Engaging a World Class Choral Clinician Offers Your Choir a Unique Musical Experience ~ Celebrating a 25th Anniversary With Sir David Willcocks
Marie Stultz, Contributing EditorAs choral professionals, we all know the value of attending workshops, conferences, and symposiums for professional growth. Rarely however, do we afford our choirs the same opportunity to work with and musically benefit from being conducted by a successful or world class conductor. In the Treble Chorus of New England's 25 year history, the choir has had the opportunity to be conducted by such international and local legends as Michael Tilson Thomas, Jean Ashworth Bartle, Donald Teeters, Stephen Lord, and John Moriarty to name a few. Each time we have organized an exchange or hired an accomplished conductor, the choir and I have always grown musically and artistically. Just as it is important to hire professional orchestral players to perform with your singers, it is important for them to have the experience of fine conductors as well. Whether for a school, church, or community choral society at all levels of ability, engaging a guest conductor or accepting a collaboration with another arts organization will make an enormous difference in your program's understanding of the "world stage" and artistic development.
As part of the 25th anniversary of The Treble Chorus of New England, I made the decision to engage someone I considered to be the greatest choral conductor living today and someone I have respected for years through his recordings and live performances on English television: Sir David Willcocks. I realized at the time that he would be 80 years of age, but his vitality and wonderful knowledge of all periods of music convinced me he was the appropriate choice for the choir's anniversary and our first Boston National Choral Festival. Because bringing in someone of his stature was going to be costly, it was important that we select the absolute right person for this experience. I was not only correct in my choice of conductor/clinician but the experience for everyone from professional musician to child was beyond my wildest dreams.
The Benefits of a Guest Conductor
1) Bringing someone you respect into work with your choir helps you to become very organized and forces you to prepare your choir carefully.
2) The selection of music is critical to the musical success of the event and often the guest conductor will have suggestions that might introduce you to some new literature. (The first lesson I learned was to not pick tremendously difficult music for your choir. With the responsibility of organizing the festival, simpler, well performed music would have been best!)
3) The singers, in front of a guest, are always on their best behavior. This good behavior will always spill over into future rehearsals.
4) Often the guest conductor will say or emphasize some of the same things you have been saying on a regular basis. This adds new integrity to your rehearsal style with your choir members.
5) The interaction between you and the engaged professional provides opportunities for wonderful dialogue. This allows you to grow professionally and become musically refreshed.
6) Bringing guest conductors into your community will allow you to build new audiences, obtain better financial support, earn greater respect from the community, and allow new publicity opportunities always critical to your program's success.
7) The association with another fine conductor(s) builds your reputation and the reputation of your choir.Criteria for Selecting a Conductor
1) Engage someone that you totally respect and admire. Surprisingly, often the more famous they are, the more gracious and down to earth they are.
2) Pick someone with your musical values. For me, it had to be someone entrenched in the classics.
3) Ideally, if the conductor is a composer as well, the experience of preparing the person's music for performance is truly a rare experience. (Sir David's preparation of his music was totally inspirational and insightful as well.)Suggestions for Engaging the Artist
1) It is best to engage a conductor that you have already had a professional experience with. You are able to gauge their personality and how they might work with your choir.
2) Write a letter that is comprehensive and explains your plan for the time this person will be with your choir.
3) A contract is always a good idea after the conductor has accepted.
4) Ask for suggestions from the guest conductor. Submit a sample program and take direction from them to insure the program will work.
5) Once engaged, keep the conductor regularly informed by e-mail or fax. Their on-going involvement is critical to the success of the event. Resist phoning; rather let them digest the information on their time frame. Remember, you have probably engaged a very busy artist!
6) Engage other musicians that you respect to help you. With the Boston National Choral Festival, we engaged Barbara Bruns to play organ; Valerie J. Becker as pianist, etc. It is important to hire the best possible musicians so that the level of performance reaches the level of the expectations of your guest artist.How to Organize the Guest's Visit
1) Plan enough rehearsal time so that the choir gets a true benefit from the experience. We had four rehearsals, including one all day rehearsal. We could have used more, but this amount of time was adequate.
2) Plan some quality time with the guest, both privately and with the choir and staff.
3) Secure a good room. Remember, your guest is in a city where they might not know anyone. Their comfort will add to the quality of the final performance. (In Sir David's case, he made the decision to stay with me after one night in a hotel. That is absolutely the best situation, because you have quality dialogue and make good decisions for your event that you can mutually agree upon.
4) Plan a social function with your staff, board members, volunteers, professional friends, and the guest conductor. For us, this was one of the most incredible things we did. Everyone got to meet this great artist and know him on a more personal level.Sharing the Cost With an Exchange
The Boston National Festival was originally set up to be a festival of a number of choirs with an adjudication. Because we had no track record, this did not happen. Fortunately, my friend Lillian Lee of the Mississippi Girls Choir signed on from the very beginning and the event became an exchange concert in which her organization shared some of the costs. This circumstance was so fortunate for the Treble Chorus program because our intermediate and youth ensembles were quite fine and could be included in this year's event. Because the event was smaller than originally conceived, all conductors (including my new associate conductor, Robert Barney), pianists, and youthful soloists from both choirs could all be included. The icing on the cake, a fifteen year-old trumpeter, Zachary Botham, played Ruth Watson Henderson's Cantate Dominum. (He will audition for the Paris Conservatory in October with an excellent recommendation from Sir David.) Lillian Lee, guest conductor of The Mississippi Girls Choir has told me numerous times that this was the professional experience of her lifetime. (She won Mississippi teacher of the year two years ago.) Her five year old choir and mine were of like tone and the sound that Sir David was able to accomplish was glorious!Hire a known guest conductor as part of your season's programming. You will never be sorry and you will never know what benefits you can afford all those surrounding the event. You might touch their lives forever.
The Next Boston National Festival for Youth Choirs will be held October 11-15, 2001. Sir David Willcocks has been engaged to lead the festival for a second time. Our hope is to have five choirs join us with an adjudication. The performance will be held at the Rogers Center for the Arts at Merrimack College in North Andover, Massachusetts and at Old South Church in Boston, Massachusetts. A composition by Sir David or his son Jonathan will be world premiered. Further information can be obtained by calling 978-837-5462 or via e-mail at MIRAUSA2@.aol.com.
New Releases ~ Sacred SATB Voices ~ Sacred
Christ Our Passover (Pascha nostrum), by Gerre Hancock, English text, Oxford, 386173-9, SATB, congregation, & organ (opt. brass). Composed for the 30th anniversary of The Association of Anglican Musicians in 1996, this broad setting of texts taken from Corinthians and Romans under a simple alleluia for the congregation, makes this a wonderful choice for service or festival. The SATB parts are simply written, with some divisi in the final bars. Difficulty rating 3. $1.75
Come Unto Me, by Bob Chilcott, English text, Oxford, 343275-7, SATB & organ. Set to Matthew 11, much of the part-writing is in parallel motion, adding some colorful harmonic textures to the text painting. These sections are in sharp contrast to some simple counterpoint passages where the sopranos and tenors are coupled with altos and basses. The final six note chords on the repeated word "souls" are brilliantly complex and haunting in structure. Difficulty rating 3. $1.50
De Blin' Man Stood on de Road an' Cried, arr. Moses Hogan, English text (dialect), Hal Leonard, 08703261, SATB (divisi) a cappella. In typical Hogan style, this spiritual is beautifully conceived with simple syncopated rhythms and more challenging intervalic relationships. The arrangement has numerous divisi sections. The piece is set in Afro-American dialect. Difficulty rating 3-4. $1.40
Gaude et laetare (Rejoice and Be Glad), by Jan Pieterszoon Sweelinck (1562-1621), Oxford, 395340-4, SSATB & organ. This edition by Patrick Russill is based on an MS from the Bibliothèque Nationale, Paris. It has been lowered by one full step from the original . This great motet for five voices is part of the 1619 publication of Cantiones sacrae, and it is Sweelinck's only publication to demand a basso continuo part. The piece would be equally effective a cappella. Difficulty rating 4. $2.25
God So Loved the World, by Bob Chilcott, English text, Oxford, 343276-5, SATB & S solo a cappella. Commissioned by the Lovers Lane Methodist Church in Dallas, Texas, this setting of John 3 has some unusual harmonies and lovely suspensions set under a haunting soprano solo. Constructed homophonically, this quiet setting would be ideal for Lenten evensong. Difficulty rating 3. $1.50
Hildegard Triptych, by Frank Ferko, Latin text, ECS Publishing, O vis aeternitatis (O Strength Eternal) 5442, Caritas abundat (Charity Imbued) 5443, O virtus Sapientiae (O Strength of Wisdom) 5443, SATB/SATB a cappella. Ferko states in his editorial notes that he has had a fascination with the music and poetry of Hildegard von Bingen (1098-1179) since 1983. This interest has resulted in three major works based on her artistic legacy. These motets for double chorus with some divisi are mystical in their musical gesture. All three motets require an accomplished choir. Difficulty rating 4. $1.75 - $2.95
Jerusalem, gaude (Jerusalem, Rejoice), by Jacobus Gallus (1550-1591), Latin/English text, Concordia, 98-3539, SSATBB a cappella. This massive motet is constructed antiphonally between upper and lower voice parts. It would be most effectively performed with large choral forces with a dark tone quality. The counterpoint is formed in layers that are homophonic in structure. This motet was taken from Chryslander's Denkmäler der Österreich of 1894. Difficulty rating 4. $1.50
L'Dor Vador (From Generation to Generation), by Meir Finkelstein (arr. Joshua Jacobson), Hebrew/English text, Transcontinental, 992074, SATB & keyboard. Written by an Israeli born composer who was one of the youngest cantors in Europe, this choral arrangement is filled with effective counterpoint and lyrical phrase shapes. It contains some divisi sections. Finkelstein has recently recorded his original liturgical compositions with the Israel Philharmonic Orchestra. A pronunciation guide is included in the edition. Difficulty rating 3-4. $1.60
O Heiland reiss, die Himmel auf (O Lord, Fling Wide the Gate of Heaven), by Johannes Brahms, German/English text, Concordia, 98-3566, SATB a cappella. The second motet from op. 74, this breathtaking anthem is classic Brahms. Beginning with long contrapuntal phrase shapes, the second verse is set canonically. The fourth verse contains more complicated rhythms and finally closes with verse five that has large and intervalically difficult melismatic phrases all set contrapuntally. This piece requires a very accomplished choir that understands the classic romantic musical gesture. Difficulty rating 4-5. $1.75
SATB Voices ~ Sacred
Extended WorksSabbath Eve Liturgy, by Heinrich Schalit, Hebrew/English text, Transcontinental, 981268, SATB, solo voice, & organ. This recently re-released extended work containing the complete Sabbath Evening Service and has had a long history. Schalit was born in Vienna in 1886 and before World War II was the organist at the Great Synagogue in Munich. Forced to leave Germany in 1933, he went to the Great Synagogue in Rome. In 1940 he fled to the U.S. The service was first performed in 1932 at the Lutzowstrasse Synagogue in Berlin. It was published in the U.S. in 1951 and premiered at the Stephen Wise Free Synagogue in New York in 1952. A classic in the music of the Reform movement, the work can be used as a whole or as individual selections. The edition contains a pronunciation guide and performance suggestions. Difficulty rating 4. $20.00
Treble Voices ~ Sacred
Angels Singing, arr. James Helme Sutcliffe, English text, Boosey, M-051-47155-3, SSA & keyboard (opt. orchestra). This Slovakian carol was arranged for the Honolulu Children's Chorus. It is a joyous setting of the melody with marvelous "Gloria" passages written around the various verses. Difficulty rating 3-4. $2.40Lullaby, My Lovely Child, arr. James Helme Sutcliffe, English text, Boosey, M-051-47154-6, SSA & harp (opt. piano, strings, & clarinet). A charming setting of this popular Italian carol, the voice parts mostly in two parts are written in simple intervalic structure. Changing meters dominate the rhythmic fabric. Difficulty rating 3. $1.40
Ride On, King Jesus, arr. Moses Hogan, English text, Hal Leonard, 08703296, SSAA div. & piano. Although not as difficult as some of Hogan's other arrangements, this spiritual offers intervalic challenges on syncopated rhythms. The voice parts have some divisi. The piece is better fitted to the advanced treble ensemble or women's chorus. Difficulty level 4. $1.40
Shiru (Sing), by Allan E. Naplan, Hebrew text, Boosey, M-051-47201-7, SA & keyboard. This lively gospel song is quite spirited with upbeat tempos and rousing "shout" choruses. An excellent alternative for Chanukah, the poetry is for "all the earth to sing a new song!" Difficulty level 3. $1.80
Ubers Gebirg' Maria geht (O'er Judah's Hills, from Nazareth), by Johannes Eccard (1553-1611), German/English text, Treble Clef, TC-150, SSAA a cappella. Set to a text after Luke 1:39-47 by Ludwig Heimbold (1532-1598), this Johannes Brahms arrangement was probably prepared for the Hamburg Fraünenchor. The extremes of tessitura and long phrase shapes make the piece more appropriate for women's chorus or the advanced treble ensemble. Difficulty rating 4. $1.80
What Child Is This?, arr. James Helme Sutcliffe, English text, Boosey, M-051-47156-0, SA & harp (piano or opt. string quintet). This setting of the famous tune Greensleeves is a wonderful alternative to the Vaughan Williams setting. The long phrases require good breath control and a gentle ringing tone quality particularly in the upper tessitura of the soprano descant. As with the Vaughan Williams setting, the altos get to sing the melody. Difficulty rating 3. $1.40
When Mary Walked Through Woods of Thorn, arr. James Helme Sutcliffe, English text, Boosey, M-051-47153-9, SSA & piano (opt. string quintet). Chromatics and mysterious harmonies fill the accompaniment of this mystical setting of this favorite German carol. The three parts contain some simple divisi which adds to the mysterious nature of the text painting. Difficulty rating 4. $1.40
Treble Voices ~ Sacred
Extended WorksVesperae pro Festo Sancti Innocentium, by Johann Michael Haydn (1737-1806), Latin text, Lorenz, 45/1074R, SSAA & keyboard (opt. 2 horns, 2 violin, cello, & bass). This vesper service was completed on December 8, 1793 in Salzburg. It was composed for the Feast of the Holy Innocents which occurs on December 28. This feast day commemorates the thousands of children slaughtered in Bethlehem by King Herod. This is a wonderful addition to the extended works treble voice library of fine compositions of our historic past. Difficulty rating 4. $9.00
Merrily On High, ed. Barry Rose, English text/other languages, Novello, 032121, upper voice choirs & keyboard. This collection of Advent, Christmas, and Epiphany anthems is a valuable collection to own. The edition contains music and poetry from many centuries of English music. A must for every choral professionals library, all selectionsare beautifully edited and can be used with choirs of varying capability. Difficulty rating 3-5. $14.95
Men's Voices ~ SacredThe King of Love My Shepherd Is, arr. Mack Wilberg, English text, Oxford, 386246-8, TTBB, two flutes, & harp or piano. An effective setting of this famous Irish tune, the part-writing is simple and expressive. Set to a text by Henry Baker (1821-1877), the arrangement will be a real crowd-pleaser. The flute part is written homophonically and can be played by amateurs. The long phrase shapes and gentle harmonic relationships make it easy to learn. Difficulty rating 2-3. $1.95
New Releases ~ Secular SATB Voices ~ Secular
A Civil War Medley, arr. Greg Gilpin, English text, Shawnee, A2109, SATB & keyboard (opt. snare drum, piccolo, trumpet, & violin). This is fine choice when programming music of America's historic past. The medley includes Tenting on the Old Campground; The Battle Cry of Freedom; Dixie; Just Before the Battle, Mother; and When Johnny Comes Marching Home. Difficulty rating 3. $1.50
Draw On, Sweet Night, by John Wilbye (1574-1638), English text, Oxford, 341797, SSATTB a cappella. Taken from The Second Set of Madrigals To 3, 4, 5, and 6 Parts, this wonderful madrigal is beautifully edited by Clifford Bartlett as part of the John Rutter series of editions. Program information is included in the edition. Difficulty rating 4. $1.60
Londonderry Air, arr. Bob Chilcott, English text, Oxford, 343277-3, SATB & piano. This is a breathtaking arrangement of this famous tune. The piano part requires an accomplished pianist. The harmonic writing is filled with exquisite, almost bone chilling harmonies. Performing the dynamic extremes carefully will add to the folk settings effectiveness. Difficulty rating 3. $1.50
My Bonny Lass She Smileth & Now Is the Month of Maying, by Thomas Morley (1557/8-1602), English text, Oxford, 341796-0, SATTB a cappella. Taken from The First Booke of Balletts to Five Voyces, this piece is beautifully edited by Clifford Bartlett as part of the John Rutter series of early music editions. Program notes and editorial comments are part of the edition. Difficulty rating 3. $1.50
The Blue Bird & Heraclitus, by Charles Villiers Stanford (1852-1924), English text, Oxford, 341799-5, SATB a cappella. This edition by Clifford Bartlett includes two of Stanford's finest secular choral pieces. The text painting and harmonies are exquisite and so satisfying to sing. The pieces are perfect for choral societies, college choir, or advanced high school ensemble. The edition includes source information and program notes and background information. Difficulty rating 4. $1.50
SATB Voices ~ Secular
Extended Works and CollectionsHolocaust Cantata, Songs From the Camps, by Donald McCullough, English text, Hinshaw, HMB-219, SATB, piano, & cello. Premiered at the John F. Kennedy Center for the Performing Arts in March of 1998, this powerful music with spoken text is based on Polish songs found in the United States Holocaust Memorial Museum. They were written by prisoners while incarcerated in Nazi concentration camps. The readings are based on interviews and historic data of Irena Augustynska Kafka. Hinshaw offers a portion of the proceeds from the sale of this work to the United States Holocaust Memorial Museum. A recording and separate cello part are available from the publisher. Difficulty rating 4. $6.95
The New Novello Part-Song Book, Ed. Robert Walker, English texts, Novello, 072472, SATB a cappella. This collection of 44 British part-songs is edited by Robert Walker. The publication includes choral music from Purcell to composers of today, including an ambitious work by Samuel Wesely entitled O Sing Unto My Rondelay. Notes on each work are included in the collection. Reasonably priced, this book of English songs is ideal for choral society or college choir. Difficulty rating 3-5. $17.95
Treble Voices~Secular
Jerusalem of Gold (Yerushalaím Shel Zahav), arr. Lisa Taillacq, Hebrew text, Hal Leonard, 08742410, SSA, piano & cello. This straightforward arrangement of the well-known tune and lyric by Naomi Shemer-Sapir was arranged for The Winsor School of Boston by their conductor. The cello part can be played by an accomplished amateur. A pronunciation guide and translation are included in the edition. It is ideal for school use. Difficulty rating 3. $1.50
Laugh, Kookaburra, arr. Bob Chilcott, English text, Oxford, 343279-X, SSA & piano. This arrangement of a popular Australian song is cleverly conceived. The laughing passages in the accompaniment as the choir rhythmically laughs make for a great opening. The original music before the statement of the folksong is filled with fresh musical ideas. This arrangement for the Southend Girl's Choir is just great fun. Difficulty rating 4. $1.60
Look To This Day, by Bob Chilcott, English text, Oxford, 343280-3, SSAA & piano. The text setting of this piece taken from Sanskrit is quite spectacular. Commissioned by the American Choral Directors Association of Minnesota's 1998 State Convention, the piece is the perfect concert opener. Much of it is written in unison or canon, the challenge comes in the opening and closing harmonies. Difficulty rating 3-4. $1.90
Simple Gifts, arr. Aaron Copland, English text, Boosey, M-051-47257-4, unison & piano. It is wonderful to have this original setting by this great American composer available in a separate edition. It is taken from the first set of Copland's Old American Songs. This edition is released as part of Copland's 100th birthday celebration. Difficulty rating 2. $1.25
Snow-Flakes, by Lauren Bernofsky, English text, Boosey, M-051-47224-6, SA & piano. This elegant and delicate piece set to a text by Henry Wadsworth Longfellow is great for building a gentle tone quality. Perfect for school or concert hall, this 3-1/2 minute piece about the beauty of a snowfall is an excellent alternative to the usual Christmas fare. Difficulty rating 2. $1.40
Spring Wind, by Eric H. Thiman, English text, Boosey, M-051-46799-0, SA & piano. Thiman always writes beautifully for treble voices and this piece is no exception. The octave opening and long phrase shapes will build an elegant tone quality in the intermediate aged children's choir. Set to a text by Christina Rossetti, the poetry should be sung with tenderness and care. Difficulty rating 3. $1.40
The Dodger, arr. Aaron Copland, English text, Boosey, M-051-47255-0, unison & piano. Taken from set one of Old American Songs, this campaign song is great fun for children to sing. There are wonderful opportunities for some humorous solos at measure 13, 37, and 47. The changing dynamics and sforzandos are also a great artistic challenge. The piece is perfect for the younger choir as well as the more advanced ensemble. Difficulty rating 2. $1.40
The Swallow, arr. Bob Chilcott, English text, Oxford, 343281-1, SSA & piano (opt. orchestra). A mystical setting of this traditional Newfoundland folksong, the harmonies are both a surprise and extremely effective. The changes in the rhythmic gesture of the melody make the setting unusual. The accompaniment must be played with real care to help build the poetic images of the text. Difficulty rating 3. $1.50
Three Little Maids, arr. John Leavitt, English text, Shawnee, B 0596, SSA & piano. This charming trio from Gilbert & Sullivan's Japanese opera Mikado has always been great fun to sing. The harmonies in the voice parts are quite straightforward, thus will be easy to learn. Difficulty rating 3. $1.40
Two American Folk-songs, arr. Michael Neaum, English text, Oxford, 342642-0, SSAA & SSA for harp or piano. These arrangements of I Wish I Was a Child Again and Sourwood Mountain are challenging with divisi in the voice parts. Neaum is a wonderful arranger in this medium. Most of his folksong arrangements are written for Pamela Cook and Cantamus. Difficulty rating 3-4. $1.75
SAB Voices ~ SecularSo ben mi ch'ha bon tempo (You know you make me happy), by Orazio Vecchi (1550-1605), Italian/English text, Shawnee, D 0549, SAB & piano. This Renaissance madrigal has been arranged by Russell Robinson for the younger singer. The bass part has been simplified, making it ideal for the school choir with limited forces or recently changed voices. Difficulty rating 3. $1.40
Mens Voices ~ Secular
A Red, Red, Rose, by James Mulholland, English text, Warner, EA1001, TTBB & piano. This simple version set to a Robert Burns text is great for a young men's chorus. Mulholland's writing is always lyrical. Set mostly in homophonic style, the gentle lines will sound elegant on men's voices. Difficulty rating 3. $1.75
Let the Bullgine Run, arr. Alice Parker, English text, Kjos, 5576, TTBB a cappella. This sea shanty was written for Jim Heiks and the Men's Chorus at Appleton East High School in Wisconsin. The piece contains idiomatic pronunciations and nonsense refrains that should be great fun to sing. Part of the Cantus Choral Series, this is a great addition to the male voiced repertory. Difficulty rating 4. $1.40
Loch Lomond, arr. Michael Hanawalt, English text, Kjos, 5575, TTBB (divisi) a cappella. Another piece in the Cantus series for men's voices, this Scottish folk song setting is quite ambitious and requires an accomplished men's chorus. Arranged by one of the group's members, it is quite effective with wonderful harmonies and interesting counterpoint. Difficulty rating 5. $1.30
Under the Wide and Starry Sky, by Elliott Jones, English text, Hal Leonard, 08501414, TTBB & oboe a cappella. Using a text by Robert Louis Stevenson, this original piece has a folk ballad quality about it. The oboe part weaves in and out of the mostly homophonic vocal lines. Difficulty rating 3-4. $1.40
When I Was a Lad, arr. John Leavitt, English text, Shawnee, C 0306, TTB & piano. This arrangement by John Leavitt of one of the more humorous pieces from Gilbert and Sullivan's H.M.S Pinafore by is quite effective. The marching and whistling sections will amuse the audience. Some of the unison passages assigned to the entire section can be handled by soloists as well. Difficulty rating 3. $1.40