary and secondary choral con- Chorus from Annapolis, Maryland. Both
Service. The joy of the service itself in- ductors. George Reynolds, New York
cluded the opportunity to hear again the clinicians had prepared excellent mater-
State ACDA Chairman presided. ial and both groups were enthusiastiCally
beautiful singing of the choir and the
magnificent playing by the organist, Paul "Developing Concepts Within a Choral received. Excellent lists of music were
Callaway. All present shared the same Curriculum" was the topic of the Friday prepared by the clinicians and distrib-
thrill at hearing the soaring, beautiful afternoon session which was an out- uted to the audience.
voices, particularly in the anthem: Eter- growth of the Conn. Music Educators The conference was a success due to
nal Father by Gustav Holst. As one Special Advisory Committee established the sincere and cooperative. effort of
ACDA member said: "I could go ·home by Lloyd Schmidt, Music Consultant for many people. The planning committee in-
now with that last chord in the Holst the State Department of Education. The cluded Chester Cable, Vito Mason,
piece ringing in my ears." Following the Norwalk (Conn.) Higlf School Choir Charles Matz and Lois Rogers. Thomas
service, Dr. Paul Callaway deScribed the under the direction of Charles Matz per- . Vasil, assisted by Peter McCarthy, pre-
music activities at the Cathedral and formed the demonstration repertoire pared the transparencies used to acquaint
answered many questions in an informal beautifully displaying good training and the audience with the demonstration rep-
discussion following. Vito Mason, D.C. musical understanding. Gerald Mack, ertoire used by Dr. Lawson. The regis-
Chairman was responsible for all of the Hartt College, served as clinician and tration was handled by Wayne Hugo-
arrangements for this session including ably demonstrated the choral' conductor boom as~isted by students from the Uni-
securing bus transportation which was as a musician and teacher. The audience versity of. Maryland and the American
greatly appreciated by all. received an extensive choral list pre- University. :-:
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,
faced wit h communicative

which are further compounded by
peared in instruction books of theory,
obstacles. The teaching of sight singing
composition, singing, and playing; how-
with vocal students, thus, is to a great
ever, investigations into the process of
extent a problem in effectively commun-
reading music are of only recent origin.
icating ideas as well as material.
Our present knowledge of the reading
Attempts to improve the methods of process in music, although far from con1J-
teaching sight singing are by no means plete, is sufficient to suggest its complex-
of recent origin. In the tenth century, ity and to indicate some of the difficul-
Odo of Cluny, in his El1china.iol1 lINI- ties of determining all that transpires
sices, heralded the development of a new mentally and physically. The complexity
and successful approach to sight singing: of the process of reading music is sug-
Some after three days, others after gested by the very nature of the mater-
four days, and one after a single week ials themselves, wherein the reader must
of training in it, were able to learn take into account a wide variety of musi-
several antiphons and in a short time cal elements. Even concerned only with
to sing them without hesitation, not a single melody line, the performer must
hearing them sung by anyone, but con- deal with rhythm, tempo, tone quality,
LANE D. JUSTUS
tenting themselves simply with a copy expression, and formal structure, as well
written according to the rules. With as the melody iteslf. He must be able to Born in Deadwood, South Dakota,
the passage of not many days they interpret these elements from formal Lane D. Justus completed his high sohool
were singing at first sight and extem- written notation, based on his training in Montana and received his B.M. degree
and experience. The fact that" music is in 1952 and M. Mus. Ed. degree in 1955,
pore and without a fault anything writ- both from the University of Montana.
ten in music, something which until a language of sounds compels the reader Further work included summer sessions
now ordinary singers had never been to perform what he reads, in addition to at Montana state University and Univer-
able to do, many continuing to prac- recognizing the notation of musical com- sity of Alaska and the University of
position. The additional demands placed Arizona where he completed his doctoral
tice and study singing for fifty years program. He has taug1ht in various
without profit.! upon the reader for performance requires schools in Montana, Anchorage, Alaska
the reader to have previously developed as director of music education and, since
One would expect that with this suc- sufficient performing techniques to allow 1960 in Tucson. He has been at the Palo
cess the problems of sight singing were him to read notation symbols without Verde High Sohool at Tucson since 1962
solved and there would be no further and as a professional singer at the st.
serious interference or distraction from Philips-in-the-Hills Episcopal Church at
need for concern. The eleventh century, the process of performance. Tucson since 1961. He is a life member
however, found Guido of Arezzo writing of MENC, AMEA, ACDA and Phi Mu
An additional problem faced by the
of his frustrations and concern over the Alpha Sinfonia, has served as president
singer which does not confront the instru- of Alaska Music Educators, on the Board
failures of singers:
mental musician is the fact that almost of Directors for MENC Northwest Divi-
Marvellous singers, and singers' pu- all singing material is set to a word text, sion 1956-60, was vice president of the
pils, though they sing every day for a thus further complicating an already dif- AMEA Choral Section 1963-65 and on the
ohoral sessions committee for Western
hundred years, will never sing one ficult assignment. Therefore, not only Division MENC and ACDA 1967-69 and
antiphon, not even a short one, of must the singer be a thorough and com- is audition judge for Arizona All-State
themselves, without a master, losing petent reading musician, but he also must Chorus this year. His groups have per-
time enough in singing to have learned possess significantly superior abilities to formed" at Western Division and State
conference" programs and his group was
thoroughly both sacred and secular understand and interpret the written featured in the March-April 1967 issue
letters.2 word text. No other reading attempted of The Choral Journal.

basic information which has been applied ful, thinking teacher of German would choose only that information which is
in later studies. As a result of his ex- hand a beginning student a copy of essential to develop the stated objectives.
perimentation, Ortmann believed that the Goethe and expect the student to be able Beginning students have no desire to
field of clear vision on a musical score to understand, much less pronounce, the wade through reams of type' concerned
encompasses a circular area measuring masterful text. Yet, we in music seem to with the history of the piano, composers
only one-fourth to one-third in diameter. expect that and more of our beginning lives, neumes, harmony, and pictures of
The average five line staff on a printed students. Somehow the thought that, instruments, regardless of their worth
page measures slightly more than one- since we have possessed a singing voice for other purposes. The information se-
fourth of an inch from the lowest to the all our lives, we have become endowed lected must be simple, basic, and applic-
highest lines, thus, the limits of clear with the added ability, somewhat magi- able. A brief, workable explanation of
vision embrace a vertical distance from cally, to grasp at sight all that with the following elements of music notation
approximately the space below the lowest which we are confronted by a musical should suffice:
line to the space just above the, highest score. How ridiculous ! We were born ,Staff, clef signs, ledger lines, measure
line and a sin1Jilar distance horizontally. with legs, too, but we had to learn how lines, double bar, repeat signs, phrase
One can readily appreciate the problems to use them in order to walk upright. lines, breathing signs, coda sign, note
inherent in sight singing a score with The lack of a basic, universally ac- values, rest values, meter signatures,
text when we realize that the text line cepted text for the teaching of sight sing- letter names of lines and spaces for the
is usually placed above or below th~ mu- ing seems to be a handica,p to success, grand staff, sharp key signatures (for
sical line approxin'lately one-fourth inch particularly, for the inexperienced teach- major and minor), flat key signatures
away, thus taxing the ,sight singer, to er. Most texts which explore the neces- (f6r major and minor), basic tempo
exceed that vertical span which has sary material are geared either to the terms, basic dynamic markings, simple
been determined to be practical. To fur- elementary school level in workbook form vocal/choral terms.
ther complicate the situation by the ad- or too excessively detailed for the high Mastery of this information is essen-
dition of harmony and expect the sight school student at the beginning level. tial - it is the vocabulary of the musical
singer to become meaningfully aware of Consequently, the instructor is faced with language. Herein lies a problem encount-
this added dimension at sight would, the necessity to compile the necessary in- ered too frequently: how to find the time
seemingly, be unreasonable. Yet, well- formation himself. This writer, in col- necessary for drill and study of this ma-
intentioned though ill-informed music laboration with a colleague at a neigh- terial when confronted by the need to
teachers expect this of their student boring high school, arranged such basic prepare for the next concert. The solu-
charges in almost every American high information as was deemed necessary for tion can come about only through careful
school although failing to understand the the purpose and had it mimeographed in planning and farsightedness beginning
nature of the problem or to prepare the a booklet totalling only twelve pages. with the structuring and scheduling of
students for success. Care must be exercised, of course, to classes. It is quite unreasonable to expect
Moreover, the sitllation seems to re-
main unchanged in many of today's
schools; in fact, seems to be little changed
as a whole since 1948 when Mursell
stated:
Our knowledge of the process of {)ut1-tandlnfj new czho7-af mU1-lcz/
music reading is, incomparably less
complete and exact than is our know- ~m~ ~M
ledge of the process of language read- Alvin King
ing. In the latter field there has been SATB with 4 trumpets, horn, 2 trombones, tuba, with narrator.
an immense amount of well-controlled Approximate performance time 8 minutes. Medium difficult.
and fundamentally significant research,
in the former hardly any.4 A Contemporary Psalm 1.50
Paul Fetler
The writer has developed, through ex- SATB, soprano and baritone solos, organ and percussion. Medium
perimentation, a system for instructing
sight-singing which has met wHh some
difficult.
measure of success. This approach is A Prayer for Peace (0 God of Love, 0 King of Peace) .18
presented here in the hope that it may Paul Fetler
prove helpful for others. A cappella, SATB. Easy.
A Plan for Success God of a Universe Within Whose Bounds .30
To become a proficient sight singer, Wilbur Held
the student must first become an under- SATB with organ. Easy.
standing musician. If we can accept this Lord, Make Me an Instrument of Thy Peace .20
statement as a truism, the earliest steps Robert Wetzler
in what must become a sequential pro-
A cappella, SATB with solo. Easy.
gram become evident. Time must be
made available for every student to es- Praise Ye the Lord .30
tablish familiarity with the most basic Morten Lauridsen
music notation. Since music has often SATB, a cappella. Moderately difficult.
been referred to as "the' universal lan-
Ask your dealer for these, or write for approval copies to:
guage" or "a language of sounds", let us
accept the premise that music is, indeed, 426 S. 5th St., Minneapolis, Minn. 55415
PUBLISHING
a language and proceed along the same cl!-ug6-[,.U7.fj HOUSE
57 E. Main St., Columbus, Ohio 43215
2001 3rd Ave., Seattle, Wash. 98121
lines which a language specialist might
be expected to follow. Surely no success-
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

UC Choral Organizations to
Appear With Atlanta Symphony
Two major choral organizations of the
University of Cincinnati College-Conser-
vatory of Music and their conductor, El-
mer Thomas, Chairman of the Choral
Department will appear with the Atlanta
Symphony Orchestra, directed by Robert
Shaw, on Wednesday evening, April 30.
The 85 members of the school's Chorale
and Chamber Choir wHl sing the Haydn
Mass in Time of Need conducted by
Shaw. Thomas will be guest conductor of
Stravinsky's Les Noces during the second
half of the program. Soloists for both
works are being selected from outstand-
ing students at the College-Conservatory.
The program is one of the Atlanta Sym-
phony's series on Haydn's last major
works - all masses. The same program,
with Shaw and Thomas conducting, will
be given at Cincinnati's Corbett Audi-
torium Tuesday, May 13. The music
sdhool's highly-praised Philharmonia Or-
chestra will replace the Atlanta Sym-
phony in this -performance.
students approach the task. The most

startling results, however, may not be Gregg Smith, who will appear at both
felt for a year or more but they are well GREGG SMITH TO BE Western and Southern Conventions
worth the waiting. To see the deep per- is shown here with Igor Stravinsky.
sonal involvement with music which soon FEATURED AT WESTERN AND
111111111111111111111111111111111111111111111111111111111111111111111111111111111111,
becomes evident among singers in the SOUTHERN CONVENTIONS
choir brings great satisfaction to the
Gregg ,Smith, who will be featured in IMC To Meet May 9-10 at
teacher who has taken the time to devel- lectures and demonstrations on choral
op an effecti;ve sight singing program. music of the Twentieth Century at both
By any indicator; the number of "super- Western ACDA Day, April 3 at Honolulu,
UC - Santa Barbara
ior" ratings earned in festival or com- Hawaii, and at the Southern ACDA- The University of California, Santa
petition, the ease with which the choir MENC Convention at Mobile, Alabama Bavbara will be the host for the 1969
April 16-19, was born in Chicago in 1931, Seminar of 'Dhe Intercollegiate Musical
learns new and increasingly more chal- moving to California at the age of 15. Council on May 9 and 10. 'Dhis organiza-
lenging music, the number of students He pursued his music training at tion of more than 60 colleges and univer-
placed in all-state choirs and similar se- UCLA while studying composition pri- sity men's ohoruses holds an annual ses-
vately with Leonard Stein, a disciple and sion to discuss mutual problems, examine
lective groups, the number of college mu- close associate of Arnold Schoenberg. A new literature and hear performances by
sic scholarships earned, or the percent- composition -major "from the age of five," participating men's glee clubs. Recent
age of students attending colleges as Smith ,did not become actively involved seminars 'have been held at Yale and
music majors (and having "a ball" with with choral music until his senior year Ohio Wesleyan.
theory) the results of a good sight sing- at UCLA. The Santa Barbara session will feature
While working on his Master's degree round-table discussions on music criti-
ing experience in high school are quickly he be'came an assistant to the choral di- cism by Paul Hume of the Washington
evident. rector, Raymond Moreman, and soon was Post, Robert Commanday of the San
directing several choirs of his own - a Francisco Chronicle, and Arthur Jacobs
FOOTNOTES women's chorus, doctors' chorus, and an of The Musical Times, and an arranging
all Japanese church choir in West Los for the male chorus by Roger Wagner,
1. Strunk, Oliver, Source Readings in Angeles. In 1955, the Gregg SmUh Sing- director of the Roger Wagner Chorale,
Music History, pp. 103-104, citing Scrip- ers were started as a result of a televis- Fenno Heath, director of the Yale Glee
tores ecclesiastici de n;msica, vol. I, pp. ion commitment on part of Smitlh the Club, and Bruce Montgomery, director of
251-259, ed. by Martin Gerbert. composer. In only a couple of years the the University of Pennsylvania Glee Club.
2. Ibid., p: 117, citing Scriptores eccle.- young singers were known as the Champ- T.here will be reading sessions of new
siastici de musica, vol. II, PP. 34-37, ed. ions of Contemporary Choral Music in works for male chorus, 17th and 18th cen-
by Martin Gerbert. Southern California, and soon ,their long tury catches, a Liedertafel, a lecture-re-
3. Ortmann, Otto, "Span of Vision in association with Igor ,Stravinsky and cital on Schubert's male chorus works
Note Reading," Yearbook of the Music Robert Craft developed. sung by the UOSB Schubertians, and a
Educators National Conference, 1937, p. Throughout his musical career, Smith demonstration of recording techniques.
89. has not only remained active in dhoral Performances scheduled include Ben-
4. Mursell, James L., Education for music, but as composer and teacher as jamin Britten's ohurch opera for male
Musical Growth, 1948, p. 241. well. He is under exclusive contract to G. voices, Curlew River, and a joint concert
5: Ohrist, WiHiam B., The Reading of Schirmer, and the Gregg Smith Ohoral by the glee clubs of California Institute
Rhythmic Notation Approached Experi- Series is one of their most popular pub- of Technology, directed by Olaf Frod-
mentally According to Techniques and lications. As an educator he is in constant sham, Loyola University of Los Angeles,
Principles of Word Reading, (unpub- demand for clinics and lectures. Smith directed by Paul Salamunovich, and the
lished Ph.D. dissel'ltation, Indiana Uni- presently is director of choral activities University of California, Santa Barbara,
versity, 1954), p. 69. at the State University of New York, directed by Carl Zytowski. Roger Wagner
6. Spohn, Charles L. and Poland, Wil- Stony Brook and director of the Long will be the guest director for a number
liam, An Evaluation of Two Methods Us- Island Symphonic Chorus. sung by the combined choruses.
ing Magnetic Tape Recordings for Pro- All interested directors of men's chor-
grammed Instruction in the Elemental uses are invited to attend. Information
Materials of Music, Report of Title VII Be sure to notify us about the seminar may be obtained by
Project Number 876, NDE Act of 1958, if you have any writing to Carl Zytowski, Chairman, De-
(The Ohio State University Research partment of Music, University of Cali-
Foundation, 1963). t·: CHANGE OF ADDRESS fornia, Santa, Barbara, California 93106.
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.
',((111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111 CONTEMPORARY SESSION

FEATURES EL CAMINO
COLLEGE CHORALE
Singing to demonstrate the remarks of
Gregg Smith on "Sounds and Textures
of 20th Century Choral Music", the El
Camino College Chorale will present tJ:Ie
Stabat Mater by Hollingsworth, Ave Ma-
ria by Kenneth Gaburo, Alleluia of
Ulysses Kay and Couch of Death by Mc-
Garrity, at the second session of ACDA's
Western Division day April 3 in Hono-
lulu. Directed by Mrs. Jane Skinner Hard-
ester, the invitational group represents
the highest rung in the' coordinated
choral Iadder of the program at El Cam-
ino Junior College. Organized in 1961 by
Mrs. Hardester, the group is dedicated to
high·,level performance of the finest chor-
al literature and is in great demand by
professional and community organiza-
tions. Jane needs no introduction to
ACDA members. A charter member, she
has been active at state, division and
national levels with her groups appear-
ing at several of our conventions in the
past.
Mrs. Barbara Mabin, pianist, is direct-
or of the South Bay Chorale, Los Can-
cioneros. She is currently teaching at EI
Camino College and is accompanist for
the Concert Choir and the Chorale.

MENC Southern ivision Convention
Convention Center, Mobile, Alabama
APRIL 16·19, 1969
ACDA·SPONSORED SESSIONS AND FRIDAY, APRIL 18

CHORAL PERFORMANCES 9 :00 Presiding: John Fowler, Athens, Alabama, Alabama
THURSDAY, APRIL 17 ACDA Chairman
Concert: The Fairfax High School Madrigal Singers,
9 :00 Presiding: Alton Howell, Richmond, Virginia, Vir- Fairfax, Va., Fred Wygal, conductor
ginia ACDA Chairman The Teaching of Contemporary Choral Music
Choral Reading Session Gregg Smith, the State University of New York at
Renaissance music: Jack M. Jarrett, University of Stony Brook
North Carolina at Greensboro The Fairfax High School Madrigal Singers
Qassical music: Theron Kirk, ACDA President,
San Antonio College 1 :30 Joint Session with the Piano Committee
Contemporary music: Elwood Keister, University Training the Piano Accompanist for Choral Groups
of Florida 3 :45 Concert Hour
12 :00 Concert Hour Andrew Lewis High School Choir, Salem, Virginia,
Alabama College Chamber Choir, Montevallo, Ala- Carl D. Harris, director
bama, Theodore Pritchett, director 8 :00 Alabama All-State Night, including a performance by
Page High School Choir, Greensboro, North Caro- the Alabama All-State Chorus, Francis Moss,
lina, Robert Ellis, director chairman, Travis Shelton, conductor
1 :30 Presiding: Don Bisdorf, Clearwater, Florida, Florida
ACDA Chairman
Preparing a Choral-Orchestral Performance SATURDAY, APRIL 19
David B. Foltz and Jack Donovan, University of
Southern Mississippi 9:00 Concert: The Mars Hill College Touring Choir, Mars
James Yestadt, conductor of the Mobile Symphony Hill, N.C., Robert C. Rich, Jr., director
Orchestra Joint Session with the Humanities Committee:
2 :30 A Flexible Approach to the Chamber Choir Poetry and Choral Music
Chamber Singers of the University of Miami, Coral Professor James Oliver Black, Florida Presbyterian
Gables, Fla., Lee Kjelson, conductor College, St. Peters<burg, Florida
The Mars Hill College Touring Choir
8:00 A performance of the Berlioz Reqldem by the Mobile
Symphony Orchestra, James Yestadt, conductor, 12 :00 Concert Hour
and the University of Southern Mississippi Sing- Belhaven College Concert Choir, Jackson, Missis-
ers, David Foltz, director sippi, Henry T. Ford, director
FAIRFAX MADRIGAL SINGERS

TO PERFORM AT SOUTHERN
CONVENTION IN MOBILE
The Fairfax Hi'gh School Madrigal
Singers, located in Fairfax, Virginia, a
suburb of Washington, D.C.; will perform
at the Southern Music Educators Asso-
ciation convention in Mobile, Alabama,
on Friday, April 18, 1969.
The Madrigal Singers, in reality a
small chorus of 22 voices, will perform
music by Gesualdo, Monteverdi, Wael-
rant, Gibbons, Berger and Dave Shaw,
among others, and will work with Gregg
Smith in a demonstration concerning tlhe
teaching of contemporary music, before
a joint session of the Ameri,can Choral
Directors Association and the Southern
MENC.
The Madrigal Singers were formed at
Fairfax High School 20 years ago as a
school activity. For the past 13 years
they have been under the direction of
Frederick Wygal, and meet as a regular-
ly scheduled class in the ohoral depart-
ment.
Fairfax High School Madrigal Singers
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

Fairfield, Iowa, High School Chamber
Singers, E. Jane Ruby, director. Lecture-
ACDA North Central Divigion Demonstra tion, The CO'Imnllnicatioll
Force of the Chamber Choir. E. Jane
tonvenfion at Fargo, North Dakota Ruby, clinician.
Monday, April 28, 3 :45 p.m., Ballroom.
Chairman, Donald G. Foltz, Superior,
The ACDA North Central Division College; Minnesota All State High Wis. Past Chairman, North Central
Convention will be held April 25, 1969 School Choir, Richard Hoffland, direct- ACDA. Concert, Mary E. Bradford High
at North Dakota State University, Far- or; South Dakota State University Con- School Choir, Roger Tweiten, director.
go, North Dakota. . cert Choir, Perry Jones, director; Minot Lecture-Demonstration, A COllcept of
High School Choir, Hardy Lieberg, di- Tone: The Tflhole Vocal hlstrmnent,
S :00 - S :45 Registrat·ion - Ballroom,
rector; Bemidji State College Concert Roger Tweiten, clinician.
Student Union.
Choir, Paul Brandvik, director. Tuesday, April 29, 12 :30 p.m., Askan-
S :45 - 9 :00 Illtrodllctions an. d An- ase Hall. Chairman, George E. Wilson,
nOll1lCements. Edwin R. Fissinger, North S :30 a.m., Saturday, April 26, Break-
fast for ACDA State Chairmen in the Wilmington, Ohio, Ohio State ACDA
Dakota State University, Program Chair- Chairman. Concert, Hamline University
man; Morris Hayes, Wisconsin State Dacotah Inn in the Student Union, Mor-
ris D. Hayes, presiding. Choir, St. Paul, Minnesota, Robert Holi-
University at Eau Claire, North Central day, director. Lecture-Demonstration,
Division Chairman, ACDA; Hardy Lie- Program Commimttee: Paul Brandvik, Tonal C01lside-rations in the Preparation
berg, Minot High School, State Chair- Bemidji State College; Hardy Lieberg, and Performance of Contem.porary Chor-
man, ACDA. . Minot High School; Kenneth Sherwood, al Litera.flwe, Robert Holiday, conductor,
9 :00 - 10 :15 The Mu.sic of Hugo Dist- Red River High School; John Traut- Hamline University Choir.
ler. Klaus Fischer-Dieskau, Germany; wein, and Edwin R. Fissinger, both of
Bimidji State College Choir, Paul Brand- North Dakota State University. CHURCH MUSIC WORKSHOP
vik, director; Presiding: Harold A. A Church Music Workshop will be held
Special ACDA sessions during MENC at Massanetta Springs, Harrisonburg,
Decker, University of Illinois. North Central Convention at Fargo, Virginia, August 10-16, 1969, with Dr.
10 :15 - 10 :30 Break. N.D. Saturday, April 26 through Tues- Richard H. Brewer, Pfeiffer College, as
day, April 29, will be as follows: Director. There will be: Sections for
10 :30 - 11 :45 The Music of Hugo Choir Directors, Organists, Leaders of
Distler (continuation). Saturday, April 26, 1 :15 p.m., Askan- youth Choirs and Choir Members. For
ase Hall. Chairman, Harold Decker, Uni- information, write Executive Director,
11 :45 - 1 :15 Lunch. Massanetta Springs, Inc., Massanetta
versity of Illinois, ACDA First Vice
1 :15 - 3 :30 Vocal Problems and the President. Concert, Westmar Chorale, Springs Station, Harrisonburg, Va. 22801.
Choral Director. Oren Brown, St. Louis Frank Sum111erside, director, Westmar
and New York; Presiding: Robert W. College, Le Mars, Iowa. Lecture-Demon- 1111111111111111111111111111111111111111111111111111111111111111111111111111111111111
Olson, North Dakota State University. stration, The Kodaly Choral Method,
3 :30 - 3 :45 . Break. Frank Summerside, clinician. The lIamline University A Cappella
3 :45 - 5' :45 The l'mportance of the Choir, St. Paul, Minn., which will
Sunday, April 27, 3 :45 p.m., Ballroom.
Small Ensemble in the Total High School appear in concert at the North
Chairman, Marvin Kelly, Grinnell, Iowa,
Choral Experience. Presiding: Morris Central MENC convention at FaTgo,
Iowa State ACDA Chairman. Concert,
Hayes, Wisconsin State University at N.D., on Tuesday, April 29, as an
ACDA co-sponsored event.
Eau Claire; Memorial High School Mad- 111111111111111111111111111111111111111111111111111111111111111111111111111111111111
rigal, Eau Oaire, Wisconsin, Bruce Paul-
son, director; Red River High School
MadrIgal Club, Grand Forks, N.D., Ken-
neth Sherwood, director; Illinois State
University Madrigal Singers, Normal,
Ill., John Ferrell, director. Panel Dis-
cussion: Morris Hayes, Harold A. Deck-
er, Theodore Klinka, Bruce Paulson,
Kenneth Sherwood, John Ferrell.
6 :00 - 7 :45 Banquet - North Dakota
State University, Memorial Union. Re-
ports of State Chairmen: Harold Porter,
Oshkosh, Wis., Robert Ellingson, Mitch-
ell, S.D., George E. Wilson, Wilmington,
0., Hardy D. Lieberg, Minot, N.D., Wil-
liam Lynn, Jr., Kearney, Neb., Donald
Gunderson, Austin, Minn., Thomas Hil-
bish,' Ann Arbor, Mich., Marvin E.
Kelley, Grinnell, Ia., Darrell G. Church,
Whiting, Ind., Leonard VanCamp, Ed-
wardsville, Ill. Presiding: Morris Hayes,
North Central Chairman. Speaker: Har-
vey E. Maier, University of Missouri at
Kansas City, The Con.cepts of Com-
mll1.H~ty.
S :00 Evening of Choral Concerts.
Presiding: John Strohm, Minot State
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 ,.-\
Spring Concert. The choir frequently

performs works with the Bradford Con-
cert Orchestra, the Concert Band and the lAO/III. LIGHTER
Kenosha Symphony.
In the past the choir has performed at
ltv'''': .. STRONGER
the Minnesota Music Educators Confer- • QUIETER
ence, tne Kiwanis International Conven-
tion, the Carthage College Music Festi-
val, the State Convention of the Wiscon-
sin School Music Association, and the St.
CHORAL
Olaf College Fine Arts Festival. Last
year the Choir toured the Minneapolis
area, singing concerts at Augsburg Col-
RISERS
lege and St. John's University.
Director Roger A. Tweiten did his un-
dergraduate work at North Dakota State
r- -FUll 48"
University, Fargo, and Augsburg CoUege,

Minneapolis, beginning his career in the
church music area. Prior to becoming
choral director at Mary D. Bradford High
School, he was director of vocal music
for the River Falls, Wisconsin, Public
Schools. Mr. Tweiten is presently ACDA
District Chairman for the Southeast dis-
trict of Wisconsin. He is also a member
of the staff of the Wisconsin All~State
Ohoir, and was elected co-ordinator of
the vocal division of the Wisconsin Hon-
ors Music Camp for the 1970-71 season.
Their convention program:
I. Let all the Nations Praise the Lord,
Leisring (Shawnee Press Inc.); Verbum
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

pie University Institute, Philadelphia, Pa. WEST MAR CHORALE TO
SUMMER WORKSHOPS 19122 for further information.
Northwest Florida Summer Music ««»» PERFORM DURING NORTH
Cam.p, June 15~29, 1969 for Band, Chorus, Meadow Brook Summer School of Mu-
Piano and Orchestra, sponsored by the sic 1969 offers a Master class in piano CENTRAL CONVENTION
University of West Florida, .Pensacola with Vladim'ir Ashkenazy, artist-in-resi-
Junior College and the Escarosa Human- dence, July 3-August 6; Orchestral Insti- ACDA member Frank N. Summerside,
ities Curriculum Development . Center. tute, James Levine, Musical Director, dire'ctor of the Westmar Chorale, is an
Rehearsals will be held at the U. of West June 20-August 1; Choral' Institute June Associate Professor of Music at Westmar
Florida. For information,write Grier M. 27-July 27 with Roger Wagner, musical College, Le Mars, Iowa, and Chairman of
WiUiams, Faculty of Music, University of director assisted by Robert De Cormier, the Department of Music. A native of
West Florida, Pensacola, Fla. 32504. Julius Herford, Charles Hirt and Doug- Redfield, S.D., he holds degrees from St.
««»» las McEwen. The Vocal Institute from Olaf College, the University of Colorado
Northern Illinois 13th annual Music for June 27-August· 9 with William Vennard and has completed additional graduate
youth Camp will be held in DeKalb July as musical director, includes Maurice Al- study at San Diego State College, the
6-18 with Dr. Gordon W. Bird, NIU di- lard, Pierre Bernac, Alice Engram, Mar- University of Colorado, the State Univer-
rector of bands, as coordinator. . Sten jorie Gordon, Mary Moore, Blake Stern, sity of Iowa, the University of Wisconsin
Halfvamon,director of choral activities Karl Trump and John Wustman on the and the Berkshire Music Center at Tan-
at Aurora, Illinois, West High School faculty and the Master Class in Violin glewood.
and conductor of bhe Illinois All-State features Itzhak Perlman, artist-in-resi- The Westmar Chorale covers a broad
Chorus during its 1967 European tour, dence from July 7 to August 5. Write expanse of choral repertoire each sea-
will be in charge of the vocal program. Director, Meadow Brook Summer School son for they sing at the weekly chapel
Applications are available from Dr. Bird of Music, Oakland Undversity, Rochester, convocations, prepare their annual con-
at NIU. Mich. 48063. . cert tour, partici<pate in Christmas At
««»» ««»» Westmar, present their own variety show
Special sessions recently announced for The University of Miami School of Mu- in May, and have made numerous radio
Stanford University, Stanford, California sic will conduct Elementary and General and TV appearances. In addition, the
include the f.ollowing: Institute in the Music Workshops in afternoon sessions Chorale is often heard with the Sioux
Performance of Renaissance Music, June and a Choral Workshop in evening ses- City Symphony under the direction of
23-July 18, with Putnam Aldrich, director sions June 30·July 11. Instrumental par- Leo Kucinski in that organization's pre-
of the New York Pro Musica; Workshop tici'pants will meet evenings July 7-18. sentations of major choral works.
in Computer-assisted Instruction in Mu- Faculty for the events are Rosemary Expo '67 heard the Westmar group as
sic, July 21-August 15, with Wolfgang Hallum and William Moss, Elementary; one of the U.S. representatives. TWs
Kuhn as director, •and a workshop in Dr. Neal Glenn, S.idney Fox and Fred year's Chorale will also be heard at the
Com.puter~generated Music, July 21 to Au- VOl'ce, General Music; Lee Kjelson and winter meeting of the IMEA in Des
gust 15 with Leland C. Smith and John Dale Willoug'hby, Choral; Dr. Alfred Reed Moines in January. The group will begin
W. Chowning, directors. The master and John Kinyon, Instrumental. Scholar- its European Tour on May 26.
class in Organ with Catherine Crozier as ship allowances are available for certi-
director will be held July 21-August 1 fied teachers. Contact Dr. Lee Kjelson, While Director Summerside's energies
and the Workshop in Choral Music, with School of Music, U. of Miami, Coral have been delivered to a large extent in
Paul P. Traver as dire.ctor, will be held Gables, Fla. 33124. developing the Chorale to its artistic ex-
July 21-August 15. Information is avail- cdlence, he has still retained an active
able from the Department of Music, interest in public school music education.
Stanford University, Stanford, Califor- Music in Our Time is the theme of the He is a long time member of NATS as
Canadian Music Educators National Con- well as MENC and is presently on the
nia 94305.
ference to be held April 10-12 at the Hotel summer staff of the International Peace
<<«>>>> Saskatchewan at Regina, Saskatchewan, Garden Music Camp. The group will ap-
Temple University Music Festival and Canada. Displays will open April 9 with pear att'he Saturday, April 26, session.
Institute wit:h David Stone as artistic di- pre-registration and social events. Clin-
rector, will be held June 23-August 3 on icians and speakers include Arnold Cas-
Ambler Campus, in Upper Dublin Town- well, Bernard Krainis, Justin Dyrud,
Be sure to notify us if you have any
ship, Pennsylvania. Work in opera, voice, Murray Schaefer, Walter Ihrke, William
change of address.
piano, orchestral instruments, chamber Sur, Joe Skornicka and Earle Terry. For
music, large ensembles, compositi'on, further information contact Warner Dav-
conductiong, theory and literature is of- ison, Publicity Chairman, 1272 Robinson
fered. Write Robert Page, director, Tem- Street, Regina, Bask., Canada. The Westmar Chorale and
111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111 Director Frank N. Sununerside.
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
Westminster lecturer in choral festivals, music educa-

tion, appreciation and humanities. Spe-
cial honors include Fairfield's Busy Wo-
men in 1951, Delta Kappa Gamma in
than 20 nor more than 30 minutes. The
winning composition will be published by
H. W. Gray, Inc., New York City. All
composers will be eligible to enter. All
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.

AVON LAKE, OHIO
HOLDS ANNUAL LARGER
CHORAL WORKS CONFERENCE
By ERNEST L. mSEY
A Different. Festival Approach
Many midwest high school choirs such
as mine particIpate in mul<1:ii·school "festi-
vals" during the year. In the traditional
fashion, each group sings a few individ-
ua;l songs and then all ,groups combine
under a guest director. QUite frequently
there is an emphasis on competition and
the event sometimes is defended on the
basis of social values to be found in
meeting other people. 'Dhey sometimes
include such features as a pre-concert
dance in the gym. T.here are ,of course,
exceptions to this description.
There seemed to be a need to somehow
put more emphasis on the music and
composers of unique choral music. Most
music I have performed in these festi-
vals seldom was oriented toward pro-
vid,ing a musical experience at a level
above that whicih could be achieved oth-
erwise in our choral experience during
the year. Except for the social benefits
and competitive group esprit de corps, I (Jholr rehearsal with William 111111111111111111111111111111111111111111111111111111111111111111111111111111111111
could see little real cultura;l value or Appling, Cleveland Institute of MUSiC,
growth in musical taste. who served as guest director at the Midsummer Workshops at
The Avon Lake Public Schools in 1967 1969 Avon Lake Larger Choral
began sponsoring an Annual Larger Works Conference
Choral Works Conference. T,he intent is
Cannon Beach, Oregon
to put the participating students in con- Four midsummer workshops at scenic
tact with larger compositions by the Cannon Beach, Oregon, will offer college
masters whioh they would perhaps not Instruments f.rom Oberlin Music accredited tLlusic courses for school, com-
have the opportunity or impetus to ex- Conservatory munIty and church music di-rectors be-
perience in a usual school music program. Guest Director - Maurice Casey, ginning July 7, 1969. Nationally renowned
T.here are four works by four composers Ohio State University instructors will include Norman E.
done in one evening. All choirs sit in on 1969 Concert Weeks, Seattle, specialist in Kodaly ele-
each other's rehearsals and also attend mentary music; Dr. Weston H. Noble,
t'he total perfor-mance in the evening. We Avon Lake A Cappella Choi'r Luther College, Decorah, Iowa, instruct-
invite ea;ch year two Ohio choirs, one De Prof un dis - Schoenberg ing both the choral scihool and the band
f.rom the Cleveland area, and a second Massillon Advanced Choir workshop; and Dr. L. Stanley Glarum,
one fr()m another part of Ohio. T.hey must Gloria - Vivaldi Lewis and Clark Colle'ge, Portland, Ore-
use the composer's indica;ted instrumen- Orchestra - Oberlin Music Conservatory gon, director of the choral arranging
tation and present a single work or a North Olmsted Senior Choir and composition lruboratory. Dr. Glarum
portion of a work not to exceed 30 min- Lobet Den Herrn - Bach is coordinator for all four' workshops.
utes in length. A guest director directs Combined Choirs Mass in C - Stravinsky Workshops run consecutively, offering
the combined choirs in a fourth compo- Wind Ensemble - Baldwin Wallace three quarter hours graduate or under-
sition. Music Conservatory graduate 'credit for each. Starting da;tes
Guest Director - WiUia;m Appling, of the week-long workshops are July 7,
The concert this year attracted a large Cleveland Institute of Music
and enthusiastic audience from north- Koda;ly Elementary Workshop; July 14,
eastern Ohio. There is some natural com- WCLV-FM, the Cleveland Fine Arts Choral Music Workshop; July 21, Band
,petitiveness which I'm sure exists, but the station, is broadcasting "Century" record- Workshop; and July 28, Choral Arranging
emphasis is on the study of music for the ings of these concevts in stereo. and Composition.
entire day. We do attempt to take ad- Further information may be obtained
vantage of the built-in social benefits by from Mrs. Sue Gordon, coordinator, Di-
hosting aU visiting students in our ihomes Montana Chorale Appears at vision of Continuing Education, Oregon
for meals. We attempt to involve the State System of Higher' Education, Box
community and visiting school adminis- Northwestern Convention 1491, Portland 97207.
trations by hosting a banquet for a;ll The Montana State University Chorale
three principals, directors, and wives. Al- under the direction of Bruce S. Browne,
so attending are representatives of the and the Montana State University Or- omo ACDA ACTIVITmS
local women's club and a bank who act chestra under the direction of Professor The Ohio membership held a music
as .patron-sponsors for the concert each H. Creech Reynolds, appeared at the reading session in 'conjunction with the
year. A statement on the program reads Northwestern Regional MENC - ACDA O.M.E.A. Convention on February 9th in
"Our emphasis is not only on the social Convention, March 20, at Eugene, Oregon. Columbus. Martha Wurtz of Ohio Uni-
benefits of such- an event, but is primar- The concert there climaxed a tour through versity, Ridhard Wespof Cincinnati, and
ily centered on providing an educational Montana, Idaho, Washington, and Ore- Marshall Turley of Mansfield were con-
activity on a uniquely high cultural gon. ductors. Music for Womens Chorus, Male
plane." Avon Lake Hi.gh School has 750 Presented in the framework of a con- Chorus, and Chamber ,Choir was fea-
students in three grades. trast of Classical and Romantic styles, tured. State President George Wilson was
the two works performed were the Mass chairman.
1968 Concert In Time Of War (Paukenmesse) by The nominating committee and State
Avon Lake A Cappella Choir Haydn, and Song Of Fate (Sohicksa;ls- Board also met in February. Election
Komm J esu Komm - Bach lied) by Brahms. plans, Ohio ACDA News publication, the
Lakewood High School Senior Choir Co-ordillating the program was Rodney proposed Ohio Honors Choir and the
Ceremony of Carols - Britton Eichenberger, professor of music at Wash- plans for a Third Annual Summer Con-
Wilmington High School Choir ington University, with the widely known vention on July 27, 28,and 29 were dis-
Credo - Verdi conductor, Stanley Chapple as guest cussed. Regional reading sessions are al-
Combined Choirs Te Deum- Verdi speaker. so planned.
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

DEVELOPING CHORAL LEADERSHIP perience of having sung a s~)lo in a fur-
mal situation is certain to result in a
TH ROUGH SOLO SI NGI NG change of attitude on the part of the stu-
dent with regard to his personal import-
ALLAN LEHL sounds must be stressed. When the songs ance as a member of your choir.
are learned each student should be re- Two sources for some easy but grati-
Associate Professor of Voice fying Italian songs are:
Director of Choral Activities qui red to sing one of them, in the correct
Drake University, key, for the chorus members, and for a Classic Italiall SOl/gs, eel. by Glenn
Des Maines, Iowa grade! and Taylor, Theodore Presser. Volume r.
med. high and meel. low keys. Gooel pro-
Directors of high school choral pro- The development of the individual nunciation guide. Somewhat romanti-
grams are frequently faced with the voices is but one of several benefits to cized piano accompaniments by Pietro
problem of insufficient vocal leadership the chorus that might be derived from Floridia,
from members of their ensembles, and this type of activity. If the songs are in Twenty-follr Italian SOllgs and Arias,
many rely heavily on the development of Italian, for example, the singers are na- G. Schirmer, meel. high and meel. low
leaders from private teaching studios or turally less aware of the sense of the keys. :.:
a voice/theory class. words, but infinitely more conscious of
The development of leadership may be the vowel sounds. The "Cardinal Vow-
els," once purified, serve as a basis for
~~ 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-
ELECTRONIC MUSIC ence that allows for group expression.

This seems to be a very fertile ground
and offers a challenge to some of the
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,

SUCCESS IS ASSURED BY LARGE REGISTRATION FOR
CHORAL CONDUCTORS SYMPOSIUM IN VIENNA
With more than 65 Choral Directors 2 :30 - 4 :00 p.m. Rehearsal of major
and 250 chorus members from represent- works of the Viennese Classical Period
ative schools throughout the nation al- with the individual choirs. Every con-
ready s'igned up as active participants in ductor willl have an opportunity to re-
the Choral Conductors Symposium at hearse at least part of the composition
Vienna, Austria, August 16 through Sep- studied in the morning (9-11 a.m.).
tember 1, 1969, the success of the event 4 - 5 :30 p.m. All conductors together
is assured and final plans are being made with individual choirs. Lecture on Musi-
by those attending. While the active par- cology: The Viennese Classical Music
ticipation list is closed, there is still room IJmd Its Tradition with the A ~~stri(Jin Ba-
for auditors and anyone wishing for fur- roque Atmosphere as a Backg'rou.nd.
ther information may contact ACDA 6 - 8 p.m. Dinner.
First Vice President Harold A. Decker,
8 -9 :30 p.m. All conductors together
FOR CHORUS
School of Music, University of Illinois,
Urbana, Illinois 61801 for information. with individual choirs. Chamber music From the MCA Junior Choir Series
workshops given by invited ensembles;
The European Extension Division of reading sessions; lectures; rehearsals to
for Treble Voices
the Institute of European Studies and the give each choir the opportunity of per-
The Mouse on the Moon [Norden/Frank)
Z-Part ..................................... 35
American Choral Directors Association fonning the compositions studied in the Music Lessons [arr. Frank) Z·Part ........... 35
are sponsoring the Symposium on Music afternoon with the other choirs as an Three Brave Hunters [Maizel) Unison ......• Z5
ill the Classical Viennese T1'aditiol1 to audience.
deepen the understanding of the Viennese From the MCA Contemporary
music of the Classical period and its in- Choir Participants Daily Class Schedule Choral Library
terpretation. As the theme of the Sym- Love Is [Benson) for Double [antiphonal)
posium will be Viennese classical music Practical studies and lessons on Vien- Mixed Chorus, a cappella ................. 40
and its tradition in connection with the nese classical music. o Sing a New Song [Hartley) SSATB and
Organ or a cappella ...................... ,35
Austrian baroque spirit, Vienna was 9 - 11 a.m. Choir participants will have The Owl and the Pussycat' [Lear/Elliott)
chosen as a present day center of music the choice of two alternative lectures: SSAA .....................................60
and the city where most of the musicians These Things Shall Be [Cable) SATB with
Solfeggio and Ear Training - Dr. H. Orchestra and/or Band .................... 40
of this period lived and performed. Bohm, Listening and Analysis - Prof. K. They That Put Their Trust [Hartley) SSATB,
The Symposium, to be given in Eng- Schwertsik. Organ or a cappella .......................30
lish, will consist of seminars On conduct- 11 - 1 p.m. The Symposium Choir From the MCA Masterwork
ing problems, score study, problems of (composed of all 5 participating choirs)
vocal production, solfeggio and ear Choral Series
will rehearse The Cr.eation by Haydn Psalm XXIII [Billings, arr. Rossil SSA ..... Z5
training and lectures on musicology of with Prof Theuring. We Hasten, 0 Master [Bach, arr. Rossi) SA .30
the Viennese Classical Music, Baroque 1 - 2 :30 p.m. Lunch. Wondrous Night (Berlioz, arr. Rossi) SSA ,30
opera, art history of the Baroque period
and other topics. A cappella choral music 2 :30 - 4 :00 p.m. The individual choirs Massey College Series
of Haydn, Mozart, Beethoven, Schubert will rehearse a major composition of the of 18th-Century Verse Anthems
and Bruckner will be studied during the Viennese Classical Music with their own Awake, Awake, Put on Thy Strength (Wise)
Symposium. Prior to arriving at the con- conductor or other participating con- ATB Soli, SATB Chorus .................. 40
ference, each choral conductor and sing- ductors, under the supervision of Prof. By the Waters of Babylon [Boyce) SSATB
Soli, SATB Chorus ........................ 50
er will have studied the Creation. (Die Theuring.
Call to Remembrance [Battishill) SATB .... ,30
Schopfung - Peter Edition) by Haydn in 4 - 5 :30 p.m. All choir participants to- Lord, Let Me Know Mine End [Locke)
German, since it will be performed as gether with all Conductors Lecture on SSATB Soli, SSATB Chorus .............. 50
the main work at the closing concert in Musicology: The Viennese Classical M1t- o Praise the Lord, All Ya Heathen [Croft)
ATB Soli, SATB Chorus ................... 30
Eisenstadat at the Esterhazy Castle where sic and Its Tradition with the Austriam
Haydn lived and worked so long. Bm'oque Atmosphere as a Backgro1md.
6 - 8 p.m. Dinner. Send coupon for FREE reference copies
Conducto.r's Dail'.y Class Schedule 8 - 9 :30 p.m. All choir members to- and FREE packet of choral thematics.
9 - 11 a.m. Practical aspects of con-
ducting - Prof. G. Theuring. The, Theory
gether with Conductors. Chamber music
workshops given by invited ensembles, -------------------------1
of Conducting, Score-study, Reading ses- reading sessions, lectures, rehearsals to Send FREE reference copies
sion for preparing the compositions to be give each choir the opportunity of per- and FREE packet
studied with the individual choirs in the forming the compositions studied in the of choral thematics,
afternoon, Discussion period. afternoon with the other choirs as an Name _______________________________
11 - 1 p.m. The conductors have the audience. :.:
choice of two alternative lectures: Prob- Addres9 _ _ _ _ _ _ _ _ _ _ _ _ _ __
lems of Vocal Production - Prof. F.
Grossman, Listening and Analysis- Deadlines for copy in The Choral Jour- City State Zip _ __
Prof. K. Schwertsik, or the attendance nal are 1 month prior to each issue. For i ________________________ _
of the Symposium Choir's Rehearsal -

Prof. G. Theuring. (Selected conductors
example the January-February issue dead- i~\
I
... 'O+o
~ ~
line is December 1. If you remember this
will be given an opportunity to rehearse rule you can plan your copy to reach us :. MeA MUSIC
with the Symposium Choir.) in time for inclusion in your preferred :I _________________________
.'. 543 West 43rd St., N. Y. 10036:!
I I
1 - 2 :30 p.m. Lunch. issue.
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

variety of sources for one time or oc- Drum Song." The revival of American relegated to the very last. All this has
casional use. folk hymnody, the advent of freedom not helped congregational song in the
At one time, in recent memory, the songs, civil rights music, even the Beetles least bit and has made almost inopera-
two threats to the denominational hymn- and Simon and Garfunkel have directly tive the role of the choir in leading the
book were (1) gospel hymn collections challenged the old religious pop music congregation and the instruments placed
(2) cOl1gregational apathy at the point which was, of course, "the gospel hymn." thereabouts to effectively direct the wor-
of singing and learning new hymns. Now From within and from without the shipers' attention to some approximation
comes along the new "gospel hymn" church and in spite of the confusion and of tempo, pitch, and rhythm.
borne by the winds of "renewal" and uncertainty, has come a new music so Thus far we have discussed the idea
"reformation" and the people welcome it revolutionary as to cut across all denom- of a denominational hymn book and we
with full-throated participation - well inations and to challenge all presupposi- have reviewed some aspects of the recent
almost! tions as to wha:t is proper and correct. crisis in congregational song. For some,
N ow this is but one aspect of what I This new music whether it is accompan- the crisis has called into serious ques-
call "the crisis in congregational song," ied by guitars, handc1apping, footstamp- tion the future of denominational hym-
and will be more fully treated in a mo- ing, or simply a restylization of some of nals. Granted this view, it does not seem
ment. The crisis is here and now and is the traditional sounds and words of 18th to follow though that either congrega-
three dimensional: musical, theological and 19th century hymns is doing one im- tional song or the publishing of compila-
and architectural. portant job, that being a reassessment of tions of congregational music is on its
I. Mllsical. In a real sense the church the purpose of having a hymnbook around way out. Quite the contrary! What is
has rejected 20th century musical sounds any way. apparent is that (1) present denomina-
and forms. In particular jazz and the 2. The second major aspect of the tional hymnbooks lean too much toward
folk idiom made little impact until the crisis is theological. The renowned Eng- the 18th and 19th centuries both as re-
mid-1950's: The sounds of Victorian Eng- lish hynmologiSot, Erik Routley, says the gards the texts and music and as we at-
land were assimilated into and condi- theological crisis is a crisis of "the word" tempt to use the hymnbook in traditional
tioned the religious experiences of our and "the language of faith." For a full 18th and 19th century patterns of wor-
forefathers. To many, today, all tradi- exposition of this problem see his two
tional hymn tunes and the Victorian tune books, Words, Music and the Cl21l,rch and
in particular tend to be a barrier to ex-
pressing a liveliness and an awareness of
the gospel.
Related to this purely musical matter
H'j'l111tS Today al11d. Tomon'ow, both pub-
lished by kbingdon Press. In brief the
problem that Routley zeroes in on is the
difficulty of King, James' verbiage (the
!/Jos Publishers of the
Finest Editions
for Music Education
is the whole problem of the forms .and
poetic meters employed by 18th and 19th
century hymn writers which exist in stark
base of practically all traditional hymn-
ody) to adequately symbolize and express
20th century man's religious experience.
INEW RELEASES for EASTER
contrast to contemporary poetic and lit- Schools of theology haven't helped
erary expressions.
In a parallel development there has
much either and have for the most part
been negligent in their failure to provide
CHRIS'fUS
also occurred a blurring of the tradition- a sound hynmological and liturgical base By FELIX MENDELSSOHN
al categories once titled "secular" and in the preparation of parish ml111sters. Arranged and Edited by
CHARLES ZIEMER & WALTER RODBY
"sacred." Ten years ago the avantgarde Instruction in hymnody and liturgv has from Mendelssohn's Unfinished
jazz services and the use of folk hymnody been left to a sort of on-the-job training Oratorio "Christus"
ca:used a great deal of consternation to be taken up in the first church to A Passion Cantata for Mixed Voices and
among the rank and file of church mem- which the minister is appointed. This is Solo Recitative-Tenor or Ba ritone-with
bers. However, now there is not much of somewhat like providing an airline pilot Piano or Organ Accompaniment.
a ripple whenever you pull off one of with everything that he needs in his $2.00
these things. One of the consequences of basic training except experience in land- Write for On Approval Copy
this whole area of experimentation has ing and take-off procedures. We are only
been that it's now very difficult to neat- beginning to reap the whirlwind of this ALL HAIL THE POWER OF
ly label music used in the church as we oversig-ht in the curriculum of theologi- JESUS' NAME
SATB accomp. - arr. Pankratz 25c
were once able to do. cal education. AN EASTER CHANT
Then, too, we have also presumed that 3. The third major part of this crisis SATB - Gordon Young ..••• '" 25c
choirs in and of themselves can and do in congregational song is architectural. CHRIST IS ARISEN
lead congregational song. Graded choir In brief, we just simply haven't done an SATB accomp. - Stanley Glarum 25c
COME UNTO ME, YE WEARY
systems in American local churches have adequate job in making it possible for SATB accomp. - Ralph Williams 25c'
been a detriment to the primary task of music, the spoken word, and congrega- EASTER ANTHEM
providing leadership in congregational tional participation to take place in the SATB - Carlton Young ••••••• 25c
music. The mob scene of multiple choirs same room at the same time. We've HEAR ME, LORD
SATB accomp. - arr. Klein ,••.•• 25c
complete in robes and stoles, belting out made some valiant attempts and have LORD MY SAVIOUR, MY SALVATION
enthusiastic sounds on behalf of the con- had some striking designs find their way SATB accomp. - arr. Klein ••••• 25c
gregation" has tended to allow the con- into final form as a building only to dis- LORD TRIUMPHANT
gregation to sit back and let the show SATB accomp. - Mascagni/Rodby 35c
cover in horror that we need amplifica- SAVE US, LORD JESUS
roll on because they see no real relation- tion in order for the minister to be SSAHBB - Bruckner/Klein •.•.. 25c
ship between their task as participants in heard; the choir has to literally shout to SPANISH EASTER CAROL
worship and the action that's going on be heard; and the organ has been buried SATB accomp. - arr. Schroth '" 25c
up front! back into a wall some place. All this plus Complimentary examination
Since World War II, traditional hymn- the fact that the individual in the pew copies sent u,pon reqllest
ody has had the competition of popular senses that he is the only one who is
music, beginning with Rodgers and Ham- ever singing! NEil A. KJOS MUSIC CO.
Publishers
mer stein and their musical moralizing as It's at least worth asking one more 525 BUSSE PARK RIDGE, ILL. 60068
found in "South Pacific" and "Flower time why it is that acoustical planning is
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

we're already in the arena of unaccom- exist, except in name, about fifty years NOTES OF INTEREST
panied congregational singing! ago. For the most part their similarities
'Dhe . Baltimore Oivic Opera Company
4. We need to set aside a time in in content far outweighed their differ- announces its Sixth Annual Voice Com-
which the congregation can learn to par- ences even then and obviously now these p'etitions to be he.ld on June 11, 1969 fol-
differences are small and are getting lowing preliminary auditions from June
ticipate. By this I mean a time to learn 2-10. Final judges will be M-iss Rosa Pon-
new hymns or new texts or new ways of smaller each succeeding year. We can-
selle, Artistic Director, Baltimore Civic
doing things. When did worship stop not any longer justify the continuation of Opera; Miss Licia Albanese, Metropolitan
being a time to 1-.~arn? Really, people do separate but equal hymn books ! Opera; Peter Herman Ad.ler, Music Di-
The problem is squarely up to the sev- rector, National Education Television;
want to do something other than that John Gutman, Assistant Manager, Metro-
they have been doing for the last 40 eral denominations through their publish- poUtan Opera; Robert Lawrence, Direct-
years. Hymn singing or congregational ing interests as they attempt to meet the or, Opera Department of Peabody Con-
song, if you prefer that expression, can needs of the emerging'ecumenical church. servatory; and Max deSchauensee, Music
If they do not meet these needs, then just Critic, Philadelphia Evening Bulletin,
be made to be a very exciting and en- Opera News and Opera Magazine. For
gaging enterprise. It takes talent and as the foreign com pad car sales con- information and entry forms write Bal-
patience on the part of the leadership of vinced Detroit manufacturers that there timore Civi·c Opera -Co., Inc., 11 E. Lex-
the church to move a congregation to the was a market value related to real need ington st., Baltimore, Md. 21202.
point of response but it, also, takes the - private publishing of congregational -***-
Six international worksho.ps, sponsored
inspiration of being compelled by the mllsic, sometimes by local churches or by the World Library, will be given in
force of the gospel for the congregation groups of churches may have to do the various .parts of the United States during
to want to express itself. What is really convincing. the month of June. A full day -choral
Whoever does the publishing for the clinic with chor8J1 reading sessions will
prerequisite is involved in the pastor so be part of each program.
engaging his congregation in dialogue emerging church the problems of cost, The schedule is as <follows: June 9-13,
with the gospel that they will almost format and content will need to be solved Madison, Wisconsin; June 9-13, Denver,
break out in spontaneous song. Then if with bold new ideas, not simply a rein- Colorado; June 16-20, Seattle, Washing-
carnation of old solutions. As an initial ton; June 19-21, Helena, Montana; June
they need to take time to learn a hymn 23-27, Syracuse, New York; June 28 (one
or a line or a stanza, then that's the step on the part of the denominational day only), Burlington, Vel'l11ont.
time to do it, right then and now. Obvi- publishers, they might make it possible --l(.**-
Some of the world's most renowned
ously, congregational rehearsals at other for local congregations who do not now
own one of the newer denominational music8JI artists will be conducting semin-
times might be in order when special ars .for laymen, as well as music students
music is being prepared. hymn books to select the contents of their and teachers in a special Teacher and
own hymnal from the contents of these Auditor Seminar Series at the Aspen Mu-
Congregational song in some form has same denominational hymnbooks. The sic School, Aspen, Colorado, this sum-
. beerr';"with us from the Church's begin- majority of the contents of denomina- mer it was announced by Gordon Hardy,
ning and is the oldest and most contin- dean.
tional hymnals are presently in the pub- Among those already scheduled to teach
uing aspect of group participation. There- lic domain, that means that they can be are ·mezzo-soprano Jennie Tourel, June
fore, through and within this reformation used by anyone or any group without 23 to July 6 and August 4-17, the famed
to which I refer we may be assured that obtaining permission from the publisher. piano-duo Vronsky and Ba:bin August 11-
while the category of congregational song 24, pianist-lecturer Adele Marcus June 30
Copyrighted material and new hymns as to July 13 and July 28 to August 10, and
is here to stay, the hymnbooks may get they are produced could be made avail- Robert P8Jce, whose innovations in group
thinner, the denominational hymnal may able to local congregations through agree- teaching have had impact on music ed-
disappear altogether, the style of congre- ments and licensing arrangements if both ucation in many countries, August 4-10,
gational song may change and the build- With one exception, each seminar. will
the local church and the publishers are run for a two-week period and will con-
ings in which we worship or participate interested in being in a working relation- sist of both master classes and open for-
in community may be radically changed. ship. We've a long way to go in this um meetings. Write the Aspen Mus~c Fes-
But - - congregational song is here to r:egard. tival Inform8!tion Bureau, 1860 Broadway,
stay! New York 10023 for informa:tion.
In summary what I have attempted to
N ow as a practical consideration what present is threefold (1) the idea of a
I look for, and what we already see signs because they are dependent upon the old
denominational hymnal has had its day
of, is the restatement and reconstitution modes of denominational bureaucracy
in light of the emerging ecumenical
of an earlier evangelical ideal which al- church; (2) there is presently a crisis and are too insensitive to local, more
lows each congregation to choose the specific needs. It is at the local level
. in congregational song of threefold di-
hymnbook it desires to use. One way of mens ion: musical, theological, architect- that the alternative to the denominational
making this possible would be for an in- ural; (3) congregational song can and hymn book will be discovered. And it is
terdenominational agency to compile a will be reformed and some guidelines also here at the level of the local church
large (several volumes) source book of were suggested. and here only that the crisis in congre-
congregational song. Then through a Finally, and perhaps the crux of the gational song will be resolved. }:
licensing arrangement with local congre- Copyrig1ht 1968 by
matter, old ways of compiling, printing The Religious Publishing Company.
gations these congregations would be al- and distdbuting are doomed to failure Used by .permission.
lowed to photocopy or reproduce individ-
ual pages. If a congregation did not want
to compile its own hymnal, it could then
order small paperbatk hymnals based on ~ew Anthemst=()(" Mixed Vulc:es
the larger compilation. Alleluia! Sing to Jesusl - Brandon - SA(T) B •....•...........•..•••.....•• .26
Denominational publishing interests Blessed be the God and Father - Brandon - SATB •..........•............ .25
Credo - Cousins - SATB ........•.•....••....•.....•......••........ .25
have a longer history than is generally From Thee All Skill and Science Flow - Peek - SATB ••......•..••..•.•..... .26
known for cooperative planning, publish- Let the Heavens Rejoice - Ford - SSAATTBB ••..••.........•....•....... .26
ing and distribution, one exception being Prayer of St. Francis - Taft - SATB ••..•••.•...••..•...••..•...•...•••• 040
the denominational hymn book, supreme BRODT MUSIC COMPANY
symbol of separateness and exclusiveness. P. O. Box 1207 Charlotte, N. C. 28201
Denominational hymn books ceased to
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
11 ,'"I" -4f r· r -1: ~.~

J ,,\ JJfJ-
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.

Record of the M.onth ... SCHOOL ACTIVITIES U. OF COLORADO TO HOLD
ANTHONY C. CAPPADONIA The Department of Music Arts of the WORKSHOP IN ASPEN
University of South Florida in Tampa
State University of New York now offers a master's degree program BOULDER, Colo. ~ The University of
Box 564, Alfred, New York 14802 in applied music with a major in choral Colorado Extension Division will offer a
conducting. Courses required are' Choral workshop, Choral Technique-Choral Style,
Literature and Conducting, Seminar in July 14-19 in Aspen, Colo. Warner Imig,
JESU, MEIN FREUDE (Jesus, my Joy). Choral Ensemble Performance Practice, dean of the UC College of Music, will be
By Johann S. Bach. The Bach Festi- Voice, and Piano. A minor field may be the clinician.
val Chorus of Kalamazoo, Michigan. chosen from either applied voice or !hu- The workshop, consisting of working
Dr. Russell A. Hammar, director. 10" manities. sessions designed to develop choral tech-
LP Stereo, $4.25. . Course offerings will begin during the nique and choral style, will car,ry two
summer session. The 8-week session be- hours of graduate or undergraduate cred-
The Kalmazoo Bach Festival Society it. Participants will read newly published
was founded by Dr. Henry Overley in gins June 17 and ends August 12.
For further information, write to the choral music. They will be able to attend
1946. It is sponsored by Kalamazoo Col- events of the Aspen Summer Music Fes-
lege, but the Festival Society is a com- Department of Music Arts, University of
South Florida, Tampa, Fla. 33620. tival.
munity organization. The 'SOCiety depends Imig was one of 30 musicalautJhorities
upon patrons to help defray the major ««»» from across the country invited to parti-
costs of the Festival and it is governed Composers represented at the annual Cipate in a symposium on Music in Amer-
by the Bach Council w.hose members are Christmas Vespers of the choir of Alle- ican Society during the summer of 1967
elected from the community as well as gheny, Pennsylvania, College December at Tanglewood. A member of the Cur-
from the college administrat~on and fac- 1st and 2nd were Sweelinck, Hammer- riculum Commission of the National As-
ulty. This gr·ou,p is an' outstanding ex- schmidt, Schutz, BrUCkner, Freundt, and sociation of Schools of Music, Imig has
ample of close community-college rela- Rachmaninov, comprising an unusual ad- been acting 'as consultant to universities
tions,hips and one that could be patterned and colleges in curriculum development,
by many cities of our nation. new concepts of curriculum and graduate
Jesu, meine Freude is the third of Bach Festival Society, Kalamazoo Col- programs. He also served on evaluating
Bach's six motets. This one is the long- lege, Kalamazoo, Michigan 49001. Our committees at the Universities of utah,
est; .five of the eleven sections are writ- readers are urged to listen to the Festi- Arizona, Missouri and Kansas City. He is
ten for five voices and it is Bach's only val Ohorus sing this great work by Bach. a past-president and charter member of
chorale-motet. Bach employs homophonic
and polyphonic texture even though the
.. . . the American Choral Directors Associa-
tion.
work does reveal tonal and rhythmic SPRING FESTIVAL OF CHOIRS (1966). Further information about the work-
sameness. 'Dhe main body of the motet Thornridge High School Chorale. La- shop can be obtained from Clay Berg,
is the great fugue No.6. The extraordin- mar Runestad, director. 12" LP, Director, Bureau of Class Instruction,
ary voice range and wide emotional Stereo. University of Colorado, Boulder, Co~ora
involvement of the work demands long do 80302.
rehearsals for groups w:ho want to meet This group is full of vitality; it is alive.
the challenge of this inspiring work. They possess a big sound and the choir
The Bach Festival Chorus sings the sings with meaning and an intense de- mixture of the Baroque and the Romantic
motet in English and a cappella through- sire to follow the wiahes of their director. style. But this mixture in itself makes a
out the e,leven sections. 'Dhis writer feels One can immediately sense that this point: the Christmas message is meant
t'hat pel"haps an accompaniment should group is well-disciplined in the aTt of for all ages of man. A contemporary
have been employed in some sections to ohoral singing. Even though the sound second group concluded the program.
lend greater tonal variety to the work. of the group tends to be monochromatic, The choir's first stereo and professionally
Surely, the Bach Festival Ohorus does one can feel the presence of the group recorded disc wilJ be released as one of
project the mood of the work and most because of their deep conviction for the the American Heritage Series by Lexing-
of the motet is sung with meaning and music they sing. One must marvel at the ton Production of New York. The Christ-
assurance. long, sustained chordal passages of Men- mas .record is comprised of selections
The basic tonality of E minor (eight delssohn's Holy, Holy, Holy. Technically, from last year's Christmas Vespers and
of the eleven sections therein) begin in this work indicates excellent breath man- carols by the choir, soloists, organist, and
E minor and the final chord ends in E agement. The Christiansen arrangement the Allegheny Glee Club under the di-
Major. OccasionaHy, the G shaI\p (third of Sanctus and Agnus Dei conveys the I'ectionof BiU Kammann. Recording en-
of the chord) sounds slightly below pitch. same feeling of beautiful phrasing and gineer for Peter Bartok, son of the emi-
A few careless attacks are evident and one can almost disregard the few anti- nent composer, Bela Bartok.
the terracep. dynamics of the fifth sec- Cipated 2 sounds or the slightly advanced
articulation of the (ch) of the word ««»»
tion, beginning on measure ten shows The Christmas section of Handel'S
little contrast. In the eighth section of pacem. After these two challenging works,
one hears the shim~ering passages of Messiah was featured in the Slippery
the motet in 12/8 meter, the voices begin Rock, Pennsylvania, State College Choir's
to tire with a corresponding lack of feel- My Song In The Night, a Southern folk
song expertly presented by the choir and 1968 Christmas Concert given December
ing in the tone quality. This motet is 15. A· twenty piece orchestra of musi-
both lyric and dynamic and the interpre- Miss Gail McKinney, who sings with ex-
pression and fine intonation. Side one cians from the Pittsburgh area and Mu-
tation reveals itself in the words and sic Department faculty accompanied,
music. I feel that this is lacking in por- ends with an adequate performance of
Beautiful Savior with Miss Linda Semple with George W. Bentel, Assistant Profes-
tions of the fugue and in thi:s section. It sor of Music at the college and Pennsyl-
was pointed out earlier in this review singing a very expressive alto soio. A
that this motet is an extremely ,challeng- variety of shorter works are included on vania State Chairman .of ACDA, con-
side two. The Laughing Song by George ducting.
ing work since much of Bach's music for
chorus has instrumental tendencies with demonstrates excellent staccato tech- ««»»
wide intervallic leaps and some disjunct nique; the Silver Swan by Gibbons has The Maryville College Choir's annual
motion. fine blend and balance and a neat ar- spring tour will take 43 students on a
The Bach Festival Chorus has assumed rangement of 0, No John conclude the, chartered bus trip to s~me major cities
a tremendous task for the recording of bhree selections by the madrigal singers of the northern United States and Cana-
this work and they have achieved a great who prove to be versatile and flexible. d;;t from Friday, March 14, to Tuesday,
measure of success. The continuity and I Will Praise Thee 0 Lord by Nystedt March 25. The' Choir, under the direction
general expressive qualities of the per- and the Christiansen arrangement of of Dr., Harry H. HaTter since 1947, will
formance is evident; doubtful intoration Spring Returns have effective dynamic sing before concert audiences and church
exists infrequently and the polyphonic shadings and good pitch. Edelweiss, a congregations in Lexington and Lebanon,
texture of the motet achieves a rich beautiful ballad, is sung with sensitivity. Kentucky; Detroit, Michigan and Chat-
blend without individual lines becoming The record concludes with two popular ham, Ontario, Canada; Orchard Park and
obscured. T,he singers also project a fine spirituals, Ain'-a That Good News and Albion, NeW York;' Pittsburgh, Houston,
attitude about the musi·c. the equally l"hythm~c Rock-a My Soul. and Kittanning, Pennsylvania; Youngs-
The group was recorded .with an Am- We urge directors to hear this well- town, Girard, and Cleveland Heights, 0.;"
pex 1500 tape machine; using Telefunken trained group. Please write to Lamar and Charleston, West Virginia. The Home
mikes. The speed was set at 7% i.p.s. Runestad, Thornridge High School, Dol- Concert has been scheduled in WHson
The record may. be purchased· from the . ton, Illinois 60419. :.: Chapel Sunday evening, Match 30.
MARCH-APRIL 1969 29
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~, .~ ~
Chur-al l2e iewJ

JOEL R. STEGALL. Mars Hill College. Mars Hill. N.C. '28754 BRYAN E. Lindsay, Okaloosa-Walton Junior College, 423 Gregory
Alfred, Bourne, Concordia, H.' Flammer, Kios, Mercury, Peters, Ave •. Valparaiso, Fl,orida 32580
Plymouth, Walton, Summy-Birchard. Associated Music Publishers, Boston, C. Fischer, Franco Colombo,
PAUL E. PAIGE. Cazenovia College. Cazenovia. N.Y. 13035 Sam Fox, ludwig, E. H. Morris, Pro Art, Willis.
Boosey & Hawkes, Elkan-Vogel, Frank. MCA Music, Edward B. BOB BURROUGHS, First Baptist Church, Box 85, Abilene, Texas 79604
Marks, T. Presser, Richmond. E. C. Schirmer, Shawnee Press, Staff. Abingdon, American Educational Music, Belwin, Hal leonard,
SCOTT E. WITHROW. Geo. Peabody College for Teachers. Nashville. Sacred Music Press, Schmitt, Hall & McCreary, Skidmore (Sha-
Tennessee 37205 piro-Bernstein), World library.
Augsburg, Canyon Press, J. Fischer & Bro., lancer, lawson-Gould, RICHARD G. COX, Music Dept., UNC-G, Greensboro, N.c. 27412
Mills, Oxford, G. Schirmer, Volkwein, Warner 7-Arts. Women's Chorus materials from all companies listed above.
RODNEY G. WALKER. Music Dept.. Kansas State U., M~nhattan. MORRIS J. BEACHY, Music Bldg. 300A, University of Texas, Austin.
Kansas 66502 Texas 78712
All Male Chorus materials from all publishers listed above. Special Chamber Choir reviewer.
BURTON A. ZIPSER. 32164 Exeter Drive. Warren, Michigan 48092 All non-ACDA Associate members and other Advertisers wishing ma-
Choral with instrumental: ensemble or full band-orchestra accom- terial reviewed please forward it with request to:
paniments. KENT A. NEWBURY. 5826 North 70th Place, Scottsdale. Arizona 86257
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

SSAA (No. 129) are also available from Over Thee, Kenneth Jennings (ACL 1499, why not consider the following, published
Tuskegee. 25c). Text from the Gradual. First Sun- by NeB A. Kjos Music. Anniversary Fes-
day in Lent, Lutheran Liturgy. tival, by Warren Angell, for chorus and
BOURNE band (arr. by Paul Yoder), B340 (Ohoral
Arise, Shine, for thy Light Has Come
Four Spiritual Songs, Sets One and (A:CL 1498, 25c). Text from Isaiah. Jen- score 5431, 25c; full band, $6.50; symphon-
Two (75c each set), 'by John Brodbin Ken- nings' style is homophonic, mildly dis- ic band, $9.50 - condensed conductor
nedy are pieces taken from a collection sonant, moderate range, interesting. The score only).
of Slave Songs first published in 1867. In music is always a vehicle for te~tual de- Published in 1966 to words of Henry
spite of Kennedy's introductory state- claration. Ware (1822), this is a work e~hibiting
ment that he found a considerable amount several sty-les of wri·ting during its three
of arranging necessary .to achieve overall FROM OXFORD minute length. It opens with a fanfare
musical coherence from scantily detailed Hymn to the Trinity, Stephen Daw (43. in a modified dissonant style, continuing
original scores, the compositions seem to 454, 25c). Highly apP'ropriate setting of with a unison melody in the style of a
have maintained the primitive, stark 15th ·century text which, despite title, is hymn. A homophonic chordal section
style they must have had originally. It of a penitential nature. Unaccompanied, precedes a short canonic section, ending
is in this context that I find the works strophic, stanzas 2 and 3 handled as du- with a full six· part fanfare. If your chor-
intriguing: they :have a certain earthy ets (SA,TB). Soloists need solid pitch us is not large, some editing of parts is
qU!l!lity which make them, in 'my opinion, sense. Stanzas 1, 4 for full choir are simi- needed, since many of the chordal parts
distinctive and worthey of consideration lar musically. If harmonic seconds and are doubled by saxes and horns, which
for any program w.here "unschooled" sevenths don't scare you, see this! tend to ·blur the words. The middle sec-
American music may be appropriate. Un- tion (from D to F) inight eve.n .be per-
fortunately, in the copies I received, Jubilate Deo, Dennis Wickens, (42.336, formed without accom.paniment. T:h e
numbers two and three of Set Two were 5()'c). Intended for liturgical use, since chordal score incllldes an accompaniment.
bound with Set One, replacing those Gloria Patri is included. Ohoral parts
difficult, in spite of some par8Jllel writ- Coronation Festival, "Rejoice in the
middle sections of Set One. I trust that Lord", by Handel, for chorus and band
this mechanical difficulty has been ad- ing. Organ parts more difficult. MUsical
prognosis: Exciting under c8Jpable hands. or orchestra or both (arr. by Theron
justed by this time. Kirk), 3334 (Choral score 5407, 35c; band
-Joel R. Stegall Jesns, Thy BoUIlJdless Love, John Dres- B-334, .from $7.50; orchestra 0-334, from
sler (9823m 30c). Lush, super-Romantic, $7.00 - all parts contained in one con-
some tig.ht-part writing, (SSAATTBB) ductor score).
wide dynamic ranges. Also of three minutes duration, this is
NEW ISSUES OF OLD MUSIC
The House of tlhe Lord, Frank Ahrold an excellent work for the chorus with ex-
Sanctus (B Minor Mass), J. S. BaCh- and Lord, 0 God, Uuto Thee, Camil Van perience in the mU!1ic of Handel and
Cassler, (Augsbul'g, 1541, 50c). Winston Hulse (9812, 40c). Both are bi'g numbers Bach, of which style it is typi·cal. Most
Cassler has adapted the orchestra to or- with important· organ accompaniments. of the choral parts' are doubled by in-
gan, (a top-notch organist is needed), The House of the Lord ·requires 4 solo- struments. The individual pants do not
kept the ty.mpani of the original, (op- ists {:SATB). Harmonically conservative, lie entirely in the upper part of the voice;
tional) and transposed the piece to C well-made. but they require good control to sing the
Major. It beats buying thE! whole mass if long phrases.
this excerpt is all that's needed. Three Chorales in Modern Style, Theron
Kirk (9904, 25c). Three contemporary GOld of All Nations, by Leisri.ng, for
Ont of the Depths We Cry, Lord, hymns for congregation and(Qr choir. chorus (arr. by Glarum) and band (arr.
Schutz-Coggin (Augsburg, ACL 1546, 25c) Tunes are simple arid suitable but far by Houseknecht), B-241 (Ohoral score
and What Pain Our MaiSter Didst Endure, from dull. No. 2 is for Lent, the others, 5l16, 25c - a full band score is available
Schutz-Coggin (Augsburg, ACL 1508, 30c). general. without the choral parts).
Just four parts in each, in English. Un- This is the familiar "0 filii et fiIiae"
fortunately, Coggin doesn't give sources. 'Tis Now the Glorions Easter Morn.
Theron Kirk (9906, 3Oc). 0 Sons and in an excellent English translation. An
Penitential text of "Out of the Depths" introductory .chom is used to give the
is, presumably, translated. What Pain Daughters, 'Dheron Kirk (9903, 35c). Two
selections based on Easter Carols, t'he chorus its ,pitch. Editing is needed for
uses Coggin's own text, suitable for Holy performance, since the choral par.ts are
Week. Both are rather dry by Schutz's former' is rollicking 6/8 rhythm, stropihic,
with Triangle and tambourine included doubled in the band arrangement.
best standards, but are good introduc-
tions to contrapunt8Jl style. in vocal score, the latter extracted f.rom FestiVal Finale, "God of Our Fathers",
Easter Canticle, with parts for 3 trum- arr. by Maddy, for chorus and band or
Let Us Celebrate God's Name, Bruck- pets, 2 trombones, a tuba and .timpani, orchestra or both, B-94 (Choral score
ner - ed. Richard Peelt (Augsburg :AS available from J. Fischer. Both demon- B-94, 25c, band or orchestra parts, f·rom
626, 25c). Peek keeps original Latin, adds strate high promise of effectiveness. $4.50 - condensed score only).
his own English text based on the same Moderate difficulty.
Psalm. Accompaniment as original (3 -Scott E. Withrow Still an effective arrangement, especi-
trombones, 2 must read treble clef) or ally for large groups. The choral score
organ. English text and accompaniment has no accompaniment shown, and a
provide the practicality of this edition. small chorus would need to edit some of
the parts because of the doubling of saxes
Sweet Is 1.1hat Dying, Palestrina - ed.
W8Jl.ter Ehret (Lawson-Gould, 51383, 30c). Choral-I nstrumental and low brass. The chorus divides into
nine .parts at the end.
Ehret adds his English to original Latin
of this secular five .part (SAATB) mad- If you are looking for a combined chor- Prayer and Praise, by Harry R. Wilson,
rigal. Excellent editing. al-instrumental com.position for gradua- for chorus and band or orchestra or bOoth,
tion, baccalaureate, or a concert finale, 268 (Choral score 5300, 25c; band or or-
En La Fuente del Rosel, Juan Vasquez,
ed. Marlin Merrill (Lawson-Gould, 51376,
30c). Vasquez, 16th century Spaniard, has
surprisingly well-developed contrapuntal
style. Four parts .throughout. English
and Spanish text, secular, just slig.htly
Taking your IYhoir to furope?
suggestive.
Take the IES Music Section in Vienna, Austria
Sing Aloud to God, El'bach, arr. Wm.
Haldeman. Original Latin and suitable as your sponsor!
English provided with this SSATB selec-
tion. If Erbach does not demonstrate the
genius of a Schutz or Sweelinck, it is Please contact: Music Section, European Ext. Div.
still very good contrapunt8J1 writing that Institute of European Studies
is always vocally comfortable .. Palais Kinsky, Freyung 4, Vienna, Austria
MOSTLY FOR CHURCH CHOIRS P.S. Mr. Peterson wrote in the last issue of The Journal: ",You need a
FROM AUGSBURG ball of fire promoter." We do this and more for you.
For He Shall Give His Angels Charge
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.

Donald Keats also employs a modified WORLD LIBRARY PUB., INC. H 22. Mr. Williams has taken his text
12·tone system, but here the music, not 2145 Central Parkway from Lev. 25:10, inspired by the words
the text, is the unifying factor. The voice inscribed on the Liberty Bell in Indepen-
Cincinnati, Ohio 45214 dence Hall, PhiIade,lphia. You couldn't go
parts, teeming with imitative figures, are
rhythmically and melodically independ- The Carol of the Bird, SATB, piano, wrong with that! But - the music is
ent. Several themes are divided between Allen R. Truhitt, 60c, 30 pp., E:SE-1484-8. good enough to say something about lib-
parts and/or reappear during the course First Prize anthem in the recent Green- erty! It is a very nice setting and would
of the work. The many tempo changes wood Choral Competition, sponsored by be good for a patriotic program, high
are well thoug'ht out and meticulously the World Library Publications, Green- school or college level. Medium difficulty.
indicated (except for the opening passage wood Press. The work is difficult, chal-
for chorus). A piano reduction is pro- A Groovy Waltz, SATB, piano, optional
lenging, and exciting, despite the fact string bass, drums and guitar, Robert W.
vided for rehearsal purposes. that the work is centered around the Thygerson, 40c, H 2152. Some day, I would
Benson and Keats have written two theme of "death". It is good concert ma- like to have the pleasure of meeting this
significant choral works. It is a pity that terial. The accompaniment is well writ- Mr. Thygerson. Anyone who writes as
difficulty will restrict their use to cOl- ten and interesting, sometimes complete- creative material as he surely isn't real.
lege and professional choruses. ly independent of the voice parts. Calls But he is. This writer has done two other
for baritone soloist. College or graduate tunes (Sing and Rejoice Gladly and Tiny
Jerome Rosen, Three Songs, Eng. text, level.
Boosey & 'Hawkes 5676, SATB and piano, Little Baby) and they are both excellent.
23 pp., 75c, M. Francis Thorne, Evening Love Poems from Youth, SATB, piano, Well this Groovy Waltz thing comes right
Prayer, Eng. text (Newman), Marks 4461, Gregory Kosteck, 40e, 16 pp., ESE-1458-S. behind them! It is very creative and well
SATB and organ, 7,PP., 25c, EM. T,his is a ohallenging work, while at the written. It swings. The text needs to
same time quite stimulating. It has come through cleanly in order for tJhe
Climbing down the dissonance Jadder audience to get what is going on. Your
spoken parts within the context of the
we find the music of Rosen and Thorne. kids will love this one, it is a real win-
choral lines. It has cross rhythms, and
T.he outside movements of Rosen's 7-min- ner. Congratulations, Mr. Thygerson,
ute trilogy are fast moving. "Snow Bird contains the excitement a good piece
needs to contain! It is also orchestrated whoever you are!
Blues" (Edwin Honig) contrasts a per-
and this is available from the publishers
cussively clashing .piano with a rhythmi- THE SACRED MUSIC PRESS
cally unflagging chorus; "Folk Tale" on a rental basis. It would be a fine
spring concert piece: Orchestration in- 501 East Third Street
(Celeste Turner Wright) is light and
cludes 2 flutes, 2 clarinets, 2 trumpets, 2 Dayton, Ohio
abrupt, with quick 'changes in dynamics
horns, vibraphone, harp, celeste, piano,
and phrasing. The second movement, The Man on the Cross, Gilbert Mavtin,
"Goodnig'ht, Mac," (William Van O'Con- percussion, and 3 celli. A p'rize winner in
the contest. SA TB, organ, 30c, S36. Mr. Martin takes
nor) is an oasis of qUietness which mir- his own text and does a very appropriate
rors the peaceful theme of the text. All The Last Days, SATB, a cappella, Wal- job with both text and moving music. It
three poems are set syllabically and sung ter May, 45c, 24 pp., ESA-1619-8. This is medium difficulty and centers around
in a predominantly chordal manner. The work is called a Sacred Cantata, and is the Christ hanging on the cross. A good
piano contributes a great deal to the ex- in seven disti,nct parts. The text is taken ohurchohoir number.
citement of Three Songs. For high school from the King James Version of the Bi-
and college level. ble. It is dissonant and will, be a good Song of Deliverance, Clifford McCor-
Evening Prayer is a serene and com- work to tune. Major sevenths and ninths mick, SATB, a cappella, 25c, S38. This is
pelling work. The interplay between or- are numerous. The work is basically
gan and chorus is noteworthy for this homophonic, with a hit of linear motion
brief a form, and adds much to the placed in several places that lends itself
beauty and impact of the music. The to this type motion. It wouId be a good
work should have wide appeal for church, piece for contemporary lit. study. A prize
school, and college ch oirs. Winner in the above contest.
Houston Bright: Softly Flow the Mid- Three Laments, SATB, a cappella,
night Hours, Eng. text by composer, Lothar Klein, 30c, 8 pp., ESE-1558-8.
~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

so-called "madrigal" groups around the always difficult. The final category, in
Chamber Music ... country who specialize in everything but the broadest. terms simply tries ,to indi-
madrigals, particularly in lighter music cate whether the mood and style is gen-
MORRIS J. BEACHY and novelties, depriving their members erally rhythmic or sustained.
Director, Choral Organizations
not only of the "fun" of madrigal singing,
The University of Texas Due to space requirements these selec-
but also the excellent vocal training its
Austin, Texas 78712 tions and information will be listed in the
discipline demands. Certainly no group
of madrigal singers must sing only this following order: Title, composer/arrang-
literature to the exclusion of everything er, publisher, rating, and general style.
The search for appropriate literature
for vocal chamber ensembles should quite else, but a madrigal ensemble, by defin- April is in my mistress' face (P), Mor-
naturally lead the director to consider ition, must certainly sing some madri- ley/Churohill, Bourne, E, S.
the wealth of multi-voiced compositions gals. T.here are, perhaps, at least two Lady, Your Eie, Weelkes, Kalmus, M,
of the sixteenbh and seventeenth cen- reasons why this takes place: 1) the en-
semble is too large to accommodate the R.
turies. I am, of course, referring to the I Love, Alas! I ,Love Thee, Morley/Ben-
madrigal or its other national counter- madrigal style and the repertoire is ,put
son, Novello, M, R.
parts. aside While the name lingers on, and Res t , Sweet Nymphs, Pilkington/
2) the director simply finds it easier to
However, the search is not as simple Clough-Leighter, Schirmer, E, S.
as it may outwardly seem. While we are program that which is more familiar and
My Bonny Lass, Morley/Salisbury,
all familiar with the term, "madrigal", elicits quick and favorable response from Schirmer, M, R.
we do not always take time to consider audiences looking for "entertainment."
Sing We and Chant It, Morley/Krone,
the tremendous va:rieties of style - and To make some kind of or,ganized at- Witmark, E, R.
consequently the vastly different 'Vocal tempt at helping directors find suitable To' take the air a bonny lass was walk-
requirements - which the twentieth cen- repertoire in the madrigal idiom, I plan ing, Farmer, Novello, M, R.
tury music historian conveniently groups to include in this column rather regularly Weep 0 Mine Eyes (P), Bennet/Grey-
under this single term. Unless the direct- a list of numbers whioh I can recommend son, Bourne, E, S.
or has some idea as to what kind of highly. T.here is a reason why certain o Stay, Sweet Love, Farmer, Galaxy,
madrigal literature he is seeking and is numbers seem to be programmed fre- M,R.
also aware of the major composers of quently'; they are what we might call, Sweet Suffolk Owl, Vautor/Grove,
this idiom, a great deal of time can be "winners." Tohey possess cer,tain qualities, Schirmer, MD, R.
lost without turning up one number or perhaps just a singllecharacteristic, Since My Tears and La:menting, Mor-
which is appropriate to his own group's which make them stand apart from other ley/Hir,t, Fischer, E, S.
ability and performance format. He will numbers in a program and it is upon Fine Knacks for La:dies, Dowland, CE,
also learn, unhappily so, that while there such repertoire that interesting programs M,R.
is indeed a wealth of excellent material (and contingent enthusiastic audience re- Fair Phyllis I saw sitting all alone (P),
of this genre, there is an even more for- ception) are achieved. This does not im- Farmer/Squire, Kalmus, MD, R.
midable amount of quite average, though ply that all the "winners" are known, Clorinda False, Morley, Stainer, MD, S.
well-composed, compositions. Well-com- or even published, and this is one rea- Let go, why do you stay me?, Bennet,
posed because these numbers are de- son w,hy performance in this field is so Schi,rmer, MD, R.
veloped along the same lines, formalisti- rewarding; it is possible to expand con- Mother I will have a husband, Vautor/
cally, as are the truly significant pieces. tinually your knowledge of the number Fellowes, Stainer, M, R.
The major drawback of such pieces is of pieces which challenge your singers o Sleep, Fond Fancy (P), Bennet/
perhaps that they are neither "inspired" and build excellent programs. Fellowes, Galaxy, E, S.
nor possess the mark of individuality. While the madrigal did not have its At Her Faire Hands·, Peerson/Wailes,
Without careful screening before pro- beginning in England, my first list is Schott, E, S.
gramming such literature, a director may comprised of English madrigals for sev- Sing, Love is Blind·, Peerson/Wailes,
build into his performance a frightfully eral reasons, not the least of which is Schott, M, R.
boring experience for the listeners no the language itself. Singing in a foreign Upon My Lap·, Peerson / Wailes,
matter how fine the performance. For tongue alway.s, poses problems for the Schott, E, S.
example, it is difficult to imagine Pales- st.udent with little language background, Weep, Weep, Weep, Mine Eyes, Wilbye,
trina as an unimportant composer, and F,renc'h most excruciatingly so, but even Boosey, MD, S.
yet his madrigals are, in fact, rather dull the pure-voweled Italian tongue inhibits Weep You No More Sad Fountains,
fare, particularly for today's audiences some and after being run over the slower Dowland/Knig.ht, Fischer, M, S.
and do not begin to compare with the moving tongue and through the rather Willy, Prithee Go to Bed, Ravens-
imaginativeness of his contemporaJ;y, di lazy lips of the American singer, the croft/Knight, Fisoher, E, R.
Lasso. But it is not possible to blame vowels are somewhat less than "pure" to Lo, She Flies, Morley/Richter, Asso-
Palestrina for this; the same composi- say the very least. Another factor is that ciated, D, R.
tional philosophy which spawned such the English madrigal to a lal'ge degree, You n g Cupid Hath Proclaimed,
marvelous motets was also responsible comes closer to the generaloly accepted Weelkes, Associated, D, R.
for his approach to madrigal writing, that concept of madrigal in this country; All Creatures Now are Merry Minded,
of subordinating music to text plus the usually a light-hearted text with the ap- Bennet, Novello, MD, R.
lack of importance given to creating new propriate musicai frothy cloth to go with Shoot, False Love, I Care Not, Morley,
and original ideas. Much more to the it, a kind of fun number to sing. Of Galaxy, M, R.
point for Palestrina was to see what oourse, it is not difficult to find eXlcep- See, 0 See, Who Is Here Come A-May-
could be done with extant material from tions to this, outstanding examples at ing·, Peerson, Galaxy, M, R.
various sources which, I suggest, is not that, but they are less well· known and *Lute or harpsichord accompaniment
the best approach to madrigal composing do not fit into the mold of the "ty'pical" needed.
which will appeal to twentieth century English madrigal.
listeners. The intent of this list is to give a gen- In addition to the above list I might
Yet, even with the hazards thus far eral introduction to the English madri- also recommend two collections: 1) The
mentioned, ma:drigal literature remains gal, involving various degrees of difficul- First Book of Songs or Airs by Pilking-
one of the most important major sources ty: E-easy, M-medium, MD-medium dif- ton, published by Mills. This collection
of repertoire for the vocal chamber en- ficult, D-difficult, VD-very difficult, al- contains seven quite easy works, gener-
semble, just as the Haydn or Mozart though emphasis is placed on easier ally of a sustained nature and would be
quartet furnishes the string quartet with works. The rating given each number is good material for beginning groups. The
a bulk of excellent material. And be- arbitrary in that the ability of various second collection, The Penguin Book of
cause many of today's composers have groups varies considerably and is based English Madrigals for Four VOices is ed-
drawn upon madrigal compositional tech- solely on the negotiability of notes. Such ited by Denis Stevens with excellent ed-
nique in creating their own works, the considerations as rhythmic complexity, itorial comments on the twenty-nine sep-
study and performance of the prototype tessitura, sustained phrasing, intonation arate numbers. It contains some of the
is valid,' even beyond its own individual problems, and other technical require- numbers of the above list and they have
worth. Therefore, it would seem an ob- ments served as the criteria in determin- been marked (P) accordingly. Of course,
vious step to include some of these coming the ease or difficulty with Which the there are many other collections, but this
positions in the repertoire of every vocal notes ",per se" could be learned. However, should proVide a collection Qf English
chamber ensemble, and a clear majority whether the performance is musical, ar- madrigals of quite worthy value, many
of such pieces if the ensemble uses the tistic and keeps faith with the style and of which could be performed by almost
term "madrigal" in its name. Unfor- intent of the number is entirely up to any small vocal ensemble.
tunately, there are more than just a few the director. In this sense, the task is -Morris J. Beachy
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

by
Choral Music
SAMUEL BARBER
MIXED VOICES
LET DOWN THE BARS, 0 DEATH. (8907) ....................................... .20
REINCARNATIONS.
1. Mary Hynes (8908) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. .25
2. Anthony 0 Daly (8909) ................................................ .25
3. The Coolin (8910) .....................................................25
HEAVEN - HAVEN. (A Nun Takes the Veil). (10858) ...............................20
UNDER THE WILLOW TREE, from "Vanessa". (10861) ...........................30
SURE ON THIS SHINING NIGHT. (10864) .......................................25
EASTER CHORALE. With brass, tympani and organ. (11265) ...................... .40
THE MONK AND HIS CAT, from "Hermit Songs", Op. 29. (11485) ...................30
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.

CJ - March-April 1969

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MARCH-APRIL 1969

Official Publication of the AMERICAN CHORAL DIRECTORS ASSOCIATION

No. 55: Ich armer Mensch, ich Siindenknecht (Poor Wretched

No. 59: Wer mich liebet (He Who loves Me)

Published by BREITKOPF & HARTEL / Wiesbaden

RUSSELL MATHIS RODNEY G. WALKER

master composers of song and opel'a.

tongues and Herr

2 THE CHORAL JOURNAL

- All communications regarding The Choral Journal should be addressed to

Request special Planning a furop{!an {!one{!rt Tour?

4 THE CHORAL JOURNAL

• LARGER CHORAL WORKS ' •

• Mendelssohn, Felix-In Deep Despair I Call to Thee

• (9ncopdia • the scope of his experiences.

• MUSIC • ingredient - ,personality - wHI enable

THE CHORAL JOURNAL

Division. Conference Inc., Rockville Centre, N.Y. has an-

faced wit h communicative

8 THE CHORAL JOURNAL

10 THE CHORAL JOURNAL

students approach the task. The most

',((111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111 CONTEMPORARY SESSION

12 THE CHORAL JOURNAL

ACDA·SPONSORED SESSIONS AND FRIDAY, APRIL 18

FAIRFAX MADRIGAL SINGERS

Fairfax High School Madrigal Singers

14 THE CHORAL JOURNAL

Spring Concert. The choir frequently

University, Fargo, and Augsburg CoUege,

16 THE CHORAL JOURNAL

Westminster lecturer in choral festivals, music educa-

18 THE CHORAL JOURNAL

20 THE CHORAL JOURNAL

ELECTRONIC MUSIC ence that allows for group expression.

22 THE CHORAL JOURNAL

of the Symposium Choir's Rehearsal -

24 THE CHORAL JOURNAL

28 THE CHORAL JOURNAL

11 ,'"I" -4f r· r -1: ~.~

28 THE CHORAL JOURNAL

Chur-al l2e iewJ

80 THE CHORAL JOURNAL

32 THE CHORAL JOURNAL

84 THE CHORAL JOURNAL

36 THE CHORAL JOURNAL

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