CILKER SCHOOL OF ART & DESIGN» WEST VALLEY COLLEGE
CILKER SCHOOL OF ART & DESIGN RECENT MAJOR WORKS Bernstein Chichester Psalms Beethoven Symphony No. 9 Duruflé & Fauré Requiem Mozart Requiem, 2018
RECENT MUSICALS
Little Shop of Horrors, Pippin Sweet Charity, Guys & Dolls Cabaret, 2018
VOCAL ENSEMBLES
Concert Choir Chamber Singers Vocal Jazz Musical Theater & Opera Scenes
NEW CLASSES
Diction for Singers: • Italian, English & Latin • German, French & Spanish
Architecture • Interior Design • Fashion Design • Web Design Visual Arts • Animation • Photography • Theatre Arts • Dance Vocal & Instrumental Music • Recording Arts • Film Scoring
APPLIED MUSIC
16 hrs of lessons = $46 total Planned Fall 2018
AA DEGREE PROGRAMS Transferable to CSU & UC
VOICE FACULTY Jacque Wilson-Scharlach Boston Conversatory
Lou De La Rosa
Director of Choral & Vocal Studies (408) 741-2013 14000 Fruitvale Avenue Saratoga, CA 95070 lou.delarosa@westvalley.edu westvalley.edu/music A California Community College Located in the Heart of Silicon Valley
Mary Linduska University of Illinois, Urbana Sandra Bengochea Manhattan School of Music Esther Archer Collaborative Pianist & Vocal Coach Myles Ellis Vocal Jazz Director
Come and join us!
An All-Steinway School
2 • Cantate • Vol. 30, No. 3 • Spring 2018
California Choral Directors Association
5 | REFLECT AND REJUVENATE from the president’s pen · by rob istad 6 | BUT LET’S TALK ABOUT ME letter from the editor · by eliza rubenstein 8 | THE BOYS ARE BACK IN TUNE ragazzi celebrates 30 years in the bay area · by sydney albin 16 | THE FIRST TIME the composer’s voice · by dale trumbore 19 | CCDA SUMMER CONFERENCE AT ECCO 20 | SEEN & HEARD 21 | 2019 CCDA STATE CONFERENCE AND HONOR CHOIRS 22 | 2018 CCDA FALL REGIONAL CONFERENCES 23 | VISION FOR THE FUTURE scholarship fund donors
24 | THE WAY TO SAN JOSE reflections on casmec 2018 · by colleen chester and molly peters 26 | WHY ISN’T CCDA RETURNING TO CASMEC IN 2019? by robert istad, lou de la rosa, and jeffrey benson 28 | NEWS AND NOTES happenings from around the state
30 | TOP FIVE: ETHNIC & MULTICULTURAL by angel vázquez-ramos
Yay, summer’s almost here! Be sure your plans include the 2018 CCDA summer conference at ECCO—More details on Page 19 or at www.calcda.org!
33 | TOP FIVE: MUSIC IN WORSHIP by ruben valenzuela
35 | TOP FIVE: COMMUNITY CHOIRS by kristina nakagawa
36 | TOP FIVE: SHOW CHOIRS by william zinn
38 | CALIFORNIA ACDA DIRECTORY
Leading the Way
Cantate • Vol. 30, No. 3 • Spring 2018 • 3
CANTATE Volume 30, Number 3
Official publication of the California Choral Directors Association, an Affiliate of the American Choral Directors Association Eliza Rubenstein, editor
cantate.editor@gmail.com
GUIDELINES FOR SUBMISSIONS We welcome and encourage CCDA members to contribute articles, announcements, music and book reviews, job vacancy listings, photographs, and other items of interest to Cantate! Please send queries and article ideas to You are also welcome to submit completed articles, but please note that not all articles received will be published. cantate.editor@gmail.com.
Deadlines for publication are as follows: August 15 (Fall issue); November 1 (Winter issue); March 1 (Spring issue). The editor reserves the right to edit all submissions.
ADVERTISING IN CANTATE Please visit our website (www.calcda.org) or e-mail us at cantate.ads@gmail.com for complete information on advertising in Cantate, including rates, deadlines, and graphics specifications. Advertisements are subject to editorial approval. On the cover: All-State Choir members share a hug after their final performance in San Jose. Photo by Robyn Peters.
4 • Cantate • Vol. 30, No. 3 • Spring 2018
WHEREAS, the human spirit is elevated to a broader understanding of itself through study and performance in the aesthetic arts, and WHEREAS, serious cutbacks in funding and support have steadily eroded state institutions and their programs throughout our country, BE IT RESOLVED that all citizens of the United States actively voice their affirmative and collective support for necessary funding at the local, state, and national levels of education and government, to ensure the survival of arts programs for this and future generations.
California Choral Directors Association empowers choral musicians to create transformative experiences for California’s diverse communities. CCDA is a 501(c)3 non-profit, tax-exempt corporation and an affiliate of the American Choral Directors Association.
UPCOMING EVENTS CCDA Summer Conference at ECCO July 22-25, 2018 (Oakhurst) CCDA Fall Regional Conferences September 8, 2018 (Long Beach) September 15, 2018 (Hayward)
California Choral Directors Association
From The president’s pen:
Reflect and Rejuvenate he final days of our musical season T approach, and we are all struggling to reach the finish line with our souls intact. I Robert Istad is in his inaugural season as the
Artistic Director of Pacific Chorale. Istad is also
Professor of
Music and Director of Choral Studies at California
State University,
Fullerton, where he was recognized as
CSUF’s
2016 Outstanding Professor of the Year. He is the former Artistic
Director of Long
Beach Camerata Singers and
Long Beach Bach
Festival. He is Dean of
Chorus America’s
Academy for Conductors, and has prepared choruses for a number of
America’s finest con-
ductors and orchestras.
find the end of the year a conundrum. After the highs of conference and festival season, we must fight the urge to treat our end-of-year performances as perfunctory. We do our best to provide transformative culminating experiences for our audiences, students, and parishioners, but I sometimes struggle to find a way to make these events truly authentic. These performances are often structured as choral/orchestral concerts, pops concerts, gala events, and special services—the kinds of calculated activities rarely feel authentic. Rather, they often smack of formulaic programs, speeches, and other required end-ofyear rituals. I believe the best way to infuse authentic excitement into these events is through personal artistry. We are all artists, and we have the right (and responsibility) to behave as such. We must actively choose to inspire ourselves, our colleagues, and our students to be artistically present. This may require adding a little extra-musical enhancement to our concerts, inviting special guest artists or audience members to participate, or simply demanding the very best efforts from musicians in our rehearsals when we feel tired. I push myself to surprise my musicians and audiences the most at the end of the year and try to exhaust my creativity to do so with joy in every rehearsal and performance. May you all find the courage and energy to feel and behave like artists this spring!
n the time following our last issue, I’ve had ICCDA the pleasure of seeing many of you at our State Conference at CASMEC, CCDA’s All-State Honor Choir weekend, and ACDA’s Western Division Conference.
My heart and brain are full thanks to the world-class performances and superb interest sessions at all three events. I feel heartened by the diversity and creativity I witnessed onstage and in our sessions classrooms. The spirit of connectedness was alive at each of these events! I thank all of the wonderful leaders who serve on the CCDA Board of Directors and ACDA Western Division Board of Directors for their selfless dedication to us and our profession. Congratulations to all of the members of California’s choral community who performed, presented, and participated so beautifully. You inspire me! s we joyfully congratulate our graduating A students and bid a short farewell to our musicians for the summer break, many of us
are already planning for future seasons. The time for musical rejuvenation is upon us! I hope you will take the time to consider attending one of the myriad summer events dedicated to your professional development in our state. Most specifically, I hope to see you all at ECCO (July 22-25, 2018) this summer! Dr. Betsy Cook Weber is our headliner, and Jeffe Huls and his team have done a yeoman’s work planning a truly transformative experience for us. This event regularly sells-out. Please reserve your space early! As you plan for next year, please take a moment to add our CCDA events to your calendars. Nurturing your personal artistry is CCDA’s mission, and I hope you’ll make your attendance at these experiences a priority. Congratulations to all of you on the conclusion of another inspiring year of choral music in California. I feel so grateful to be a part of our vibrant community, and I thank you for the incredible work you do to connect and inspire the people of our state!
Results of the Election for Regional Representatives (Terms begin July 1, 2018) Northern Region: Alissa Aune • Central Coast Region: Carolyn Teraoka-Brady • Far South Region: John Russell
Many thanks to all of the candidates for their willingness to serve!
Leading the Way
Cantate • Vol. 30, No. 3 • Spring 2018 • 5
letter from the editor:
BUT LET’S TALK ABOUT ME o, not about me—but let’s talk about how N we talk about ourselves, specifically in our professional bios. The two or three paragraphs
Eliza Rubenstein is the Director of Choral and
Vocal Activities at
Orange Coast College, and the
Artistic
Director of the Orange County Women’s Chorus and the
Long Beach
Chorale & Chamber Orchestra. She holds degrees from
Oberlin
College and UC-Irvine, and she is a former animal-shelter supervisor and the co-author of a book about dog adoption.
Eliza’s family
includes her partner,
Julie Fischer; a yellow
Labrador named
Dayton; and a cat named
Wilbur. She’s
passionate about grammar,
Thai food,
photography, and the
St. Louis Cardinals.
about you in a concert program may shape your audience’s impression of you before you ever step on a stage. What does the content and tone of your bio say about you to someone who’s never met you or heard your work? Is your bio intended to help audience members get to know you and connect with you, or does it engage in “bio terrorism” by trying to impress them? At least one old incarnation of my bio mentioned that I originally meant to be an English teacher, so I’ll ask your indulgence as I exorcise a half-dozen pet peeves with the following list of suggestions and exhortations about the professional equivalent of your dating profile. 1) Write it well. If crafting prose isn’t your gift, enlist a wordsmith friend or hire a freelancer. Vary your sentence structure; ensure that your grammar is beyond reproach; punctuate correctly; and check for errors in parallel structure, which are ubiquitous in bios. Spelling matters, too—I once edited the bio of a world-renowned instrumentalist who listed 20 collaborators and spelled 14 of their names wrong, and I’ve seen more than one “Brahm’s” in ACDA concert programs over the years (shudder). 2) Show, don’t tell. You don’t need to inform us that you’re a passionate teacher with a deep love of choral music; we already assumed that, since you chose a career in teaching and/or choral music, and we’d feel less awkward hearing that sort of thing from some other source—a reviewer, a student, a colleague—than directly from you, anyway. 3) Burn the word “additionally.” It’s a syntactic crutch that has never yet made a sentence more readable. While you’re at it, burn the phrases “....is in demand” (it’s vague and dull) and “....is a frequent clinician and adjudicator” (we know). 4) Pick the highlights. I attended a performance a few years ago with a wonderful vocal soloist whose bio was three pages long,
6 • Cantate • Vol. 30, No. 3 • Spring 2018
because it listed every single mentor, collaborator, festival, competition, and concert series in this singer’s career to that point. The difficult truth is that most of our audience members aren’t interested, and nothing turns them off faster than five column-inches of proper names that mean nothing to them. If and when you’re fortunate enough to have had a long, glowing career, choose a few successes to spotlight and rotate or update them regularly. 5) Don’t try too hard. “Whether she’s surfing the sun-kissed waves of ‘the O.C.’ or pumping her hands in the air in support of her beloved Cardinals in their heart-pounding quest for a 12th World Series ring in the sweltering St. Louis summertime, Eliza Rubenstein brings fervor and persistence to everything she....” Yuck. Enough. Prose that screams “please find me fascinating and quirky” isn’t appealing. (In this case, it’s also dishonest, because I can’t surf and the Cardinals aren’t likely to sniff the World Series this year.) 6) Create common ground. Is your bio (and your headshot, for that matter) intimidating, or is it approachable? Each of us gets to choose how we present ourselves, naturally, but if we want to bring more people into our choral world, it makes sense to take every opportunity to find the ways in which we’re alike. Mention your family, your pets, your hobbies, your odd talents, your sports teams, or the non-musical jobs that put you through school. They’ll set you apart from the rest of us, and they’ll serve as ice-breakers for fans or parents in ways that lists of accomplishments won’t. (The dog-related parts of my bio have started ten times more post-concert conversations, and led to many more repeat concertgoers and new donors, than the musical ones.) nd finally, if your audience members A speak many languages, consider having your fabulous bio translated into one or more
of the most common, as I’m finally, belatedly doing with mine. Almost everything we do in this profession is an opportunity to include more people in this art form we love. Let’s never waste one.
California Choral Directors Association
Holy Names University The Kodály Center since 1969
Kodály Center
Celebrating 50 years of music education LOCATED IN THE BEAUTIFUL SAN FRANCISCO BAY AREA
The Kodály Center Honorary Board Takács Quartet Sir András Schiff Madame Sarolta Kodály Madame Erzsébet Szőnyi Gilbert de Greeve Éva Voisin
STUDY WITH US Core curriculum in musicianship and choral conducting Master of Music (Music Education) Certificate programs 50th Summer Institute, June 18 - July 6, 2018 www.hnu.edu/kodalysummer
Robert Geary Charles M. Crane Director Maree Hennessy
SCHOLARSHIPS
Contact us
Plan to teach in public schools?
HNU Kodály Center
HNU has just announced a 50% scholarship award.
kodaly@hnu.edu
Looking for fellowship opportunities?
510.436.1039
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www.hnu.edu/kodaly
INTERNATIONAL FACULTY János Horváth, Ildikó Thesz Salgado, Gemma Arguelles, Maree Hennessy Visiting Summer Faculty: Dr László Nemes (Liszt Academy, Hungary), Judit Hartyányi, Helga Dietrich, Dr. Miriam Factora, Hélène Matters
Our purpose is to advance Zoltán Kodály’s vision of music for all, providing quality, accessible and inclusive education for diverse communities and cultures.
Leading the Way
www.hnu.edu/kodaly Cantate • Vol. 30, No. 3 • Spring 2018 • 7
THE BOYS ARE BACK IN
TUNE
Ragazzi Boys Chorus celebrates 30 years on th
8 • Cantate • Vol. 30, No. 3 • Spring 2018
California Choral Directors Association
he
“W
ords fail,”
P
says Jesse Buddington, an alum and staff member of the Ragazzi Boys Chorus, when asked to reflect on his experience with the chorus as it celebrates its 30th anniversary. “It is a sentiment that can only be forged through years of working together, playing together, touring together, and of course, singing.” eninsula by ydney lbin Ragazzi will celebrate its three decades as a Bay-Area institution with a June 10 concert at Stanford University’s new Bing Concert Hall. The reunion event will feature all of Ragazzi’s current singers—from tall to small—and special appearances by Ragazzi Continuo, the adult a cappella choir composed of Ragazzi alums, and many generations of Ragazzi grads returning from around the world to join the jubilee. Currently composed of 200 boy singers aged 7 to 18, from more than 100 schools in more than 30 Bay Area communities, Ragazzi’s influence has grown since its founding. But the choir’s booming success did not come without challenges. Ragazzi’s ability “to survive and thrive in a culture that sadly fails to recognize the great benefits of music education” is one of its proudest achievements, says Ragazzi’s Co-Founder and Artistic Director, Joyce Keil. The seeds of Ragazzi were sown in 1985, when Keil was working as a full-time assistant conductor for the San Francisco Boys’ Chorus. As part of her job, Keil was in charge of recruiting from elementary schools, and she found herself amazed by the energy and eagerness of boys who loved to sing. Keil began to research societal attitudes and how gender affected interest in singing, and determined there was a need for an accessible choir for boys on the San Francisco Peninsula.
Leading the Way
S
A
Cantate • Vol. 30, No. 3 • Spring 2018 • 9
Mosbacher went on to attend Stanford University, Two years later, Ragazzi Boys Chorus was born with where he turned his attention to other pursuits, playing just under a dozen founding members. Keil focused on on the Varsity baseball team and earning a degree with exploring the soprano sound unique to young boys, as Honors in Political Science. He launched his career at well as the profound level of camaraderie achieved when the Freeman Spogli Institute for International Studies, boys work together. Within a year, Vance George—then publishing articles in Foreign Affairs, The Washington the chorus master of the San Francisco Symphony— Quarterly, and the Los Angeles Times, but found that invited Ragazzi to sing with the famed orchestra in the call of music never subsided. With encouragement Honegger’s King David, launching the chorus into the from family, friends and mentors, Mosbacher left the professional musical world. worlds of journalism and foreign policy to pursue a mu“I was actually surprised at how powerful a role the sical career, appearing in off-Broadway hits and headlinchorus played in the lives of our singers,” says Keil. “I ing in major cabarets watched with delight on both coasts. He as the boys learned fronts his own band, discipline, tenactouring the country ity, and teamwork, and recording. “My while forming deep, training from Ragalifelong friendzzi was so strong ships.” As the size that I was able to of the chorus grew reenter the music and the boys met world after ten years and surpassed each away and hit the challenge, Ragazzi ground running,” he added an intensive says. annual summer Jesse Buddington camp, and soon has now spent more embarked on interthan half of his life national tours. as an active singer As word spread in, or as director of, of the boys’ crystalAbove: Jesse Buddington as a Ragazzi chorister in the a Ragazzi group. line singing and late 1990s (LEFT) and as a RAGAZZI director today “I cannot easdiligent work ethic, PREVIOUS PAGE: RAGAZZI members today (Lower left) and ily imagine my life Ragazzi received without Ragazzi,” regular invitations to the founding members of the chorus in 1988 he says, “as it would perform with the top be fundamentally different from the life I lead today.” arts institutes in the Bay Area, including the San FranBuddington also graduated from the program in the cisco Opera, the San Francisco Symphony, Opera San early 2000s and is currently one of the thirteen members Jose, Symphony Silicon Valley, Masterworks Chorale, of Ragazzi Continuo. The adult choir was founded by and many others. In 2000, Ragazzi was honored for men who were searching for a post-college men’s chorus its contribution to the San Francisco Symphony’s triple of a high standard—one that allowed them to thrive Grammy Award-winning recording of Stravinsky’s Permusically as they had as Ragazzi boys. Their collecséphone. The group has toured throughout the United tive yearning led in September 2010 to the creation of States, as well as internationally, visiting Russia, Japan, Continuo, composed of members whose day jobs find Portugal, Spain, Italy, Australia, New Zealand, South them practicing law, teaching voice, working in tech, Africa, and Cuba, and has released five CDs. and more. Their love of music and years of training are evident in their finely-honed performances. ithout Ragazzi, there is no chance I would be Buddington was also a born singer; as a preschooler pursuing my dreams like I am able to today,” he would disappear for long periods, only to be found says Jack Mosbacher, who graduated from Ragazzi in by his teacher in a corner of the bathroom, singing his 2003. The lively redhead was a natural singer from a heart out in the echoing acoustics. One of Buddington’s young age: “When I was four years old, I used to stand teachers pointed him to Ragazzi. He attended one on the living room table and sing ‘Ya Got Trouble’ from concert with his mother and immediately wanted to join. The Music Man. My parents took the hint and found After graduation from Ragazzi, Buddington earned a Ragazzi. I fell in love with Ragazzi at my first rehearsal, degree in vocal music from the University of California, when I was six years old.”
“W
10 • Cantate • Vol. 30, No. 3 • Spring 2018
California Choral Directors Association
Santa Cruz with an emphasis in Renaissance/Baroque performance practice. In 2010 he joined A Cappella Records (renamed Loudr in 2013), a company that enables composers in all genres to negotiate licenses and receive royalties for musical works that are recorded and offered in download platforms and streaming services. But Buddington never quite left Ragazzi behind, returning to work with and mentor young singers, and eventually taking on his current post as director of the group’s Young Men’s Ensemble for teen boys whose voices have changed. “More than anything, I wanted to be there for the next generation of Ragazzi boys, as my instructors and counselors were there for me,” he says. “Being able to help shape the future of Ragazzi is incredibly important to me. It’s the way in which I can most appropriately give thanks for everything that the organization has given me throughout the years.”
joining Continuo in the future. “The years I quit gave me perspective,” he says, adding “I really realized how this program is unlike any other. The opportunities, the music we get to sing, the people we get to meet, the directors we get to work with. It’s unlike anything else.” Current Head Chorister and Soloist Nicholas Hu has been a member of Ragazzi for seven years. Accepting an invitation via Ragazzi to audition for the San Francisco Opera in 2015, Hu earned a spot as the understudy for the one of the three child spirits in the company’s acclaimed production of Mozart’s The Magic Flute. One Wednesday morning on the way to school, Hu’s parents received a call from the opera: The lead boy for his role was sick and Hu was going on that night. Hu had never been on stage, in a costume, or rehearsed with the orchestra. Although he did not express any outward concern, Hu’s father wondered if his son could rise to the challenge and perform in front verett Schafer is one of the Young Men’s Ensemble of 3,000 people with only six hours of preparation. But singers that Buddington is currently directing. the intense training and character development of RagaSchafer’s musically inclined parents were fixed on zzi paid off, and Hu had no problem performing under enrolling him in Ragazzi in the first grade. As Schafer pressure. It seemed like a once-in-a-lifetime experience, transitioned into but lightning hit a middle school, he second time two years quit choir, thinklater, when the San ing it was time Francisco Symphony to try something alerted Ragazzi that else. “After a it was seeking a boy while, I felt like I soloist for Leonard had this huge hole Bernstein’s Chichesin my life. That ter Psalms. Hu was caliber of music awarded the role, in my everyday receiving accolades life was missing. from media, includI was in musiing the San Francisco cal theater in my Chronicle, which noted local town. But “boy soprano Nicholas it just wasn’t the Hu floated a solo line same as Ragaas pure and clear as a zzi.” Three years millstream.” Above: Jeremy and Matt Weinglass during their days as later, Everett Ragazzi members and today auditioned back wins Matt and into Ragazzi and Jeremy Weinglass, found it felt like home. His fondest memories of Ragamembers of Ragazzi’s original group and two of the zzi thus far have been the international tours to Cuba, program’s very first graduates, will be among the many South Africa, and the Baltic regions, and he singles out alums returning for the 30th anniversary celebration. South Africa as his favorite. “We saw the vast disparity The Weinglass brothers were first introduced to Ragain the country—economically, socially, and culturally,” zzi at 10 years old, when a classmate’s mother suggested he says. “But we came together with members of the lothey give it a try. More than 20 years since they graducal communities and made music. Moments like that are ated from Ragazzi, both Weinglass brothers are still so important and humbling.” As high school graduation heavily immersed in music and performance arts. nears, Schafer’s time with Ragazzi is coming to a close. “I believe Joyce Keil is responsible for the love I However, he is certain that he will want to continue developed for music theory,” says Jeremy, who makes his with music, whether it be in a local choir or possibly living as a musician. “She not only taught it as a lan-
E
T
Leading the Way
Cantate • Vol. 30, No. 3 • Spring 2018 • 11
Above left: Ragazzi choristers Nick McKee and Nicholas Hu) rehearse with conductor Michael Tilson Thomas for the San Francisco Symphony’s performance of Leonard bernstein’s Chichester Psalms (Photo: Alan Hu) Above right: Ragazzi’s Henry Phipps performs with Thomas Hampson and others in the San Francisco Opera’s production of Christopher Theofanidis’ Heart of a Soldier in 2011
guage, but she made it fun.” A Los Angeles resident since 2001, Jeremy has played piano for corporate and entertainment industry events, as well as charity galas, weddings, and private parties throughout Southern California. He has also been resident pianist at the Hotel Bel-Air since 2016. His brother Matt also currently resides in Southern California, where he runs his own production company, Sherwood Players. Matt gives the chorus full credit for informing many aspects of his adult life. “Ragazzi has helped shape a ton of different relationships throughout my life,” he says. “It has made me a more disciplined individual. I have learned the importance of surrounding myself with others on a team to achieve a common goal. It’s really played a role in areas beyond music.”
zzi’s doors, the benefits of the program have proved more enduring wide-ranging than most could have imagined three decades ago. Says Buddington, “The boys come together and express all their many feelings of elation, grief, and love in the best language suited to the task—that of music.” The Ragazzi Boys Chorus presents its 30th Anniversary Concert on Sunday, June 10, at 7:30 p.m. in Stanford University’s Bing Concert Hall, 327 Lausen Street, Stanford, CA 94305. Call Ragazzi at (650) 342-8785 or visit them online at www.ragazzi.org for more information about the performance or the chorus.
side from the program’s top-tier musical education and performance opportunities, the type of young A men that Ragazzi produces is what truly distinguishes
the organzation. Alan Hu, the president of Ragazzi’s Board of Directors and the father of Nicholas Hu, has said that the role modeling and social support within Ragazzi was one of the driving factors that led him to pick Ragazzi for his son. Jesse Buddington adds that “The name of Ragazzi carries recognition and respect—not only for what it has achieved as an organization, but for the sorts of young men it consistently puts into the world.” Whether it was the choice of a parent or a passion for music that initially led young boys through Raga-
12 • Cantate • Vol. 30, No. 3 • Spring 2018
Sydney Albin is a recent graduate of the University of California, Davis, who has spent the past six months becoming thoroughly
Bay Arts arts community. She is an arts and entertainment publicist for Carla Befera Public Relations, located in Silicon Valley. immersed in the
California Choral Directors Association
CCDA thanks VoiceLessons.com Leading the Way
for its sponsorship of this year’s conferences!
Cantate • Vol. 30, No. 3 • Spring 2018 • 13
2018
KODÁLY INSTITUTE California State University, Bakersfield
June 25 -July 13, 2018
8:30AM - 5:00PM CSU Bakersfield, Music Building Instructors
RENÉ FERRELL - Founder & Co-Director JO KIRK - Level 1 LISA SIMMELINK - Level 2 & Folk Song Research MATT HANNE - Musicianship 1 & 2 ANGEL VÁZQUEZ-RAMOS - Conducting & Ensemble
To register visit our website kodaly.csub.edu
Early Registration $775 Effective until April 15, 2018. Class size is limited so please reserve your spot early.
Standard Registration $850 Effective April 16, 2018 through June 1, 2018
14 • Cantate • Vol. 30, No. 3 • Spring 2018
California Choral Directors Association
I D Y LLW I L D A RTS S UM M ER PROGRAM
2018 Classical, Jazz, and Vocal Music Programs June 24-July 7
July 8-21
Jazz Instrumental Intensive Piano Workshop* Piano Performance Intensive* Triple Threat Bootcamp*
Symphonic Band Wind Symphony Intensive Symphony Orchestra Intensive* Shakespeare Theatre Intensive
July 22-August 5 Chamber Festival Intensive* Festival Choir Intensive* Harp Performance Intensive* Songwriting Intensive The Summer Show: Musical Theatre Intensive
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*Audition Required Honor Award Discounts Available to Honor and All-State Ensemble Participants Use code CANTATE2018IDY to save $50 off Idyllwild Arts Summer Music Programs. Expires 5.31.18
www.idyllwildarts.org/summer 951-468-7265 • summer@idyllwildarts.org
Leading the Way
Cantate • Vol. 30, No. 3 • Spring 2018 • 15
the COmposer’s voice:
THE FIRST TIME ne of the most common questions I’m O asked immediately after a performance is this: What’s it like to hear your music for the Dale Trumbore has received commissions, performances, and awards from organizations including
ACDA, ACME, Center City Opera Theater, Chanticleer, Inscape Chamber Orchestra, the Kronos Quartet, and VocalEssence, and she has been hailed by the
New York Times for her “soaring melodies and beguiling harmonies.”
Dale is orginally from New Jersey and now lives in
Los Angeles.
Hear her music at www.daletrumbore.com.
first time? This always feels a bit like a trick question to me, because I get several chances to hear my music for the “first” time. There’s the first time a bit of music occurs to me in the composition process, followed by hearing it in a final draft, after much editing and revising. There’s hearing the piece in rehearsal for the first time, too. But when people ask what it feels like to hear my music for the first time, they usually mean the concert itself, and the short answer is that it usually feels wonderful. The much more accurate answer is that, at a premiere, I am almost uncomfortably hyper-attuned to every single detail. My mind races: Everyone looks nervous. Why are they nervous? It sounded great in rehearsal! That part wasn’t as good as it was in rehearsal. Did I let this slow section go on for too long? Oh, that section was great! I love this ensemble. Someone’s fussing with a candy wrapper—do they hate this piece? Ooh, that part was actually really good. I love this piece! Almost done, almost—oh no, no no no, that incredibly loud cough during the final chord is definitely going to be on the recording. Well, that piece was okay. Good performance. Time to walk onstage. Don’t trip, don’t trip, don’t trip.... It’s as if I’m a highly sensitive microphone designed to pick up even the smallest disturbance around me. I don’t usually get nervous before a premiere, or at least I don’t get nervous the way I do when I’m performing. But even if this hyper-awareness isn’t nerves, exactly, I’m still stuck with it for the duration of the piece. My skin prickles. I feel vulnerable and exposed, and every sensation is heightened. I often cite the way it feels to hear my own music premiered as one of the reasons I’ve chosen to be a composer. But who would purposefully seek out the feeling of being uncomfortably vulnerable? There’s something else there, too, and that other feeling is joy. At any premiere, even one that doesn’t quite go as expected, an idea that previously existed only in my head suddenly
16 • Cantate • Vol. 30, No. 3 • Spring 2018
lives outside of me. Through the alchemy of live performance, all that vulnerability and awareness of time and joy adds up to feeling incredibly present and lucky to be here, to be alive. That heightened joy is unlike any other feeling I’ve experienced in my life. In a way, elements of feeling vulnerable and hyper-aware are similar to watching my close friends or piano students perform, and the joy is similar to the happiness I feel watching any outstanding performance. But something sets a premiere apart. I imagine that performers and conductors experience a similar feeling when they perform at their highest level, but I’ve only ever gotten that feeling from composing. Maybe it’s the spontaneity of never quite being able to predict what the piece will sound like live, even— especially—when the dress rehearsal has gone perfectly. That feeling is addictive. Experiencing the first polished premiere of my original music at age seventeen, as that feeling hit for the first time, I knew my decision to pursue music in college and beyond was the right one. Of course, when you’re a teenager, most emotions feel momentous—your inner experiences are heightened, your world still full of firsts. But the truth is that even now, I still feel that way. That feeling hits just as hard now as it did at seventeen. Even at a less-than-ideal performance, I still feel hyper-sensitive, vulnerable, and grateful to be alive. I’m asked so often what it feels like to Iwillthink experience a premiere because an audience never truly hear a piece as its own composer
does. Of course, the irony of this is that a composer never gets to hear their piece for the “first time” as the audience does, either. Just as we can never recreate the experience of watching a movie or reading a book for the first time, a composer never gets to hear a premiere without knowing what music comes next. But there’s a different suspense inherent in not knowing exactly what will happen next in any live performance. That spontaneity, combined with the potential for immense joy, is the reason we all attend live concerts, whether we’ve written the music or not.
California Choral Directors Association
CONGRATULATIONS CALIFORNIA CHOIRS ON YOUR SUCCESSFUL 2017 CONCERT TOURS Azusa Pacific University MS. MICHELLE JENSEN
California State University Long Beach Bob Cole Conservatory of Music DR. JONATHAN TALBERG
Vanguard University DR. JAMES MELTON nsen s. Michelle Je
M
Beverly Hills High School MS. STACEY KIKKAWA Chino Hills High School MS. LAURA RUTHERFORD Presentation High School MS. EMILIE BERTRAM
Dr. Jonathan Ta
lberg
www.perform-international.com
www.perform-america.com
Acalanes High School MR. BRUCE LENGACHER Canyon High School MS. ARIEL MAY Irvine High School MS. TINA PETERSON
St. Andrews Presbyterian Church DR. JAMES MELTON
info@perform-international.com
University of redlands school of MUsic
Bachelor of Arts • Bachelor of Music Master of Music • Artist Diploma Music Scholarships & Graduate Assistantships Available Dr. Nicholle Andrews Director of Choral Studies Dr. Joseph Modica Associate Professor of Choral Music Information and applications music@redlands.edu 909-748-8014 www.redlands.edu/music
Leading the Way
Cantate • Vol. 30, No. 3 • Spring 2018 • 17
18 • Cantate • Vol. 30, No. 3 • Spring 2018
California Choral Directors Association
Save the dates…
Summer Conference at E.C.C.O renew…refresh…re-connect
Conducting
Pedagogy
Vespers Repertoire Performance Practice
Vocal Technique Camaraderie
July 22-25, 2018
Headliner: Dr. Betsy Cook Weber University of Houston, Moores School of Music
Registration Opens early April visit www.calcda.org Leading the Way
Cantate • Vol. 30, No. 3 • Spring 2018 • 19
SEEN & HEARD
T
op to bottom: Pacific Chorale Academy students show off their accomplishments with springtime concerts at three school sites in the Newport-Mesa Unified School District (photo courtesy of Molly Pontin); the Chamber Choir of Christopher High School in Gilroy travels to New York City to perform with Eric Whitacre at Carnegie Hall (photo courtesy of Kira Dixon); and Tesoro High School choristers—more accustomed to Orange County weather—experience snow for the first time during their tour to Montréal, Québec (photo by Ashley West, courtesy of Keith Hancock). Send one or more high-quality photos of your ensemble’s latest activities to cantate.editor@gmail. com if you’d like them to be considered for a publication in a future issue!
20 • Cantate • Vol. 30, No. 3 • Spring 2018
California Choral Directors Association
2019 CCDA
State Conference & Honor Choirs San José, California
San José State University Conference & Rehearsal Venue
March 14-16
Cathedral Basilica of St. Joseph Concert Venue
Featuring Performing Choirs, Interest Sessions, and the CaliforniaAll-State Honor Choirs • Richard Bjella, Texas Tech, TTBB • Kevin Johnson, Spelman College, SSAA • Giselle Wyers, University of Washington, SATB • Rollo Dilworth, Temple University, Junior High/9th Grade
Apply to perform or present an interest session at www.calcda.org Application deadline: May 18, 2018 Leading the Way
Cantate • Vol. 30, No. 3 • Spring 2018 • 21
22 • Cantate • Vol. 30, No. 3 • Spring 2018
California Choral Directors Association
Vision for the
Future Scholarship Fund Donors special care has been given to the preparation of donor acknowledgments. We regret any errors or omissions. please contact us at (657) 217-0767 or exec_admin@acdacal.org with corrections. Thank you for your support!
President’s Circle Platinum ($500 and higher) Buddy James
President’s Circle Gold ($300 and higher) Kenneth J. Abrams Tammi Alderman * Lou De La Rosa * Robert Istad and David Navarro * Lori Marie Rios * Nick Strimple * in honor of James H. Vail
President’s Circle Silver ($100-$299) Anonymous * in memory of Paul Salamunovich Daniel Afonso * Jeffrey Benson * Jenny Bent Jack Bertrand * in honor of Dr. James K. Bass Rob Blaney Ryan Board * Mitchell and Laurel Covington Jennifer Gaderlund Emily Gates Cricket Handler Jeffe Huls * in memory of Lynn Bielefelt Mark Hulse Mary Anne and Rick James Beth Klemm * in honor of Norman Paschen, my Dad! John Knutson Kaii Lee
Leading the Way
Bruce Lengacher Arthur Lio MaryClare Martin * Eric Medeiros in memory of Tim Shannon Li-Wen Monk * Matthew Netto * in honor of John Russell Jason Pano in honor of Lou De La Rosa, Robert Istad, and Christopher Peterson Tina and Christopher Peterson * Molly Buzick Pontin Shawn Reifschneider * Antone Rodich * John Russell * Joseph Schubert * in honor of David Norman and Roman Maciejewski Jennifer Sivers-Suh + Grace Sheldon-Williams Shelby Smith + in honor of Daniel and Suzie Smith John Sorber * SCVA + Carolyn Teraoka-Brady * Polly Vasché * William Zinn *
Sponsor ($50-$99) Dana Alexander Kyle Ball Ruth Ballenger Bernadette R. Burns Patrick Burzlaff Kelly Caswell in honor of Mary Purdy Jessica Cosley
Lauren Diez Julie Ford in honor of Perla Warren Brandon Harris + Michelle Hawkins Stacey Kikkawa Anthony Lien * in honor of Buddy James, Michael Najar, and Matthew Potterton Susanna Martone Michael J. Mello Molly Peters Zanaida Robles Jo Anne Stoddard
Supporter (up to $49) Judy Bowers Jamie Butler Lydia Chaffee Eileen Chang Karl Chang Louis Clayson + Cari Earnhart Maryloie Espinoza + Dr. Jennifer Garrett Leatrice Innocent Nicholas Patton Jan Pedersen-Schiff Susan Peterson Christiane Rohayem Alexis Rubell Sheen Leem Sanchez Stephanie Stewart Kevin Tison Darla Tuning Elizabeth Waterbury * Founder’s Circle + New donor
Cantate • Vol. 30, No. 3 • Spring 2018 • 23
The way to san jose: Reflections on ano THe conference by COlleen Chester hat an incredible CCDA Conference at CASMEC W (California All-State Music Educators Conference)! The weekend of February 15-18 was packed full of great
for CASMEC advertisements; Jason Pano for his work with our social media and website; and Kristina Nakagawa and Resounding Achord, who provided 59 scholarships to interest sessions, inspired performances, exhibits, and All-State and Regional Honor Choir students. camaraderie! Bravo to all of our performing choirs and their directors: Endless thanks to the members of the CCDA Board Bakersfield College Chamber Singers and Dr. Jennifer of Directors for their hard work in making our 3rd annual Garrett; Acalanes High School Bella Voce and Bruce state conference a success: Carolyn Teraoka-Brady, who Lengager; American River College Vocal Jazz Ensemble once again served as our performance ensemble liaison for and Dr. Art La Pierre; Cuesta College VOCE and John our concerts in St. Joseph’s Basilica; Polly and Burt Vasché Knutson; Filharmonics; CSU Fullerton Concert Choir and for serving our clinicians during our interest sessions; Molly Dr. Christopher Peterson; Reyburn Intermediate Tenor Peters, who chaired and organized our outstanding High Bass Choir and Allison Crose; Santa Clara University School Honor Choirs, Chamber Singers and and Amanda Isaac for Dr. Scot Hanna-Weir, her work as our Junior Cantabile Vocalise and High School Honor Elena Sharkova; Monte Choir Chair; Willow Vista High School Chamber Manspeaker, who Singers and Jodi Reed; and chaired and organized Kitka. our Choral Leadership We recognize our Academy (CLA); Lori wonderful choral clinicians Marie Rios and Angel and their inspired interest Vázquez-Ramos who sessions: Dr. Alyssa Cossey, served as CLA faculty; Becky Marsh, Dr. Josh Michelle Hawkins for Palkki, Dr. Jeffrey Benson, her help organizing Dr. Scot Hanna Weir, the Vocal Jazz Concert Rachelle Randeen, Tammi as well as set up, tear Alderman, Dr. Jenny Bent, down, and audio support Dr. Buddy James, Dr. during the concert; Jeffrey Christopher Peterson, and Benson, our site host for Roger Emerson. the honor choir rehearsal We were, once again, facilities at SJSU; Kim blown away by our Nason, Buddy James, California All-State Honor Kristina Nakagawa, Choirs under the direction ABOVE: This year’s class of future conductors attendAngel Vázquez-Ramos, ing the Choral Leadership ACADEMY of Dr. Kevin Fenton, Tesfa Tammi Alderman, Wondemagegnehu, Dr. Paul Michelle Hawkins, Gavin Spencer, Susie Martone, Arlie Rardin, and Dr. Anthony Trecek-King, whose inspiration Langager, Tina Peterson, and Bill Zinn for organizing our and love for choral music will change the lives of our students amazing reading sessions; David Montoya, who organized forever. Many thanks to our honor choir managers—Monica the 2018 CCDA Honor Choir commission, composed by Covitt, Christopher Borges, Mary Purdy, and Mary Shawn Kirchner; Kathleen Preston, our incredible Executive Stocker—without whom we could not serve our amazing Administrator who not only worked registration throughout honor choir students. the entire conference but who brilliantly serves all of us with Serving as the CCDA Coordinator for CASMEC has her organizational skills; and President Rob Istad and Vice been an extraordinary experience. Although CASMEC President Lou De La Rosa for their assistance, guidance, will be moving to Fresno next year, we will be holding our and mentorship to me throughout this whole process. State Conference and State Honor Choirs in San Jose again Additional thanks go to Josh Palkki, who helped next year, and we look forward to seeing you March 14-16, organize the work assignments filled by our wonderful 2019. Mark your calendars—we promise you will not want Board of Directors; Anthony Lien for designing graphics to miss it!
24 • Cantate • Vol. 30, No. 3 • Spring 2018
California Choral Directors Association
other great weekend of CCDA at Casmec THe honor choirs by molly peters his year’s honor choir weekend is in the books—and it T was a huge success! We were back at CASMEC for the third year in a row. San Jose State University generously
• “First off thank you so much for helping me out financially at All State this year! The experience was amazing and I met tons of new friends. Choir is a huge part of my life and being a part of such a great group of singers was awesome! Please keep making high schoolers’ dreams come true!”—Tommy Lassiter
hosted our four performing ensembles for rehearsal (thank you, Dr. Jeffrey Benson!), and the concerts were held in the gorgeous St. Joseph Basilica in downtown San Jose. It is always a treat to see the kids’ faces as the enter the • “All State Honor Choir is basilica for the exchange concert on Friday night—they an extraordinary event I will come in with their phones pointing up to the dome and never forget. We all sang side their jaws dropped (so relaxed, I bet that would be a by side to produce an amazing perfect “ah” vowel!). It is truly magical for them. performance. Singing any song The students loved all four of our directors: Dr. gave me goosebumps alongside a Anthony Trecek-King (Junior High/9th), Tesfa feeling of excitement. Thank you Wondemagegnehu (TTBB), Dr. Paul Rardin (SATB), for giving me this opportunity of and Dr. Kevin Fenton (SSAA). Our conductors a lifetime.”—Emilio Lopez Felix connected on a deep level with our students, and were not afraid to touch on uncomfortable subjects that are • “Thank you so much, part of life for today’s teenagers, including issues of race, Resounding Achord, for helping violence in schools, and poverty. me pay for this Honor Choir trip. This event can’t be pulled off without the help of Being able to create music with many, many people! Thank you to the teachers who such a talented group of people volunteered to help at registration, especially those who and an amazing conductor was did part checks. Amanda Isaac nailed it as the JHS more than I could have wished chair for her first year, for by being in the honor choirs. and I look forward to our It has helped me learn about how partnership in the future. to be a better singer and hopefully a better Neither Amanda nor I conductor in the future.”—Alex Nguyen could have done anything without our amazing • “I am a recipient of the scholarship choir managers, who at all-state. First of all, a huge thanks to were with our students Resounding Achord for the fulfilling time and directors all weekend I had at all-state. Being able to sing with long: Christopher such amazing musicians and being able Borges, Monica Covitt, to learn from such an inspiring conductor Mary Purdy, and Mary such as Mr. Tesfa was truly one of the Stocker. To all the high best things that have happened in my life. school teachers who sent Thank you so much! I really appreciate students: thank you for it.”—Desh Padmakumar ABOVE: tesfa WONDeMAGegnehU gives his your hard work getting choir two thumbs up; ALL-State choir memyour students prepared If you’re part of an organization that bers perform in concert. (photos courtesy for the weekend. would like to sponsor any number of of robyn peters) Last but certainly not students (even just one!), please e-mail least, CCDA is fortunate to have two sponsoring groups who me at mepeters79@gmail.com. For our students who provided 23 scholarships to deserving students for All-State. grow up in homes where finances are tight, the thought that Resounding Achord (Kristina Nakagawa, Artistic Director) someone they’ve never met would want to make a make provided 13 of those scholarships, and I am pleased and their dream come true will affect them in ways we can’t even proud to announce our newest partnership with ACFEA fathom. Tour Consultants (Hugh Davies), who provided the Until then….see you at Regional Honor Choirs in remaining 10 scholarships. Here’s what some of our student November and All-State next March! recipients had to say about the experience:
Leading the Way
Cantate • Vol. 30, No. 3 • Spring 2018 • 25
Why isn’t CCDA going to be at CASMEC 2019 in Fresno? by robert istad, lou de la rosa, and jeffrey benson ASMEC, the California All-State Music Education C Conference, was born out of a convergence of circumstances: a financial disaster that cancelled the CMEA State Conference, the largesse of the California Band Directors Association (CBDA) welcoming CMEA to join the CBDA State Conference in Fresno about eight years ago, and the desire on their collective parts to lure CCDA to rejoin in the belief that we are stronger music advocates together than apart. In 2016, the first year of the unified CASMEC in San Jose, CBDA ended up losing $70,000 due to unexpected high costs and a too-low conference registration fee. Many CBDA constituents and board members clamored for a return to Fresno, where CBDA had been held for many years, and where the financial climate is primed for good deals. Unfortunately, CASMEC has outgrown Fresno; in the past, CCDA provided only interest sessions and the Choral Leadership Academy (CLA). CCDA All-State Honor Choirs, which have grown to four, were not a part of CASMEC until the 2016 conference in San Jose. Still, the return to Fresno was announced by CBDA last June with no concrete plans for lodging CCDA
honor choir students (the hotels downtown are reserved for band and orchestra students), no CCDA honor choir rehearsal venues, and no CCDA concert venues aside from the honor choirs. CCDA would have had to commit to running a simultaneous conference perhaps three to eight miles away, spending too much time on shuttle buses between interest sessions, concert sessions, and honor choir rehearsals. In short, no one would have been served. With a pressing need to confirm honor choir conductors, CCDA withdrew from the move to Fresno. CBDA signed a three-year contract to be in Fresno through 2021. In order not to compete with CASMEC, we moved the All-State Honor Choirs to mid-March. The CCDA State Conference and All-State Honor Choirs will be held at San Jose State University in 2019 on a slightly smaller scale, and at a cheaper price than Pasadena, Santa Monica, or Long Beach could provide. The CCDA Board remains committed to finding a way to return completely to CASMEC. In the meantime, we will continue to co-sponsor the CLA, and look forward to finding a way forward at the CASMEC Strategic Planning Retreat in early June 2018.
Be seen and heard with an ad in Cantate. It’s the best way to reach California’s Choral community! Single-issue ads are currently being accepted for our fall 2018 issue, and annual ads are available for the 2018-19 academic year. Visit www.calcda.org/resources/cantate-magazine for complete details and to reserve your space online!
26 • Cantate • Vol. 30, No. 3 • Spring 2018
California Choral Directors Association
The Bob Cole Chamber Choir Jonathan Talberg, conductor Winner Spittal International Choral Festival 2017 Best Choir Best Folk Choir Winner the Welsh Eisteddfod “Choir of the World” 2016 Best Chamber Choir Best Folk Choir 2nd Place Youth Choir
Leading the Way
Cantate • Vol. 30, No. 3 • Spring 2018 • 27
News and notes
from around the state NORTHERN REGION Eric Seiler and the Yreka High School Vocal Ensemble will travel to New York in April to be a part of the King’s Singers Reunion Concert at Carnegie Hall. Ron Slabbinck, director of choirs at College of the Siskiyous, will once again host a “Just Sing!” day, in which choirs share their music and then cap the morning off with a group number. The event will feature Mount Shasta, Weed, and Yreka Middle Schools, as well as Mount Shasta and Yreka High Schools. The Northern California Band and Choir Directors’ Association held its annual Honor Choir event at Chico State University at the beginning of February. Dr. Jonathan Talberg was the guest conductor. Humboldt, Del Norte, and Trinity counties presented the All County Music Festival on March 16 and 17 at Arcata High School. The concert included bands, orchestras, and choirs at both middle school and high school levels. The Eureka Symphony Orchestra and Chorus will perform Luigi Cherubini’s Requiem at The Arkley Center for the Performing Arts on May 18 and 19.
BAY AREA Jeremy Fox and Harmonic Convergence collaborated with San Marin High School and San Marin School of the Arts for a collaborative jazz concert on March 14.
Send news of hirings, retirements, awards, commissions, premieres, collaborations, or projects to your regional representative or Cantate.Editor@gmail.com!
College Choral Festival on April 21 and will travel to compete in the World Choir Games this July in South Africa. Contra Costa College’s vocal jazz ensemble, JAZZ-ology, performed as a headliner at Club Bonafide in Manhattan in April.
CENTRAL COAST REGION Plans are in the works for the 20th Annual Cuesta College Vocal Jazz Festival in November, featuring headliners Groove 4Thought. This outstanding professional group from Seattle combines artistry and innovation to provide amazingly “studio perfect” performances. They have received rave reviews from the likes of Ben Folds, Brian McKnight, Shawn Stockman, and more. The Cuesta Vocal Jazz Festival started in 1998 as a one day “workshop”; it has grown throughout the years to a two day festival, and is now expanding to two stages. Dates will be announced soon. Dos Pueblos High School Vocal Jazz (Goleta) was selected to participate in the Next Generation Jazz Festival. This festival includes middle school, high school, and collegiate groups every March in Monterey and is sponsored by the Monterey Jazz Festival. The ensemble was very proud and excited to sing on the Next Gen stage. Courtney Anderson is in her third year of teaching at Dos Pueblos.
CENTRAL REGION
WomenSing offered a concert entitled “A Celestial Evening of Science and Song” at the Starlit Chabot Planetarium on April 14.
The Stanislaus County Junior High and High School Honor Choirs performed in Modesto in January with guest conductors Molly Peters and Angel Vázquez-Ramos, respectively.
The choirs of Saint Mary’s College (Julie Ford, director) hosted a NorCal
In Fresno, Anna Hamre has a new afternoon community choir, Coro Solare,
28 • Cantate • Vol. 30, No. 3 • Spring 2018
which allows those who don’t want to drive at night to continue singing classical music. The choir presents one concert each semester, with Randall Thompson’s Frostiana planned for April. The ensemble has about 80 members, including Art Huff, who recently celebrated his 90th birthday. Art founded the CCDA Summer Conference at ECCO in 1986. Ryan Clippinger of Arvin High School reports that in January nearly 400 singers came together under the direction of Tammi Alderman for the annual Kern High School District Festival, “It’s a Grand Night for Music,” at the Rabobank Arena in Bakersfield. The Bakersfield High School Chorale and Alumni performed Vivaldi’s Gloria in February with full orchestra, conducted by Christopher Borges. BHS Alums come together every three to five years to produce concerts, share stories, and inspire younger students to keep singing. The current BHS Choir President, senior Emilio Lopez Felix, is the recipient of the first annual Dr. Randi Carp Choral Music Education Scholarship, presented at the CMEA Awards banquet at CASMEC in San Jose. Emilio says, “Through choir I have learned how to communicate and to lead. I want to show others how music brings people together and lifts us up.” Director Christopher Borges says that “Emilio has demonstrated the fortitude to carry himself beyond anything we might consider challenging. He loves people and music almost equally, and in him and his passion to succeed I see the heart of the American Dream.” Mark Swope, choral director at Stagg High School in Stockton, has initiated a unique and exciting choral event. Stagg Sings! brings together the school’s 400 music students to sing in concert. In
California Choral Directors Association
March the mega-chorus raised $1,000 in donations for the Wellness Center of San Joaquin County.
Bremer, Ray Woods, and Al Talberg. To their families, friends, and colleagues we send love, sympathy, and support.
SOUTHERN REGION
FAR SOUTH REGION
The University of Redlands will launch a Master of Music in Vocal Chamber Music for September 2019. This program will be led by Christopher Gabbitas of The King’s Singers, in addition to faculty members Nicholle Andrews and Joseph Modica, with a focus on practical music-making and the commercial understanding of what it takes to be a professional vocal chamber musician.
Carlsbad High School Choir and Orchestra are preparing J.S. Bach’s Magnificat for performances with the MiraCosta College Chamber Singers at MiraCosta’s concert hall on Friday, May 18. The choir will also be performing Morten Lauridsen’s Les Chansons des Roses. The choirs at Carlsbad are also competing in the Southern California Show Choir Circuit and attending several Concert Choir and Chamber Choir Festivals during the spring semester.
Congratulations to all who participated in CASMEC and Western ACDA from the Southern region! Besides the featured choirs at ACDA, the following choirs contributed supporting performances: Kirk Choir of Pasadena Presbyterian Church (Timothy Howard); Beverly Hills High School Madrigal Singers (Stacey Y. Kikkawa); Los Angeles Urban Voices Project (Leeav Sofer); Don Benito Fundamental School Bobcat Choir (Laura Pitts); Marshall Fundamental Middle School Choir (Jonathan Gould); and Gabrielino High School Concert Choir (David Pitts).
San Diego Children’s Choir is wrapping up a successful season with newly appointed Artistic Director Ruthie Millgard. Holiday season highlights included annual traditions of performing with the San Diego Symphony and San Diego Master Chorale in Noel Noel, as well as providing the chorus for The Nutcracker with the San Diego Ballet. Spring highlights include collaborations with Westwind Brass, San Diego Chorus of Sweet Adelines International (Kathleen Hansen), and the University of San Diego Choruses (Emilie Amrein). Advanced ensemble choristers are preparing for a trip to Scotland in July to participate in ABOVE: Contra Costa College’s vocal jazz the Stirling Bridge International ensemble, JAZZ-OLOGY. Arts Festival.
The Inner City Youth Orchestra created a Service of Remembrance to commemorate the 50th anniversary of the Assassination of Martin Luther King, Jr. on April 4. At the Dorothy Chandler Pavilion, a pre-concert event began at 6:01 p.m. (when Dr. King was shot), with the formal concert beginning at 7:05 p.m. (when Dr. King was pronounced dead). This concert featured a West Coast premiere of the orchestrated setting of TTBB multi-movement The Seven Last Words of the Unarmed by Joel Thompson—music that uses the final words of seven African-American men who were unarmed when killed by police and other aggressors. Performers included 80 TTBB singers from the Greater Los Angeles area. In April, the USC Thorton Chamber Singers (Jo-Michael Scheibe, director) presented Considering Matthew Shepard, an oratorio/passion composed by Craig Hella Johnson. After the performance, audience members were invited to a discussion between Hella Johnson and representatives of the USC Office of Religious Life and the LGBTQ community. The Southern Region honors four people from our choral family that have passed away: Ed Brahams, Donald
Leading the Way
In February, Escondido’s Center Chorale presented the West Coast premiere of Alec Roth’s A Time to Dance, conducted by Joe Stanford. Portions of the work were danced by Faith Jensen-Ismay and the Mojalet Dance Collective. The San Diego Master Chorale and Music Director John Russell recently hosted their second annual Honor Choir, featuring over one hundred high school singers from seventeen schools in the greater San Diego area. The feature event of the day-long experience was combining the full membership of the SDMC with the Honor Choir for a beautifully sung rendition of “Lift Ev’ry Voice and Sing,” arranged by Los Angelesbased composer and conductor Zanaida Robles. Thanks to our Regional Representatives (Jenny Bent, Julie Ford, Polly Vasché, Carolyn Teraoka-Brady, Stacey Kikkawa, and John Russell) for collecting and sharing news from their areas! Send your news to your regional representative if you’d like to be included in a future issue.
Cantate • Vol. 30, No. 3 • Spring 2018 • 29
Top Five for your Choir:
ETHNIC & MULTICULTURAL “B Angel M. VázquezRamos, a native of Carolina, Puerto Rico, is
Assistant Professor
and
Director of Cho-
ral and at
Vocal Studies
California State
University, Bakersfield. He teaches undergraduate courses in music education and choral conducting, and conducts the
University
Singers and Chamber Singers. Before his appointment to he served as of
CSUB,
Director
Choral Music
Education at Chapman University from 2010 to
2015. Dr. VázquezRamos also taught
secondary choral music for seven years in las
Pinel-
County Schools in the
Tampa Bay Area.
e courageous—you can do it. And if you need help, I promise you, you will get it!” Dr. Christian Grases said those words to those in attendance at the Ethnic & Multicultural Music Reading Session during the 2018 ACDA Western Division Conference in Pasadena, to encourage the participants to program more ethnic and multicultural repertoire and leave behind the fear of tackling a new piece with a language and musical idiom different to what we are used to. During this reading session I felt especially challenged by two fantastic pieces: “Kaisa isa Niyan” by Nilo Alcala, and “Leron, Leron Sinta,” arranged by Saunder Choi. I recognize that I needed the same pep talk and I should also be more courageous as I look for repertory. As with anything else, in order to start feeling more comfortable with music from other cultures we must dive in and spend more time listening to, studying, and performing it. It has never been easier to access ethnic and multicultural choral music and advice or acssistance to perform it successfully. Be courageous! Here are five selections you could easily incorporate into your curriculum:
challenge is to add the movement (not a lot of different steps) and to perform the piece with the right “spirit.” Use the video on YouTube of the Mcondece Choir performing for reference (language and movement).
Jacob Narverud Sisi ni moja SA(T)B Santa Barbara, SBMP 1338
Arr. Michael Barrett Maginsondele Nkosi Yam SATB Santa Barbara, SBMP 1421
This is a fun piece that could work well with middle or high school choirs. The text evokes universal values of empathy and unity. The restrained ranges, descant section towards the end, and B(T) part make this piece accessible and perfect as a great closer for your program.
According to arranger Michael Barrett, this piece is a “traditional praise and worship song from the Zulu culture.” The alto and bass solos create a call and response between them and the rest of the choir throughout the piece. I really like this piece, because it is a different take on one of my favorite hymns, “Nearer My God to Thee.” Ranges are suitable for most high school choirs. If you are looking for a terrific new a cappella work for your repertoire, this is it!
Jaime Chiphanga Ndiyende njirayi SATB Earthsongs S-423A
Arr. David Hill Canto del Agua TTB Alliance Music Publications, AMP 0834 I learned this piece from my colleague Dr. Christopher Peterson. Sung in Spanish, it is fun and energetic, and it’s suitable for most high school TTB choirs. Arranger David Hill did a good job preserving the Joropo feel with a well-conceived piano part. Arr. Eduardo Lakschevitz Sambalele SSA Colla Voce 20-96860 Sung in Portuguese, this setting of Sambalele is challenging and well suited for a SSA advanced middle choir. It utilizes two Brazilian folk songs (Sambalele and Balaio) as partner songs and includes a nice piano part.
Ndiyende njirayi is a short piece that is not hard to learn. It only has six different words to be mastered in Chinyanja. The biggest
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California Choral Directors Association
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Cantate • Vol. 30, No. 3 • Spring 2018 • 31
32 • Cantate • Vol. 30, No. 3 • Spring 2018
California Choral Directors Association
Top Five for your Choir:
MUSIC IN WORSHIP C Ruben Valenzuela is the founder and director of the
Bach
Collegium San Diego and the
Director of
Music and Organist at
All Souls’ Episcopal Church, San Diego.
He has led the BCSD in numerous
Southern
California premieres of Historically Informed Performances of music from the
Renaissance,
Baroque, and early Classical period. He is a member of the sociation of
As-
Anglican
Musicians, the American Musicological Society, the
American Bach
Society, the Herbert Howells Society, and the
American Guild of
Organists, and he holds a
PhD in Musicol-
ogy from
Claremont
Graduate University.
Leading the Way
hurch choirs come in many guises, each with its own strengths and weaknesses. Some are fully amateur, others semi-amateur, and some professional. Selecting repertoire for each of these scenarios can be a daunting task. All church choirs, regardless of level, should spend some time with purely polyphonic repertoire. Learning to absorb and understand the mechanics of polyphonic singing is an essential skill, even if a particular choir’s repertory does not regularly include this repertoire. All too often, choirs overlook the vertical and horizontal implications of a particular writing style. Polyphonic singing gives regular attention to these parameters, which is paramount to identifying and shaping musical lines and fostering autonomous singing. Here are five contrapuntal anthems that can be introduced, taught, and assimilated in a short amount of time, and that will leave a pedagogical imprint. Johannes Brahms (1833-1897) Geistliches Lied, Op. 30 SATB & Organ Oxford University Press: 9780193851733 This work offers an opportunity to discuss canons, and general polyphonic singing within the beauty of Brahms’ musical language. The ravishing Amen at its conclusion is one of the most beautiful you will encounter from this period. If the German is an obstacle, do not hesitate to use the English translation provided by the edition. Stephanie Martin (b. 1962) O Sacrum Convivium (from Four Motets) SATB a cappella Cypress Choral Music: CP1254 Toronto-based Martin offers these motets that are beautifully crafted, with clear voice leading and individual parts that are satisfying to sing. All four motets (Ave verum corpus, Sicut Cervus, O Salutaris Hostia, and O Sacrum Convivium) are of practical value to liturgical choirs, but they can be used in various settings as needed.
Stephen Sturk (b. 1950) Mass of the Angels (English & Latin) Unison, Children’s Choir, Congregation, Orff Instruments, and Organ sturkdma@gmail.com This setting of the Ordinary of the Mass by San Diego-based composer Stephen Sturk checks all the boxes as it cleverly uses singable fragments from well-known plainsong masses, assigns the perfect balance of text and music to the choir and congregation, incorporates ostinatos by Orff instruments, and includes congregational passages accompanied by the organ. It is intergenerational music-making at its best! If your church does not use settings of the Mass, consider using a movement as an independent anthem. Giovanni Pierluigi da Palestrina (c. 1525-1594) Sicut cervus SATB a cappella www.cpdl.org This motet distills the beauty and perfection of Palestrina’s polyphonic language into an approachable style, with each vocal entry crystal clear from one part to the next. This short motet provides a great way of introducing Palestrina’s musical language to a choir looking for an introduction to Renaissance choral music. Healey Willan (1880-1968) Fair in Face (from Liturgical Motets) SATB a cappella Leslie Choral Series: L4152 Biretta Books (www.birettabooks.com) This is one of Willan’s lesser-known motets, characterized by his unmistakable harmonic language rooted in polyphony, a penchant for modalism, and the influence of plainsong. These three characteristics give this motet a sense of graceful flow and mysticism. The beautiful text, taken from the Office of Our Lady, is the perfect catalyst for Willan’s accessible yet profound musical language.
Cantate • Vol. 30, No. 3 • Spring 2018 • 33
choral& sacred
music
at the university of southern california thornton school of music
2018 CHORAL LEADERSHIP WORKSHOP Tesfa Wondemagegnehu, guest clinician Saturday, October 20, 2018 For registration info, call (213) 821-5756 or email uschoral@usc.edu
RECENT PERFORMANCES
DEGREES OFFERED
World Choral Symposium, Seoul, South Korea ACDA National & Regional Conventions National Collegiate Choral Organization, Colorado & Oregon Craig Hella Johnson’s Considering Matthew Shepard Performances with the Rolling Stones, Sir Elton John, Barry Manilow
Choral Music BA, MM, DMA Sacred Music MM, DMA
UPCOMING EVENTS, 2018-19 DEC 8 APR 14 APR 27 APR 28
Winter Gala, Bovard Auditorium/USC, 7:30 PM Morten Lauridsen’s Lux Aeterna, Walt Disney Concert Hall, 7:30 PM Mozart’s Requiem, Alex Theater, 8:00 PM Mozart’s Requiem, Royce Hall, 7:00 PM
FACULTY Jo-Michael Scheibe, chair Nick Strimple Cristian Grases Morten Lauridsen Tram Sparks Mary Mattei
Alvin Brightbill Ladd Thomas Lisa Sylvester Lynn Helding Suzi Digby
Professor Emeritus James Vail David Wilson
APPLICATION DEADLINE DECEMBER 1, 2018 Fall 2019 Admission for freshman, transfer, and graduate students Financial packages available for undergraduate and transfer students Teaching assistantships and scholarships available for graduate students
visit music.usc.edu/choral
34 • Cantate • Vol. 30, No. 3 • Spring 2018
California Choral Directors Association
Top Five for your Choir:
COMMUNITY CHOIRS C Kristina Nakagawa is the of
Artistic Director
Resounding Achord,
and has been performing and directing in the con
Sili-
Valley for the past
15 years. She previously conducted at
Pinewood
School in Los Altos and served as
Assistant
Conductor for The Choral Project in San José. Before settling in the
San José area, she
conducted two choirs at
UC-Irvine. She holds a
Bachelor of Music
degree in
Vocal Perfor-
mance from and a
UC-Irvine,
Master’s degree
in choral conducting from
San José State University.
ommunity choirs have a luxury in that the entire world of repertoire is open to us: sacred, secular, heart-stopping, moving, and even silly. Two years ago my group toured to Ireland, where we had the opportunity to hear a true Irish tenor singing some of his favorite old songs in a pub. It was magical. After that experience, a few of my singers came to me and said, “What if we did a whole concert of drinking songs?” I couldn’t think of any reason why we couldn’t, and we even took it a step further and performed our two concerts in actual beer halls. The audience had food and drinks while we sang, and nearly 30% of the people who attended had never heard us before. Genius! I hope some of these ideas might spark some innovative programming for you. Arnold van Bruck So trinken wir alle SSATB a cappella Chester Book of Madrigals No. 6; Chester Music 14025419 Arnold von Bruck (c.1500-1554) was a Franco-Flemish Renaissance composer. Most of his works were sacred in origin, and despite living in the land of Luther during the Reformation, his posts and positions seem to indicate that he remained a Roman Catholic for his entire life. This lively piece in German sings to the virtues of fine wine and ends with a rousing “Trinks gar aus!” on each verse, which translates to “just drink it!” It was the perfect opener for our concert, and would be a wonderful selection to uplift your audience and wake everyone up! F.J. Adams, arr. Robert de Cormier There is a Tavern in the Town SATB a cappella Theodore Presser Co. 392-02559 This piece plays back and forth between the treble and bass voices, offering some classic opportunities for movement and melodrama. Fans of the cartoon Animaniacs and the children’s nursery song “Head, Shoulders, Knees, and Toes” will instantly recognize the tune.
Leading the Way
Johnny Mercer & Henri Mancini, arr. Steve Zegree The Days of Wine and Roses SATB a cappella Alfred Music 41609 While not specifically a drinking song, “The Days of Wine and Roses” gave us an opportunity to show off some soloists and have a slow moment in an otherwise excitable and rousing program. Mercer and Mancini won the Academy Award for Best Original Song in 1963, and the song is truly timeless. Those familiar with Steve Zegree know that his jazz and standard arrangements are perfectly accessible for all types of choirs, not just those with a jazz focus. Trad. Sea Shanty, arr. Stephen Hatfield All for Me Grog SATB a cappella Boosey & Hawkes, Inc. 48005056 The lyrics “All for me grog an’ tabacca!” are repeated more than 20 times, and after repeat 5 or so, the entire audience had joined in with us, drinks and voices raised together. This folk song also gives choirs an opportunity to try on a different style of tone—brighter and more rustic—than our beloved bel canto legatos. Trad. Finnish, arr. Jonathan Rathbone Sakkijarven Polkka SATB div. a cappella C.F. Peters EP77038 When singers first look at the sheet music for this polka it is incredibly intimidating. However, it is quite repetitive, and with dedicated practice, can easily be performed by an intermediate to advanced high school ensemble. The cost per copy is high, but I can guarantee that it is worth the investment. The interplay between the voices offers incredible opportunities for movement and characterization, and the bass solo toward the end of the work gave us the perfect “drunk uncle” moment!
Cantate • Vol. 30, No. 3 • Spring 2018 • 35
Top Five for your Choir:
SHOW CHOIRS W
Since 1980, Bill Zinn has dedicated his professional life to the
Sacramento area’s musical community.
He has
performed as a member and
Assistant Chorus
Master of the Sacramento
Opera Chorus,
and he sings with the
Sacramento Master Singers. Bill has taught in the fied
Davis Joint UniSchool District
since
2003, and in
2002 he was awarded Music Teacher of the Year by the Capitol Section of CMEA.
e have access to such a treasure of literature, it’s hard to know which direction to go in programming our performances. From classic theater music to contemporary popular song, we have the world as our oyster. I know that many in CCDA are “classical” musicians. What’s not to like in the great standards of choral music? From Carmina Burana to Messiah to Palestrina to the legacy of the Christiansens, we are rich in choral culture throughout the history of mankind. Still, we should not neglect the impact that popular music has had on American and world culture. Recently, in viewing the PBS recognition of Tony Bennett for the 2017 Gershwin Award, I felt myself being washed in American song culture. Show Choir is the natural expression of American popular and theater music. Who among us hasn’t marveled to Lin ManuelMiranda’s Hamilton? Doesn’t West Side Story hold a place in your heart? Surely The Sound of Music lives in each of us! Our students deserve to know this rich history of song. American musical theater and popular music have driven and responded to social change as long as there’s been an America. South Pacific raised the curtain on prejudice. Porgy and Bess opened many eyes to the reality and beauty of African-American culture. Folk and rock music in the 1960s made our nation look injustice, poverty, and war in the face. The list goes on. Our nation’s future depends upon the young people of today. While you’re teaching them proper vowel formants, breath support, and choral diction, don’t forget to educate them in the music of America’s history and introduce them to the quality found in the best contemporary music of the day. We are touching the hearts of the future every day. Make sure that the future reflects the experience that got us here.
I
knew going into this school year that I would be retiring in June. I selected the music for my choir’s Annual Cabaret Dinner with all of this in mind before telling them of my plans. I want my students to know that they connect the past to the future through their experience together and with me. I want them to know that they
36 • Cantate • Vol. 30, No. 3 • Spring 2018
can have a positive effect on tomorrow and that they can take with them the lessons of today and yesterday. Be sure that you include opportunities in your choral program for students to encounter music that speaks to them today, whether it be a 16th-century motet, musical theater, or the latest a cappella stylings. It will shape tomorrow! Here are five songs that speak to me now. Sara Bareilles, arr. Mac Huff Opening Up (from Waitress) Hal Leonard 00209811 (SATB) Also available for SSA and SAB Show Trax CD, Rhythm Section parts Justin Paul, Benj Pasek, arr. Roger Emerson Waving Through a Window (from Dear Evan Hansen) Hal Leonard 00233506 (SATB) Also available for SAB and 2-pt. Show Trax CD and rhythm section parts Sting, arr. Greg Jasperse Fields of Gold (a cappella) Hal Leonard 08748893 Benj Pasek, Justin Paul, and Justin Hurwitz, arr. Jacob Naverud Another Day of Sun (from La La Land) Alfred 00-46485 (SATB) Also available for SSA and SAB SoundTrax CD Justin Paul, Benj Pasek, arr. Roger Emerson You Will Be Found (from Dear Evan Hansen) Hal Leonard 00233554 (SATB) Also available for SSA and SAB Show Trax CD and combo accompaniment parts
California Choral Directors Association
SONOMA STATE UNIVERSITY DEPARTMENT OF MUSIC at the Green Music Center
ENSEMBLES Symphonic Chorus Concert Choir Santa Rosa Symphony Symphonic Choir Opera and Music Theatre Productions Music Theatre Scenes Workshop
SUMMER PROGRAM Chanticleer in Sonoma
MASTER CLASSES Master class opportunities with world-renown vocalists from the Green Music Center performance series
AUDITION DATES November 10 January 26 March 9
Leading the Way
Dr. Jenny Bent
Director of Choral Activities Choral Director, Santa Rosa Symphony Program Director, CHANTICLEER in Sonoma bentje@sonoma.edu
www.sonoma.edu/music
Cantate • Vol. 30, No. 3 • Spring 2018 • 37
CCDA BOARD Directory EXECUTIVE BOARD President Robert Istad (562) 822-5952 robert.istad@gmail.com President-Elect Jeffrey Benson (408) 924-4645 jeffrey.s.benson@ gmail.com Vice President Lou De La Rosa (408) 206-7192 l.delarosa.wvc@ gmail.com Membership & Development Lori Marie Rios (818) 679-7463 lmrdiva1@gmail.com Treasurer Chris Peterson (657) 278-3537 cpeterson@fullerton.edu Executive Administrator/ CCDA Office Kathleen Preston 921 N. Harbor Blvd., #412 La Habra, CA 90631-3103 (657) 217-0767 exec_admin@acdacal.org
REPERTOIRE & RESOURCES
REGIONAL REPRESENTATIVES Bay Area Julie Ford (925) 631-4670 julie@julieford.org
Children’s & Community Youth Kimberly Nason (949) 472-6492 dknason@mac.com
Central Polly Vasché (209) 526-9692 pollyvasche@pacbell.net
Junior High & Middle School Susie Martone susie.martone@gmail.com
Central Coast Carolyn Teraoka-Brady (805) 689-1780 cteraoka-brady@ sbusd.org
Senior High School Tammi Alderman (626) 299-7020 x3615 tammialderman@gmail.com
Far South John Russell (917) 686-0110 johnkrussell@gmail.com Northern Jenny Bent bentje@sonoma.edu Southern Stacey Kikkawa skikkawa@bhusd.org
CLA Coordinator Willow Manspeaker wmanspeaker@stevensonschool.org All-State Honor Choirs Molly Peters (213) 880-7597 mepeters79@gmail.com
COLLEGIATE College & University Buddy James (510) 885-3128 buddy.james@ csueastbay.edu Two-Year College Arlie Langager (858) 774-0412 alangager@miracosta.edu Student Activities Josh Palkki (202) 679-3350 josh.palkki@csulb.edu LIFELONG
EVENT CHAIRS Summer Conference at ECCO Jeffe Huls jhuls@smmusd.org
YOUTH
CCDA State Conference Colleen Chester (707) 291-9059 colleen.p.chester@ gmail.com
Choral Composition David Montoya (626) 419-8031 davypavy@aol.com
Community Choirs Kristina Nakagawa (408) 205-6050 artistic@
resoundingachord.org
Music in Worship Ruben Valenzuela (760) 715-7956 rv.hypodorian@gmail.com Professional Choruses Molly Pontin (714) 662-2345 molly@pacificchorale.org REPERTOIRE-SPECIFIC Contemporary Commercial Choirs William Zinn (916) 601-4175 wzinn6023@gmail.com Ethnic & Multicultural Perspectives Angel Vázquez-Ramos (714) 305-1087 vazquezramosa@gmail.com Men’s Choirs Gavin Spencer (530) 241-4161 gspencer@suhsd.net Vocal Jazz Michelle Hawkins (650) 738-7134 hawkinsm@smccd.edu Women’s Choirs Tina Peterson (562) 453-9681 tgpeterson@me.com
COMMUNICATIONS Cantate Editor Eliza Rubenstein erubenstein@occ.cccd.edu cantate.editor@ gmail.com
38 • Cantate • Vol. 30, No. 3 • Spring 2018
Webmaster & Graphic Design Anthony M. Lien (530) 758-5896 amlien@lienhome.net
Social Media Coordinator Jason Pano (408) 768-0733 jasonpano@yahoo.com
California Choral Directors Association
Follow your passion! performance opportunities Concert Choir Choraliers Vocal Jazz Ensemble Treble Choir Spartan Glee Club Opera Theatre
degrees offered Bachelor of Arts Bachelor of Music in Performance Bachelor of Music Education Master of Music in Choral Conducting Summer Masters Degree in Music Education
contact us Dr. Jeffrey Benson, director of choral activities jeffrey.benson@sjsu.edu SJSU Choirs SJSU Choirs @SJSU Choirs sjsu.edu/music
summer choral workshops July 16–20, 2018 sjsu.edu/music/ choralworkshops
Leading the Way
Cantate • Vol. 30, No. 3 • Spring 2018 • 39
California Choral Directors Association 921 N. Harbor Blvd., #412 La Habra, CA 90631-3103