and Print Fall 2013 Star of the North

Transcription

Relevant • Resourceful • Respected
Volume 40, Issue 5 Fall 2013
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2
Star of the North • Fall 2013
Our Values: Artistry • Community • Excellence • Inspiration • Legacy • Renewal • Support
2013–1
S E A S O N4
ALL SAINTS
we are so lightly here
(this sacred life)
C HRIS TMAS
F ES TIVAL
with guest conductor
Craig Hella Johnson
A light no dark can overcome
November 2 | 7pm
St. Andrew’s Lutheran Church
December 13 | 4:30 & 8pm
December 14 | 8pm
900 Stillwater Road, Mahtomedi, MN 55115
Basilica of Saint Mary
November 3 | 4pm
St. Philip the Deacon Lutheran Church
88 North 17th Street, Minneapolis, MN 55403
17205 County Road 6, Plymouth, MN 55447
December 21 | 2 & 5pm
Christ Church Cathedral
1210 Locust Street, St. Louis, MO 63103
C I T Y- W I D E H Y M N F E S T I VA L
A Hymn Festival of mass proportions!
S P RING C O NC ERT
February 23 | 4pm
Central Lutheran Church
Pipes in praise – works for choir and organ
plus Frank Martin’s “Mass”
333 South 12th Street, Minneapolis, MN 55404
May 4 | 4pm
900 Stillwater Road, Mahtomedi, MN 55115
S E A S O N T I C K E T S N O W AVA I L A B L E !
612-722-2301 or
nlca.com
Our Mission: To inspire and support a community of choral musicians in our state • www.acda-mn.org
3
ACDA of Minnesota
Board of Directors
President�� Thomas Wm. Hassig
Vice President�� Steven Albaugh
President-Elect�� Susan Zemlin
Secretary��Gillian Teoh-Berbee
Central District Chair��Kathy Pauls
Metro East District Chair��Daryl Timmer
Metro West District Chair��Andrew Beard
Northeast District Chair�� Matt Krage
Northwest District Chair��Shelly Wahlin
Southeast District Chair�� Elizabeth Shepley
Southwest District Chair�� Marie Flagstad
Student Representative�� Joshua Smith
Star of the North Editor�� Bret Amundson
Inside…
Columns
6
ACDA of Minnesota Staff
Director of Development��Diana J. Leland
Web Editor��Tom Hale
Executive Assistant�� Barb Geier
Executive Director �� Bruce W. Becker
ACDA of Minnesota
Repertoire and Standards Chairs
Boy Choirs��Aaron Carpenter
Children’s & Youth Choirs��Ann Schrooten
College and University Choirs�� Matt Ferrell
Ethnic & Multicultural Perspectives��Jon Kopplin
High School Choirs��Steve Deitz
Jazz Choirs��Laura Tempel
Junior High/Middle School Choirs�� Sue Gilsdorf
Male Choirs................................... Michael Culloton
Music and Worship�� Sean Vogt
Show Choirs�� Lukas Warren
Two-Year College Choirs�� Karla Miller
Women’s Choirs��Angela Mitchell
Youth and Student Activities��Brandon Dean
Repertoire and Standards
Coordinator�� Phillip Brown
•••
Features
President’s Cue........................................................................7
Student Podium��24
FMC Endowment Update��34
Emerging Conductor’s Network��37
Commissioning Corner��38
ACDA-MN Schedule of Events��49
Men’s Choirs................................................... 50
Women’s Choirs............................................ 52
High School Choirs��54
College & University Choirs....................... 55
The Last Word, Bruce Becker............................................ 61
star program highlight:
Kantorei Chamber Ensemble��8
Guest Features:
With A Little Help From My Friends, Garrett Lathe�� 10
Estonian Choir�� 14
Buying Local: The Strong Connection Between
Minnesota-based Composers, Conductors and
the Commissioning Process, Michael Culloton�� 16
SUMMER
DIALOGUE
26
From the Field:
Embracing The Community Choir, Matthew Krage�� 30
It Takes A Vllage To Sing In A Choir, Daryl Timmers�� 32
ScholarshIp ShortS�� 36
Highlights
LEGACY
An Interview With Robert D. Mix, Jerome D. Upton��20
FMC Edowment Fund Update��34
MMEA Update��40
In The News
Men’s Choir/Women’s Choir Festival��42
Legacy
20
Star of the North Advertising Rates
Size A: Inside Front Cover 8 1⁄2w x 10h��$300.00
Size B: Inside Back Cover 8 1⁄2w x 10h��$300.00
Size C: 8 1⁄2w x 10h��$250.00
Size D: 8 1⁄2w x 5 1⁄2h��$150.00
Size E: 8 1⁄2w x 4 1⁄3h��$120.00
Size F: 4 2⁄3w x 10h�� $90.00
Size G: 2 2⁄3w x 10h�� $75.00
Size H: 3 1⁄3w x 4 1⁄2h�� $50.00
Star of the North Ad and
Article Submission Dates
Winter 2014....................................................1/10/14
Spring 2014......................................................4/11/14
Fall 2014��8/15/14
4
Policy Statement on Programming
Recognizing the broad diversity of cultures and beliefs by our member directors, by our singers, and
by all those touched by performances of choral music,ACDA of Minnesota reaffirms its commitment
to balance and diversity in programming. It is important that we, as the leading proponents of choral
art in our state, actively encourage and model sensitivity to and awareness of diversity, particularly
with regard to sacred and secular repertoire.
We recommend that no more than fifty percent of the literature chosen for Honors Choirs, AllState Choirs and Pick Six packets contain music with sacred text. Performances and lists pertaining
to music in worship are exempt.
Adopted by the ACDA of Minnesota Executive Board, January 13, 1996.
Advertiser’s
index
ACDA-MN State Conference�� 39
ACDA-MN State Honor Choir
Program�� 43
Alice T. Larsen Scholarship�� 57
Accolades International Tours
for the Arts��5
Apollo Male Chorus�� 19
Augustana College�� 13
Banjar, Inc.�� 48
Cantus Vocal Ensemble�� 58
Century Resources�� 47
Chanhassen Dinner Theatres�� 37
Club’s Choice Fundraising�� 43
Concert & Study Tours�� 51
Concordia University-St. Paul�� 33
FMC Endowment Fund�� 46
Gateway Music Festivals
& Tours�� 36
Grand Tours�� 48
Groth Music�� 15
Gourmet’s Delight, Inc.�� 48
J.W. Pepper & Son�� 23
Lifetouch Event Photography�� 18
Luther College�� 29
Lutheran Summer Music
Academy & Festival�� 41
Minnesota Opera�� 45
Minnesota Public Radio�� 33
MN State University-Moorhead�� 31
National Lutheran Choir��3
Popplers Music�� 43
St. Olaf Records�� 56
Sunshine Travel�� 53
University of Minnesota-Duluth�� 31
University of NorthwesternSt. Paul�� 24
Wartburg College�� 25
Wenger Corporation��2
Westmark Productions�� 15
Change of contact information?
Contact Bruce W. Becker, Executive Director
[email protected]
Accolades has
custom designed
international tours
for music ensembles
for 30+ years
“Accolades understands
the performing arts and the
needs of the students on tour.”
- Director, Bethel University
[email protected]
800-747-2255
www.AccoladesTours.com
International Tours for the Arts
Minneapolis, MN
Relevant • Resourceful • Respected
The Star of the North is published three
times a year by ACDA of Minnesota:
Fall/Conference, Winter, and Spring.
Articles may be submitted to the copy
editor for consideration:
Bret Amundson, SotN Editor
The College of St. Scholastica
1200 Kenwood Ave., Duluth, MN 55811
[email protected]
(218) 625-4983 Office
(206) 660-6300 Cell
Visit our website for updates:
www.acda-mn.org
Advertising materials and photos
should be sent directly to:
By All Means Graphics
17 Bridge Square
Northfield, MN 55057
[email protected]
(507) 663-7937
For more information on advertising
contracts, rates and specifications,
please contact:
Bruce W. Becker, Executive Director
[email protected]
(952) 270-7489
ACDA of Minnesota
reserves the right to edit and
approve all submitted materials.
•••
ACDA Advocacy Resolution
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 arts institutions in 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.
5
Editor’S
Remarks
Welcome back to a new year of wonderful Minnesota music-making!
Why are community choirs
important for our society?
Lifelong learning through
transformative connections. ~ Lee Nelson
My first Editor’s remarks in Fall 2011 introduced a
change to the Star of the North: “I’ve recently been
inspired by the format of the NPR show This American Life. At the beginning of every show, host Ira
Glass reminds the listener, ‘Each week we choose a
theme and bring you stories based on that theme.’
Well, here at the Star of the North, we’ve adopted
Bret amundson
this same technique. Each issue, we will choose a
College of St. Scholastica
theme and bring you a variety of articles based on
personal reflections and professional research.”
These themes have solicited wonderful conversation and information from
our ACDA-MN community.
For this issue of the Star of the North, we dive head first into the development
and success of Community Choirs. This issue opens with our “Star Program
Spotlight” featuring Axel Theimer and Kantorei, a Twin Cities-based chamber
choir well known for their focus on vocal health and specialized performance
of European choral music.
This issue’s “Guest Feature” by Garrett Lathe provides an in-depth look at how
he built the Youth Chorale of Central Minnesota from the group up “with a
little help from his friends.” In our “From the Field” articles, Darryl Timmer and
Matthew Krage explain how Community Choirs can provide lifelong learning
opportunities for conductors, singers, and community members.
Finally, I’d like to draw your attention to Bruce Becker’s “Last Word” where
he explains some new and exiting changes we’re hoping to make to the
format of the Star of the North. As always, please let me know if you have
any insights, information, or suggestions that could make our award winning
publication even better.
I hope you enjoy the Fall 2013 Star of the North! Have a great year!
Explore On-line Benefits for Members
Log-in at www.acda.org and explore the following
exciting and relevant resources:
ChorTeach • ChoralNet • ACDA Radio • First Listen
The International Journal of Research in Choral Singing Choral Journal • State, Division and National Conferences
• Social Media – Facebook Group • LinkedIn
Network with peers and colleagues
all across the country!
6
Dr. Lee Nelson is the Patricia R. Zahn Chair in Choral
Conducting and director of choral activities at Wartburg College in Waverly, Iowa. Recently honored with
the 2012 John O. Chellevold Award for Excellence in
Teaching and Professional Service, Nelson conducts
the Wartburg Choir and Ritterchor (men’s choir). He
also teaches conducting, applied voice and serves as
artistic director of Christmas with Wartburg.
Nelson made his conducting debut at Carnegie Hall
in 2011 and has been invited to return in 2012 and
2014 to conduct the National Festival Chorus. A
sought-after conductor, Nelson has directed All State
and honor choirs in Colorado, New York, Alaska, Mississippi, Nevada, Minnesota, North Dakota, Wisconsin, Arizona, Iowa, Nebraska, and Manitoba, Canada.
In December 2011, Nelson and the Wartburg Choir
were invited to perform at the White House Holiday
Concert Series. While in Washington, D.C., the choir
also performed at the Washington National Cathedral for a worldwide simulcast of the Bethlehem
Prayer Service.
Prior to his appointment at Wartburg College, Nelson served on the faculty at St. Cloud State University,
where he received the SCSU Professional Achievement
Award in 2008. Earlier in his career, Nelson received
the Outstanding Young Choral Conductor of the Year,
awarded by the Minnesota American Choral Directors
Association, and won the 2005 National ACDA Conducting Competition in Los Angeles, California.
President’s CUE
“You gotta’ put something in to get anything out”
THOMAS HASSIG
Prior Lake High School
Prior Lake, MN
Memories are funny things. I can still remember the
smells in the old house where my father grew up.
It is difficult to remember the colors of the faded
wallpaper, but smells are vivid in my memory: the
aroma of fresh baked goods, the vivid pungency of
the fire in the wood burning stove, the enveloping slight staleness of air that was not circulated
continuously through air ducts. In the summer, the
house was always cool, because as the sun moved
and the shadows from the yard trees migrated
across the lawn, my elderly aunt would close or
open windows and raise or lower window shades
to take advantage of a changing breeze and the
moving shadows. Eco-friendly air conditioning!
During my infancy, my grandparents passed away
and my dad’s sister lived in the house alone. I recall
visiting Aunt May as a small child and watching her
cook on the old cast iron, wood-burning oven,
and pumping water from the hand pump that
stood over the pail on the counter by the window
in the front room. When I got big enough, I stood
on a chair and she would let me raise the pump
handle. It took nearly my entire body weight to
pull it down and watch as the ice-cold water came
gushing from the cistern below the front porch.
That was the coldest and best tasting water in the
entire world!
I remember that sometimes when I tried to pump
water, nothing came out. It was as if the cistern
was empty or the well had run dry. That’s when
Aunt May would come over and help me by taking
the pitcher she kept on the shelf above the pump
and pouring some water into the top of the pump.
Then, incredibly, everything worked and I could
pump out gallons of water.
“You have to prime the pump first sometimes,”
Aunt May told me. “You can’t forget to prime the
pump, or you get nothing out of it.”
Of course, much later in high school I learned
about suction and one-way check valves. But at
the time, it was truly wondrous. It was magic – put
a little water in and you get much more back in
return.
Reflecting on that memory recently, it occurred
to me that in music making, directing, and working with singers, there’s a lot of pump priming
involved. Indeed, most of life is like that – we have
to prime the pump before we get back rewards,
in spades! Being an active member of ACDA-MN
is like that, too. Volunteer – help out at an event,
be a door monitor or announcer, assist with an
honor choir, be part of a listening jury, give a little
time to ACDA-MN – and what you bet back in
friendships, collegiality, and professional growth
are many multiples of what you gave.
We also have to prime the pump and put something into our choirs. We have to prime our singers with information, opportunities, and encouragement before we get the rewards of community,
harmony, and commitment back in return.
My singers (mostly) walk into rehearsal on their
first day eager and ready to make music and have
a great experience in choir. After a few months,
or weeks, or even days their excitement starts to
wane. That’s when I need to prime the pump with
a new approach, a new warm-up, some new words
of encouragement, perhaps a joke. Sometimes,
just a genuine smile and acknowledgement are all
they need to put up with rehearsal and the quest
for improved tuning and rhythm, vowel purity, and
developing that sense of ensemble so crucial to
our endeavors. I have to prime the choir’s pump
to get something back. But to be honest, more
often than not there are days when the singers
unknowingly prime my pump and re-energize me.
For every rehearsal, we have to keep priming the
pump. You gotta put something in to start the
flow. On the surface, this seems like a lot of work
– it sounds like ‘give, give, give.’ But you know as
well as I do, the payback is many multiples of your
humble, initial offering. Prime your singers, prime
your choir, and the payback will be magical!
“You can’t forget to prime the pump, or you get
nothing out of it.” Thanks, Aunt May. I miss you,
but I try to remember your lessons.
7
Star program
highlight
Kantorei Chamber Ensemble
AXEL THEIMER
40 voices, pursuing the highest standard
of musical expression.
Directed since 1988 by Axel Theimer, Kantorei is
one of the premier choral ensembles in Minnesota.
Kantorei’s 40 singers have set a standard in Minnesota for rich and effortless choral sound. The
choir’s approach to singing (with an integral focus
on vocal freedom and vocal health) allows the
singers to communicate emotional and expressive
content of music and text with natural beauty. Kantorei’s special reputation for interpreting European
choral music – including seldom-heard Romantic
pieces, sacred masterworks, and Austrian and
German folk melodies – is drawn from the heritage of founder Axel Theimer. To learn more
about Kantorei and to see performance dates for
Season 26, visit www.kantorei.net.
Engaging singers in a community/semi
professional choir…
As a conductor, I very much value the individuality of the human voice. In Kantorei, we continuously look for and explore ways to teach voice
as part of the choral experience. I find that this
allows each singer to be an expressive vocalist
without the concern of having to match someone
else’s vocal quality and sound. I want singers not
only to think of a rehearsal as a time to learn
about music, composers, etc., but also to feel that
they receive a weekly voice lesson and leave the
rehearsal refreshed and vocally revitalized and
not worn out.
As a group we have decided to focus on music
from the 19th and 20th century central European
countries – keeping alive (or reviving) many of the
‘chestnuts’ of choral music by Schumann, Brahms,
Mendelssohn, Rheinberger, Reger, Distler, David,
and others. We frequently feature compositions
by Czech, French and British composers, but with
such incredibly rich heritage of 20th and 21st
century composers in Minnesota and the upper
Midwest, we also include creations by Fissinger,
Kilstofte, Barnett, Argento, Paulus and others on a
regular basis. This year, our 26th Season, we feature some wonderful compositions by James Callahan, Wayne Kivell, and David Evan Thomas in
our repertoire.
Originally, Kantorei was organized as an alumni
choir for graduates of College of Saint Benedict
and Saint John’s University, but it has since evolved
into a group that includes singers from college
choirs from throughout the Midwest and beyond.
Because Kantorei’s membership – all volunteers –
spans such diverse age groups and professions, it is
important to find the right balance of the demands
on the singer’s time. All of us constantly have to
pay attention how we divide our time healthfully
between our families, jobs, and the ensemble. This
balance is reflected in our active, but not overwhelming, rehearsal and concert schedule.
We stay together because we like to make music
in an environment which allows everyone to learn
about their voice and about music, to deepen old
and form new friendships and to be engaged in
a fundamentally human activity with other people
who enjoy having music in their lives. In Kantorei,
8
our singers get to use their own voice to express and reflect
the emotions of music and words through singing.
The common respect we all have for each other as individual
vocalists and the appreciation of what each person willingly and
enthusiastically are just some of the many things that keep us
coming back for more, season after season.
Axel Theimer
Dr. Axel Theimer is a native of Austria, where he was a member of the Vienna Boys Choir. He is now beginning his 45th
year on the music faculty at St. John’s University and the College of St. Benedict. He received much of his training in Vienna,
continued his studies at Saint John’s University, and completed
graduate degrees at the University of Minnesota – MFA in Choral Conducting (student of Dr. Thomas Lancaster) and DMA in
Vocal Performance (student of Roy Schuessler).
MMEA Hall of Fame.He is the 2011 recipient of the ACDA-MN
F. Melius Christiansen Lifetime Achievement Award.
Axel’s Pick Six
• Drei Gesänge, Opus 42; Johannes Brahms; cpdl
• Ave Regina Coelorum; Francesco Soriano; GIA – G-1985
• My Spirit Sang All Day; Gerald Finzi; Boosey OCTB5814
• Abendlied; Josef Rheinberger; Carus CV 50.069/20
• Gartenlieder; Fanny Hensel (Mendelssohn); Earthsongs
• Choral Dances from Gloriana; Benjamin Britten;
Boosey - 17411
He is an active recitalist, has presented master classes, workshops, and seminars for state, regional, national and international music conventions and conferences and has conducted
All State Choirs, Choral Festivals and Honor Choirs throughout the United States and the Far East.
At St. John’s and St. Ben’s he directs the CSB/SJU Chamber Choir
and SJU Men’s Chorus and teaches choral conducting and vocal
pedagogy.
In addition to his professional activities at SJU and CSB, he is
founder and music director of Kantorei, Amadeus Chamber Symphony, and is music director of the National Catholic Youth Choir.
He is currently Executive Director of The VoiceCare Network,
where he is also an active faculty member. In 2001, he received
the ACDA-MN Choir Director of the Year Award and, in 2004,
was inducted to the Minnesota Music Educators Association’s
9
Guest Feature
WITH A LITTLE HELP FROM MY FRIENDS
The sentiment of the 1967 Beatles hit is a good one;
however, we can do so much more than “get by”
with the help of our friends. In our discipline, in fact,
collaboration is essential. Under this spirit of collaboration, the Youth Chorale of Central Minnesota
was formed and has grown to be a successful arts
organization in our state.
GARRETT LATHE
Artistic Director and
Mixed Chorale Conductor
Youth Chorale of
Central Minnesota
Great Expectations
The idea of offering a community choir for high
schools had been around for some time. Both the
community children’s choirs in our area – Cantabile Girls’ Choir and The St. John’s Boys’ Choir –
had considered continuing their programs into high
school, but had determined it was out of the scope
of their mission. While attending a choral leadership
conference hosted by SJBC at St. John’s University,
I shared an idea I had of creating a summer choir
for high school singers who were looking for more
opportunities, but were not able to attend a music
camp in the Twin Cities or other distant locales.
Brother Paul Richards, founder of the Boys’ Choir,
pulled me aside that day and asked, “Why don’t you
do that during the school year?”
It was that moment that the idea for what is now
the Youth Chorale began. The fall of 2004 was spent
building consensus and sharing ideas about the idea
of a community choir for high school students. On
December 1, 2004, Br. Paul Richards, Jane Oxton
(founder of the Cantabile Girls’ Choir), and a few
other arts patrons and choir parents met at the
Ground Round in St. Cloud for our first board
meeting.
What’s in a Name?
What to call this fledgling group was no easy task.
The first inclination was to give it an inspired name
that would pique interest, cause a buzz, and in itself
hold great aesthetic value. As we went through
name after name, one became clear: Central Minnesota Youth Chorale. Quite simply stated, it is what
it says. When it came time to make a logo, however, putting “Central Minnesota” first put the focus
on the geography rather than the ensemble, so the
name was changed to “Youth Chorale of Central
Minnesota.”
We agreed to operate with The St. John’s Boys’
Choir as our fiscal agent, and filed our Articles of
Incorporation with the State of Minnesota on April
12, 2005. It would be after our second season that
we would receive our non-profit 501(c)(3) status.
Audition Process
We advertised solely through local high school
choir directors, many times calling the high schools
to find out their director’s email address. Because I
was a local high school choir director myself, it was
necessary to have a panel of audition judges as to
assure objectivity and transparency in the process.
The audition panel consisted of vocal instructors,
including Brian Johnson, who drove 95 miles from
10
Aitkin to St. John’s University three separate times and rejected
payment or mileage reimbursement. I was hoping for a choir of
forty that first year, secretly dreading that not enough would
show up. Around sixty singers came to auditions in the St. John’s
University choir room. Even more important, there was a palpable excitement for opportunity, and the quality of auditions
shattered expectations.
Chief Cook and Bottle Washer
Like many start-up organizations, the first year or two was a
great deal of work. From learning QuickBooks (accounting program) to writing grants, to generating board reports, there was
always something that needed to be learned or taken care of in
quick order.
This past year an alum and current board member said, “That
first season you said you spent 90% of your time doing administrative tasks and 10% programming and preparing for rehearsals.”
I don’t remember saying it, but I remember feeling it. It is a common feeling among those who endeavor on such a project. It is
daunting to realize that you are responsible for every detail for an organization
that involves 60 families, a sizable budget,
concert venues, collaborations, commissions, and many other details. Thankfully,
I had a trustworthy and helpful board of
directors to help guide the ship while the
organization was building momentum.
Adding Staff
In the fall of 2007, the Board of Directors decided that a Business Manager
was needed to continue the growth.
After two very successful seasons, it
was time to move past a one-employee organization and include
someone to write grants and run the finances part time. It was
at that time we moved the official address from my home to the
Paramount Arts District, inside the historic Paramount Theater
building in downtown St. Cloud.
After a five-year vision meeting in 2010, the general consensus
was that the administrative portions of the organization needed
to be expanded to continue the growth. So in 2011, the Business Manager position was transformed and YCCM hired Paula
Heydman as its first Executive Director. This expanded part-time
position allowed the profile of the organization to grow in the
community. Since then, the budget has grown by over 40%, outside funding has increased exponentially, and the group has been
freed up to take on other projects such as travel.
Expanding
While the growth of the organization was tremendous, there
was one dilemma plaguing the organization: there were far
more sopranos and altos auditioning, making it necessary to cut
between 25 and 30 female singers every year. After two years of
planning, the proposal passed to start a Women’s Chorale as an
additional YCCM ensemble.
In May 2012, YCCM hired Linsey Jo Bösl as the conductor of
the Women’s Chorale. This expanded the organization to include
nearly 100 singers, a 57% growth
from seven years earlier. Ms.
Bösl has been a tremendous
asset to the organization, offering new perspectives and ideas
to this growing organization.
While our artistic output and
opportunities are expanding,
we are committed to keeping
a manageable schedule for high
school singers. Of our hundreds
of alumni, only an estimated ten
percent are music majors. We
have many who are pursuing law degrees, military careers, medical school, and a variety of other paths. These singers, and the
singers currently in our ensembles, are busy people and we want
busy people in the program. Even if music is not their career path,
we firmly believe in giving them a high caliber experience that fits
11
within the schedule of a typical high
school student.
dational partner to YCCM’s establishment. Many of the policies, procedures, and practices were taken
directly from SJBC’s playbook with
the direct guidance of Joann Weber,
their first Executive Director. Cantabile Girls’ Choir and Jane Oxton,
their founder, were also incredible partners, as well as the Honors Choirs of Southeast Minnesota.
Most of our first concerts were
collaborations with the Great River
Chorale, and their influence was also
instrumental.
That is not to say we are foregoing all
enrichment activities. This year we
are offering a new ensemble, Chamber Singers, which will meet outside
of the regular rehearsal time. This
group will be composed of members
of the other two ensembles, and will
perform in a limited capacity during
its inaugural season. In the future,
Chamber Singers may be expanded
to include many performances, and
potentially serve as a preparatory
ensemble for future music majors.
Commitment to New Works
Our major focus of commissioning new choral works embodies
our core value of collaboration. From the very first year, YCCM
has made an annual commission a part of its general operating
budget. While some years have had granting support, YCCM has
made new music for high school singers a key focus. In the first
eight years, we have gained commissions from Paul Brandvik,
Matthew Culloton, Abbie Betinis, Eric Barnum, Dale Warland,
René Clausen, Timothy Takach, and Joshua Shank.
For this, the ninth season, YCCM is expanding its yearly commissions to include two pieces for each major ensemble. Robert
Sieving, long-time St. Cloud native and retired director of the
Apollo High School choral program, will write a piece for the
Women’s Chorale, and J. David Moore, an innovative and awardwinning composer from the Twin Cities, will write for the Mixed
Chorale.
Working through the commission process is something that
YCCM singers have thoroughly enjoyed. Many times, they have
been able to work with the composer in rehearsal in the final
stages of concert preparation. This has helped to inspire a few
singers to go on to pursue composition degrees in college, and
has benefited every singer with the opportunity to look at music
through the composer’s eyes.
Collaboration in Action
Artistic collaborations with other ensembles have been a cornerstone of our organization, and a major reason for our artistic
success. These collaborations have included The Singers: Minnesota Choral Artists, Great River Chorale, Kantorei, The St. John’s
Boys’ Choir, Cantabile Girls’ Choirs, and many other high school
and college ensembles. Our collaborations have brought YCCM
to the MMEA Clinic, ACDA of MN convention, and the Choral
Arts Finale.
Equally important to those artistic collaborations has been the
organizational partnerships that YCCM has established with
other choral groups. The St. John’s Boys’ Choir served as a foun-
12
We are fortunate to live in a vibrant
choral community in Central Minnesota, with wonderful choral
programs in area high schools. From day one, we have required
singers to be involved in their high school programs. While the
implementation of this policy has been tricky at times, the reasoning behind it is sound and necessary. We seek to augment,
but not replace, high school singers’ experience in their local
programs. Also, with only two hours a week of rehearsal, it is
impossible for YCCM to serve as the backbone of singers’ music
education experience in these formative years. As community
partners in music (and not exclusive practitioners), we have been
afforded great relationships with high school directors, and we
believe that this key relationship is of the highest value for YCCM
and its singers. This has created a vibrant cycle where local directors share information about YCCM, area singers find meaningful
and rewarding experiences, and in turn enrich their high school
choral programs.
Conclusion
Seeing this organization grow from simple ideas to a fully vibrant
arts organization has been an exhilarating experience. The impact
YCCM has had on singers, families, and the Central Minnesota
community is incredible. It was an idea whose time had come,
with a mission that represents the best of what it is to be in a
choir, all within the spirit of collaboration. And each year we are
privileged to see youth unplug from their world, join together,
and enter this both new and ancient world of community singing.
FMC SCHOLARSHIP
APPLICATIONS DUE
December 1, 2013
ACDA North Central Division Conference
Full-time and Part-time Graduate Study
Applications available at
www.acda-mn.org/scholarships
Explore. Discover. Create.
Music
Since 1921, when Carl Youngdahl founded the Augustana Choir, our talented students and faculty
have continued to explore a rich variety of choral music while discovering the power and wonder
of performance – regardless of major. Together, the Augustana Choir, Collegiate Chorale and Angelus
proudly bring the joy of music to countless audience members world-wide.
We thank the members of Minnesota ACDA for the strong support and guidance
you give your students as when they arrive at Augustana, they are exceptionally well-prepared
and eager to learn. It’s a pleasure for us to work with them to further develop
their talents and inspire them to new challenges.
At the Heart of the Arts in Sioux Falls.
www.augie.edu/arts
13
Guest Feature
ESTONIAN CHOIR
Estonian Philharmonic Choir
Featured During Conference Weekend
The Estonian Philharmonic Chamber Choir, recognized as one
of the leading choral ensembles in the world, will make a special Minnesota concert appearance on Friday evening, November 22, during the ACDA-MN State Conference weekend. The
concert, sponsored by Classical Minnesota Public Radio, will
be presented at the stunning visual and aural acoustic of the
Cathedral of St. Paul, 239 Selby Avenue in St. Paul. Special discount ticket rates for ACDA-MN members and their
guests have been arranged through the MPR ticketing agent.
Reserved seat ticket prices with discounts are as follows:
Tier One Pricing and Best Seating: $45.00
Tier Two Pricing and Seating:
$39.00 with $5 ACDA discount = $34.00
Tier Three Pricing and Seating: $29.00 with $5 ACDA discount = $24.00
To purchase tickets contact the Fitzgerald Theatre box office
at: 651-290-1200; Discount Password “Conference.”
Please note that transaction fees will be added to the cost of
each ticket.
Ticket sales will open to the general public on September 3,
2013. ACDA-MN members are encouraged to secure their
tickets early.
Estonian Philharmonic Chamber Choir
The ESTONIAN PHILHARMONIC CHAMBER CHOIR
(EPCC) is the best-known Estonian classical music performer
and one of the best choirs in the world. Since 2001 the choir’s
14
chief conductor and artistic director has been Paul Hillier. The
renowned British musician has widened the choir’s perspectives
and continued their success both in the recording field and as
a performing group at prominent concert venues and festivals.
The EPCC was founded in 1981 by Tõnu Kaljuste, who was its
artistic director and chief conductor for 20 years. At the 1991
Takarazuka Chamber Choir Competition in Japan the choir
won three gold medals and was awarded the Grand Prix. The
EPCC gives 60-70 concerts per season and tours regularly
in Europe, the United States, Canada and Japan. Their repertoire is all-encompassing, ranging from Gregorian Chant to the
20th century. Works by Bach and contemporary composers, as
well as Estonian choral music have a great importance in choir’s
programmes. The choir has a close relationship with composers Veljo Tormis and Arvo Pärt, whose music has shared a very
special place in the EPCC’s repertoire for many years.
The choir has worked with many conductors and orchestras,
such as Claudio Abbado, Helmuth Rilling, Sir David Willcocks,
Dale Warland, Eric Ericson, Ivan Fisher, Neeme Järvi, Paavo
Järvi, Nikolai Aleksejev, Andrew Lawrence-King, Lars Ulrik
Mortensen, Roland Böer and others; orchestras include the
Australian Chamber Orchestra, Norwegian Chamber Orchestra, Israel Philharmonic Orchestra, Prague Chamber Orchestra,
Lithuanian Chamber Orchestra, Stuttgart Chamber Orchestra, Berlin Rundfunk Orchestra, Concerto Copenhagen, Israel
Camerata, Concerto Palatino, His Majesty’s Sackbuts and Cornetts, Deutsche Kammerphilharmonie, and naturally the Tallinn Chamber Orchestra and the Estonian National Symphony
Orchestra.
In the summer of 2002 the EPCC and Paul Hillier started a
cooperation with Harmonia Mundi, recording Baltic Voices
1 and Powers of Heaven (Russian Orthodox Church music
from the 18th century). The three-year project Baltic Voices,
whose main idea is to explore the breadth and depth of choral music from the countries around the Baltic Sea, continued
in 2003 with the recording of Baltic Voices 2. Baltic Voices
3 was recorded in November 2004. The EPCC has received
six Grammy nominations (Te Deum, Litany, Crystallisatio, Kanon
pokajanen, and Baltic Voices 1 and 2), and the latest releases by
Harmonia Mundi in 2005, All-Night Vigil by Rachmaninov and Baltic Voices 3 have already received excellent reviews (in The New
York Times, in the Diapason magazine etc).
MINNESOTA SINGS!
Saturday, November 9
River Hills Mall – Mankato
Concordia College Centrum – Moorhead
Ridgedale Mall – Minnetonka
Rosedale Mall – Roseville
WESTMARK
PRODUCTIONS
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westmarkproductions.com
15
Guest Feature
Buying Local:The Strong Connection
Between Minnesota-based Composers,
Conductors and the Commissioning Process
MICHAEL CULLOTON
Repertoire & Standards
Chair for Male Choirs
Concordia College
Moorhead, MN
In the fall of 2012, I interviewed prominent Twin
Cities-based choral conductors Philip Brunelle,
Dale Warland, and Matthew Culloton about the
relationships they have enjoyed with local composers. The conversations also included a lot of
dialogue about the importance of commissioning
new music. Their thoughts and feedback were
used in my doctoral dissertation titled “Jocelyn
Hagen and Timothy Takach: An Introduction to
their Choral Music and a Study of their Positions
Within a Lineage of Minnesota-Based Composers.” I thought it would be valuable to share the
perspectives of these three conductors with the
membership of ACDA of Minnesota, especially
as we have started to celebrate the talents of
local composers with several annual statewide
commissioning programs.
MC: Dale, What made you so interested in commissioning new music –
starting while still a student, then during your years at Macalester and most
famously with the Dale Warland Singers?
Dale Warland: As a junior at St. Olaf Col-
Philip Brunelle
16
Dale Warla
nd
lege in the 1950’s, the unforgettable experience
of hearing the St. Olaf Choir sing Jean Berger’s
“Brazilian Psalm” prompted me to contact the
composer. I inquired if he might write a work for
the Viking Male Chorus, a student-led ensemble
of 40 voices. I had just been elected its conductor and, being young and inexperienced, I wrote
to Mr. Berger and asked if he would compose
a short piece for my male chorus. To my surprise, Jean Berger, who I had never met and who
had not acknowledged even receiving my special
request, composed and sent a marvelous work,
perfect for my chorus. It never occurred to me
that one should offer a fee for such a request.
Mr. Berger never asked for a fee and I naively
went on my merry way, totally oblivious of my
ignorance and the traditional expectation of a
commission fee. This was my very first commission, one that lead to many more, even though it
was a commission with no fee!
It was during my days as a professor of music
and choral conductor at Macalester College that
the practice of inviting students to compose
Matthew Culloton
for choirs transpired. The primary motivation came from
a strong interest in seeking what the imaginations of young
student minds might create if only they were asked to try
their hand at composition. The results were truly inspiring.
Several of the students that responded to these casual invitations of simply being asked, went on to develop careers
as professional composers, including names that many will
recognize, including Stephen Paulus, Cary John Franklin, and
Lee Kesselman.
During the years that I served as artistic director and conductor of the Dale Warland Singers, I felt an obligation to expand
the repertoire of the choral field by encouraging promising
composers from all over the U.S., especially those creative
minds who had written only instrumental music. I enjoyed
seeking out and encouraging emerging composers, in addition to well-established composers. These efforts, over some
30 years, added some 270 new works to the repertoire, by
known and unknown composers, many who have become
household names. Among them, Eric Whitacre, Dominick
Argento, Libby Larson, Steve Heitzeg, Stephen Paulus, Carol
Barnett, John Muehleisen, Frank Ferko, Janika Vandervelde,
Abbie Betinis, Dave Brubeck, and George Shearing, to name
just a small number.
MC: Matthew, why is commissioning new music so
important to the mission of The Singers?
Matthew Culloton: We made it one of our core values
from the get-go, some of that certainly ties into the Dale
Warland influence on me specifically. It was something I
wanted to bring with us when we started The Singers organization. I was in a unique position to have three young composers who I thought were up and coming at that time (Abbie
Betinis, Josh Shank, and Jocelyn Hagen), all singing in the choir
from day one. I personally love the process of working with a
composer on a new piece of music and bringing it to fruition.
MC: Philip, same question for you with regard to
VocalEssence.
Philip Brunelle: I think it’s important for three reasons:
First of all, I feel that as a conductor I have a responsibility
to encourage composers who are living and writing today
to have a vehicle by which they can continue to do that. I
think it’s important to realize that we as conductors do have
this responsibility so that we’re not limiting ourselves to
the music of the past but also continuing the music of the
present. Second, I think it’s very important for the audience,
because I think the audience needs to understand that choral music is a living breathing substance that has a glorious
past, but it has an equally glorious future that just hasn’t been
written yet. They need to be there to discover it. Third, it’s
always a great shot in the arm for our choir to have a chance
to learn something that no one has learned before, and in
many cases be able to have the composer there to offer his
or her ideas. There’s no other way you are going to get that
and I think that for the choir it is such a shot in the arm to
have that experience. My hope when we commission a piece
is that we are giving the first performance, but not the last.
I want this to go on. People often ask could we ever do the
piece you commissioned and I say “of course!” It’s never a
case of “it’s my piece and you can’t have it,” of course you
can do this piece!
MC: Why do you think that the relationship between
Twin Cities-based composers and our regional conductors and choirs has worked so well and for so long?
Dale Warland: During the second half of the 20th century
there developed a significant culture of new choral music in
the Twin Cities, a culture leading up to the very present day.
It was a culture involving both Twin Cities-based composers and conductors and their choirs. It was prompted by a
very committed choral leadership in the 1960’s and 70’s that
snowballed into something of significant consequence. It all
began with only a handful of conductors from the Minneapolis-St Paul community who were simply very interested in
new music.
Philip Brunelle: Well, a couple of things. One, because
we have the American Composers Forum, so here’s this
organization started right here as the Minnesota Composers Forum. I also think there are just places in the country
that are hotbeds of composers. I mean, there are composers
in every state, but there are certainly not hotbeds in every
state. We have a combination of all these colleges that have
strong choral programs so that gets composers around. Then
it’s also just the fact that we have all these choirs! Plus you
have the orchestras and a great band tradition, too. All these
things are a reason for the successful composers here.
Matthew Culloton: Composers know it’s a safe place to
come and work with choirs. Dale’s composers-in-residence
included Steven Paulus and Carol Barnett. I think because of
the success of their relationships a lot of us modeled what
we do after them. There are many regional composers I
look forward to working with; it seems that we’ve barely
scratched the surface!
MC: Looking back at all the commissions you have overseen with local composers, are there one or two that
stand out as the most rewarding for you personally?
Dale Warland: Of the some 300 commissions that I initiated during my most active years of commissioning in Minnesota, two works composed by Dominick Argento rise
to the very top as being the most rewarding: ‘I Hate and I
Love (Odi et Amo)’ (1981) and ‘Walden Pond’ (1996). The
rewards stem directly from the special gifts and skills of the
composer: his interesting concepts for each work, his skill as
a craftsman, his unique choice of texts as well as the unusual
and effective instrumentation for each work.
Philip Brunelle: I think among the commissions we’ve
done, the very first commission was extremely rewarding. It
17
was Argento’s ‘Jonah and the Whale,’ which got us going but
it also got Dominick going in the choral world. Some choral
works spun off after that he said exist only because he did
‘Jonah and the Whale.’ Another one that made a big impact
in a totally different way was commissioning Libby Larsen to
write ‘Coming Forth Into Day.’ She had been writing a lot of
little pieces and I told her that she needed to write one that
was an hour long. She started in and that also was unique,
because it gave us international exposure as well; we went
to Egypt to meet a cast member and to do it. It gave Libby
a much larger international exposure, and people here said
we could look beyond our own borders with works like that.
And then I would say Carol Barnett’s ‘Bluegrass Mass,’ which
has really caught on at colleges. We did it five or six years
ago, and she’s had probably 35-40 performances which is
amazing for a work that is 25 or 30 minutes long.
Matthew Culloton: Well certainly the big one is Jocelyn’s
‘AMASS.’ That was such an important piece for us because
of how we focused on one portion of our mission and magnified it to such a large-scale 70-minute full concert experience. It was immensely special. The audience response, the
artistic product, the performance of all the musicians made it
an amazing experience. Josh Shank’s piece, ‘He Was Singing,’
was written in memory of Ben Larson. Ben was a Luther College graduate who was a missionary in Haiti and died there
in the earthquake that occurred in 2010. It’s a very personal
piece. We had members of the choir who sang with Ben in
college. It was a difficult text to sing and it was a hard commission for Josh to embrace, but it’s a lovely piece. Those are
probably the two that stand out.
the piece, but they liked it. You don’t expect them to like
everything equally well, and that’s okay.
MC: Matthew, what’s it like having a number of composers in the choir, especially as you begin work on
one of their new pieces?
Matthew Culloton: You never want composers there for
the first read-through of the piece. Nobody sleeps well that
night. When we’ve done first rehearsals of a piece that all
three of our composers have written and they are in the
room singing in the choir I let them introduce the piece, but
otherwise they don’t speak the first night. I may call them up
to the piano for a sidebar, but I don’t let them speak as composer that night. Many times I call them after a first rehearsal
and reassure them that all will be okay! Having them in the
room allows for the luxury of feedback. That is beneficial
to all involved. I also take a lot of time with the composers
before we even copy the score and in the process where it’s
just the two of us talking about their piece and looking at
voicing, phrasing, and the like. I think they would also all say
that they are better composers for having sung in The Singers because they see how other composers approach the
compositional craft.
Join the ACDA-MN Community on our
facebook page at facebook.com/acdamn to
connect with your ACDA-MN friends!
MC: What kind of audience feedback have you
received regarding The Singers’ commissioning
activities?
Matthew Culloton: Feedback from day one has been really
positive. We get a lot of requests for Jocelyn Hagen’s arrangement of ‘O Come, O Come Emmanuel’ and Josh Shank’s ‘Go
Tell It On the Mountain’ every year at Christmas. Some very
special memories are tied to Jocelyn’s extended work titled
‘AMASS.’ I had multiple people visit with me after the concert
and say things like ‘I don’t know yet how this is true, but I’m
a better person for having heard that music and having been
here tonight.’ I had never heard such a comment about a
single work before.
MC: Philip, do you feel that VocalEssence audiences
are excited by the chance to experience newly commissioned works?
Philip Brunelle: Yes, because you can train them! It’s good
to give them information in advance – I’ll send program notes
and say “you are going to hear something special today.”
Anything like that helps them know that this is a very special
event – even for them. They may say they didn’t understand
18
Friday
NOVEMBER 15
Central Lutheran Church (Minneapolis) 2013
M A L E C H O R A L FE S T I V A L
HIGH SCHOOL GUYS!
Sing alongside the...
SINGING STATESMEN
University of Wisconsin Eau Claire
REGISTRATION BEGINS August 23, 2013
 FREE registration, FREE food (lunch and dinner)
 Individual Singers and Choirs Welcome!!
 Register via WWW.APOLLOMALECHORUS.COM
Vocal Workshops, Voice Lessons, Evening Concert with featured guest
UWEC Singing Statesmen, Apollo Male Chorus and NMCF Mass Choir
“The guys have really stepped up their singing by being more intelligent about how they
sing and more physically engaged. Thanks!”
–Jason Etten, Irondale HS
“It (Northstar Male Choral Festival) has made a huge difference for my choir this year…
Thank you!!!”
–Amy Johnson, Coon Rapids HS
FOR MORE INFORMATION CONTACT:
Presented by
Email: [email protected]
Aaron James at 651-207-6024
Darren Jackson at 952-240-3155
WWW.APOLLOMALECHORUS.COM
This activity funded, in part, by the Minnesota Arts and Cultural Heritage Fund as
appropriated by the Minnesota State Legislature with money from the vote of the people
of Minnesota on November 4, 2008.
19
Legacy:
AN INTERVIEW WITH
ROBERT D. MIX
By Jerome D. Upton with contributions from Gia
DesLauriers
Robert D. Mix
JerOME D. Upton
Members of ACDA-MN are constantly inspired
by our choral leaders from past decades. Robert
Mix is certainly one of these directors. With a
professional career that spanned from 1955-1987,
Mr. Mix taught choirs in Lakefield and Glenwood,
and finished his last 28 years at Duluth East High
School. He has been a member of ACDA–MN
since 1959, serving one term as the NE Region
Representative and currently serving on the F.
Melius Christiansen Endowment Fund Committee. In 2004, Mr. Mix received the FMC Lifetime
Achievement Award.
Robert Mix’s legacy lives deep within the community of Duluth. I am constantly running into
people who remember singing in the Duluth East
A’Cappella. They speak with much pride as they
tell me, “I sang in A’Cappella in 1971. We went
to Europe!” or “Singing in the Choralaires was the
best experience of my life!” There are many of his
former students that regularly attend Duluth East
choir concerts.
His legacy in Duluth was recently celebrated as East
High School celebrated “50 years of A’Cappella” in
2008. Over 300 singers from all parts of the world
showed up to “sing for Bob” in a celebratory concert. The amazing part is that Bob knew almost
every one of them by name, as well as what years
they sang in choir!
I recently had the chance to sit down with Bob, age
82, at his lake home near Barnes, Wisconsin. We
spent several hours together, and he, in his usual
jovial candid demeanor, shared with me many stories of his career. The following is an excerpt from
our conversation:
20
Jerome Upton: When did you first decide
to be a choral director?
Robert Mix: I had an outstanding high school
director named Fred Schmidt at Austin High
School who often allowed me the chance to conduct the choir even as a freshman. The spring of
my freshman year, the choir traveled to St. Olaf to
record in the old MPR radio station. Schmit asked
me to conduct while he went he went into the
sound booth, and while I was directing, I looked
into the booth and noticed three grey-haired men
smiling at me. When I asked Mr. Schmit later who
those men were, he said, “F. Melius, Olaf, and
Paul Christiansen.” I knew this was an important
moment in my life, and that I was perhaps destined
for this career.
JU: What memories do you have from your
first year of teaching?
RM: I remember taking the Lakefield Choir to the
state/regional contest and receiving 3 “AA” grades
from the judges. We sang “Take Not Thy Holy
Spirit” by R. Vaughn Williams.
JU: What was your first annual salary?
RM: $3200
JU: Along with being a choral director, did
you perform other duties?
RM: I often taught other classes in Lakefield and
Glenwood, along with study hall monitoring. But at
Duluth East, I was focused on the four choirs and
two chamber groups I rehearsed daily. I served as
music director for many musicals and each spring
I produced a talent show called East Side Swing,
which included two large choreographed dances
accompanied by the school jazz band.
JU: What were some of your ideas you
implemented to build or recruit students
into your program?
JU: How did you go about selecting your repertoire?
From what sources did you seek ideas?
RM: I learned a great deal of repertoire from Fred Schmidt
and Weston Noble, but I constantly picked up new ideas from
ACDA conventions and furthered my education through graduate study seminars at Montana, Nebraska, Alverno College, St.
Cloud State, and Colorado.
JU: Back then, what style of multi-cultural repertoire
was being performed?
RM: The style of multi-cultural repertoire was just beginning
to emerge with more commonly performed choral music from
China, Eastern Europe, Russia, and the Bahamas.
RM: Because I built the choral program at Duluth East from 40
singers to eventually 250, I spent a great deal of time recruiting.
I am a networker and a sports enthusiast so I attended many
athletic events getting to know the student body as well as possible. I felt it necessary to recruit men from sports teams who
wouldn’t normally think of joining choir, but the more guys I
found that could sing the more that came out of the woodwork.
JU: Who were the conductors that inspired you in
those early years?
RM: Having studied at Luther College, I was immersed with
the traditions of all the Lutheran college choirs – St. Olaf, Concordia, Gustavus, and Augsburg – but there were also so many
good high school choirs of that time as well, including Virginia,
White Bear Lake, and Orono.
JU: Who are the choirs and conductors that continue
to inspire you today?
RM: Eric Ericson, Luther Nordic, Concordia, Phil Mattson.
There are so many great choirs and directors. I am extremely
proud of the Duluth East High School Choirs, who continue the
high standards 54 years after I started the program.
JU: In those early years, that was the typical balance of
sacred and secular music on a concert?
RM: My balance of sacred and secular music was primarily
sacred.
JU: In your view, how has choral programming changed
over the years?
RM: In my view, choral programming of repertoire has changed
and grown more diverse, but it has also been forced away from
the classic sacred pieces that give a concert such rich dimension.
JU: What were the some of the special performance
events that your choir participated in?
RM: My Duluth East A’Cappella Choir was chosen to perform
at the MMEA Mid-Winter Clinic in 1962, and at the MENC
North Central Conference in 1963. In 1971, they toured
Europe through the Institute for European Studies. In 1974,
they performed at the ACDA North Central Convention in
Des Moines, IA. In 1976, they traveled to Washington D.C. to
participate in a Bicentennial celebration where they performed
at the Ellipse of the White House lawn. My 1983 choir performed at the ACDA-MN State convention in St. Cloud. Five
of my choirs made concert tours to Europe – 1971, 1974, 1978,
and 1981. My choirs performed at choral festivals at Concordia
College, Luther College, St. Cloud State University, Augsburg
College, St. Olaf College,
and Bemidji State University. They also had tours in
Mexico City, Winnipeg, and
the Chicago Heritage Music
Festival.
JU: How did you first
become involved with
ACDA?
RM: I was invited to join
ACDA. In those days, you
had to be selected and
invited. Murray Freng called
21
me and asked if I would be interested in joining. He sent me an
application.
JU: Why did you join ACDA-MN?
RM: They promised, and delivered, wonderful places to perform!
JU: In your view, what was the original vision of ACDAMN and how has it evolved.
RM: At the time MENC conventions did not have quality performance venues for choral concerts. They did not serve choral members well. With ACDA-MN, we would have our own
group of choral directors and ACDA would provide acoustically good choral spaces to sing in.
Of course, now ACDA-MN has really grown. The membership
numbers have grown, the areas of membership have grown,
and we even have an endowment.
JU: What has kept you active in ACDA over these
many years?
RM: I still enjoy attending every ACDA-MN state convention
and am amazed at the talent that continues to be educated and
formed into beautiful choirs. I am also a founding member of
the F. Melius Christiansen Endowment Fund Committee.
JU: Why was the F. Melius
Christiansen Endowment Fund
Committee formed?
RM: It was put in place to raise
money for scholarships for Dialogue
and conventions, and also help further ACDA-MN members’ education. Diana Leland, Dick Edstrom,
Bud Engen, Roger Tenney, Wayne
Kivell, and others were involved in
the original planning of the endowment.
22
JU: Who are some of the key leaders of ACDA-MN
along the way?
RM: There are so many… Wayne Kivell, Bob Peterson, Roger
Tenney, Diana Leland, Curt Hansen, Dick Edstrom, Paul Brandvik, Murray Freng, and of course Bruce Becker. I hesitate to say
names, because I know there are many names that I am forgetting. It has been such a marvelous organization throughout the
years.
JU: What have been the most inspirational performances you have heard through the years?
RM: St. Cloud State Choir at UMD, the Eric Ericson Choir
from Sweden, the Luther Nordic Choir in Tuscon, AZ, the
Concordia Choir in 2012.
JU: Looking back, what has been the value and impact
of ACDA upon your professional career?
RM: At conventions, I have always heard good choirs. ACDA
has always offered quality interest sessions. It was always uplifting to hear great choral groups. I would have never gone nonstop in my career if it wasn’t for ACDA.
JU: What words of advice or words of wisdom would
you give the emerging choral directors of today?
RM: Get to know kids, watch their game and remember what
contributions they made. It will make
a young adult’s day if you recognize
them.
I always told my students never to
compare their performances to
other choirs’ performances. They
should only be concerned with doing
the best job that they are capable of
doing. Strive to be as good as the
choir from last year.
23
Student podium
BRANDON DEAN
Gustavas Adolphus College
St. Peter, MN
24
The student symposium sessions at the State
Conference will feature two outstanding workshops led by Dr. Edith Copley, Regents’ Professor
at Northern Arizona University.
Educator of the Year Award in 2004, Arizona
Outstanding Choral Director Award in 2007, and
the Viola Award in Music from the Flagstaff Cultural Partners in 2011.
Dr. Copley joined the NAU music faculty in 1990
and serves as Director of Choral Studies. She
conducts the highly acclaimed Shrine of the Ages
Choir and teaches undergraduate and graduate
courses in conducting and graduate choral literature. The Shrine of the Ages Choir, founded
in 1933, has performed at state, divisional, and
national conferences of the American Choral
Directors Association (ACDA) and the National
Federation of Music Educators (NafME). Dr.
Copley has received numerous honors, including
the NAU School of Performing Arts Centennial
Teacher of the Year in 1999, the Arizona Music
Dr. Copley will lead the student symposium participants in a conducting workshop and a question
and answer session on Friday, November 22. All
student symposium attendees will work to refine
specific conducting gestures in a collaborative
environment. The second session will feature a
broad range of choral topics and ACDA-MN will
be seeking questions in advance to provide focus
and structure to the event. If you have a question
you would like to submit, please email it directly to
Brandon Dean, Chair of Youth and Student Activities ([email protected]). Submissions will be
accepted until Friday, November 1, 2013.
Excel in music at
Wartburg
C
O
L
L
E
G
E
DEGREES AVAILABLE:
Nate Fratzke ’14
Applied Music
Wartburg Choir, Ritterchor
Bachelor of Music Education
Bachelor of Music Education/Music Therapy
Bachelor of Music in Music Therapy
Bachelor of Arts in Music
Bachelor of Music in Performance
MUSIC VISIT DAY
Wednesday, Dec. 4
Private Lessons
SCHOLARSHIP AUDITIONS
• Music scholarships up to $5,000 per year
• $1,000 minimum scholarships for All-State musicians
www.Wartburg.edu/Audition
14+ Music Ensembles Available
Tour the U.S. and Abroad
Audition Dates: Nov. 9, Jan. 11, Jan. 18, Feb. 7
25
summer dialogue
2
1
3
4
6
5
1. Laura Odden, Mark Howarth, Matt Ferrell and
Mary Kay Geston welcome registrants
2. President-Elect Sue and St. John’s campus host
with the most, Axel
3. FMC donation “cheers” from Jan Gilbertson and
Diana Leland
4. Members enjoying a reading session
5. New colleagues meeting at the picnic
6. Steve and Brandon planning the next student
activity
7. President Tom shepherding new student members
7
26
9
8
10
11
12
14
13
8. Directors’ Chorus in rehearsal
9. Karen Kennedy, Directors’ Chorus guest conductor
10. “Gettin’ Down” at an Afterglow
11. Laura Odden and Joe Osowski
12. District members gathering at the picnic
13. Members ‘glowin’ at an Afterglow
14. Executive Assistant Barb on task
27
summer dialogue
16
15
18
17
19
20
15. Karla Miller and Tami Sellner 16. New music reading session
17. ACE Award Recipients (Advocate for Choral
Excellence) Award Recipients:
Front Row: Barbara Baldrica, NE District; Lori
Sager, ME District; Mary Davis, SE District
Back Row: Gordon Orde, SW District; James
Kent, NW District; William White, Central District; Not Pictured: Roger Hoel, MW District
18. Veteran members Kathy Romey and Axel
Theimer
19. Karen Kennedy fine tuning the Directors’
Chorus
20. Retirees who attended the 2013 Summer
Dialogue
28
Allen Hightower
Nordic Choir
Director of Choral
Activities
Luther College welcomes
Jennaya Robison
to our choral faculty
Nearly 1,000
studeNt-musiciaNs
study with Luther’s
56-member music
faculty, which includes
4 choral conductors,
15 voice teachers, and
a vocal coach.
It all adds up to one of
the largest collegiate
music programs in the
world!
Andrew Last
Collegiate Chorale
Norsemen
Jennaya Robison joins Luther’s internationally acclaimed choral
program as assistant professor of music and director of Aurora
and Cathedral choirs.
A 1996 graduate of Luther, Robison holds a master’s degree
from the University of New Mexico and a doctorate in choral
conducting from the University of Arizona. She has taught at
the college and high school levels and is in demand as a guest
clinician and soprano soloist. Robison comes to Luther from
Arizona, where she is artistic director of the Scottsdale Choral
Artists and Scottsdale Arts Orchestra and serves as director of
music ministry at La Casa de Cristo Lutheran Church.
Luther’s choral program comprises three upper-class mixed
touring choirs, two first-year choirs, and an upper-class
women’s choir. Well over 500 singers from these ensembles
combine with the college’s instrumental forces for five annual
Christmas at Luther performances. Christmas at Luther 2012
was featured nationwide as a new one-hour special on PBS.
Linda Martin
Cantorei
Weston Noble
Professor Emeritus
music.luther.edu | [email protected] | 800-4LUTHER
29
From the Field
Embracing The Community Choir
MATTHEW KRAGE
Northeast District Chair
Virginia High School
Virginia, MN
One of the greatest aspects of teaching choral
music in Minnesota is that many communities have
their own community-based choirs. In our community of Virginia, we are very fortunate to have
two long-standing community based adult choirs.
The East Range Choral Society (ERCS) is a mixed
ensemble open to anyone interested in singing, and
the Choralaires is an auditioned men’s ensemble.
The ERCS just celebrated its 45th season and the
Choralaires have been performing for just over 20
years. I have made an effort to be involved with
these choirs and to get them involved with my
program. It has not always been easy, but I have
seen the benefits and growth associated with this
type of collaboration. Whether the choirs in your
community are volunteer or semi-professional,
auditioned or open to everyone, mixed or gender
specific, they have the potential to impact your
program, enhance your teaching, and enrich your
life.
Impact your program. Community choirs, and the
network of people involved in community choirs,
can be a huge asset to your elementary, middle,
or high school program. Do not be afraid to reach
out and approach these groups about sharing concerts. Having a community choir perform in a portion of an elementary or middle school concert
can show your younger students what the future
holds for them as singers. High school students
have just as much to gain from a combined concert as well. Seeing that individuals choose to sing
after high school will show them singing is not
“just a class” but a lifetime activity.
Community choirs can also be utilized in the
classroom. Invite community singers to be guests
during your rehearsal time. They can be used as
models of proper singing technique; which can
be very helpful when teaching students opposite
of your gender what they should sound like. You
can also reverse this and start a mentor program
where your students could be invited to sit in on
rehearsals, sing alongside adults, and gain a new
perspective.
30
Enhance your teaching. It is often said that great
teachers never stop learning. Well, what better
way for a choir director to learn than by sitting
in rehearsal one night a week? I do not direct
either of the previously mentioned groups, but I
have sung with both of them since moving to Virginia five years ago, and I feel I have learned just
as much from singing with them than I would if I
were the director. Seeing what it is like “from the
other side” of the podium can be very beneficial
for directors of all ages and experience levels. I
cannot recall a single rehearsal with either of these
groups where I did not think, “that’s a great idea”
or “that didn’t work too well” at least once. I am
constantly jotting down notes in the margins of my
music, and I take those experiences and use them
to help shape my approach.
You may be in a situation where the director of
this choir is a volunteer community member, or
you may be in my situation where the director
is a choral music educator (retired or currently
teaching). Either way, take time to dialogue with
them; you can both learn from each other. After
rehearsal, approach them and ask about repertoire or their approach to planning a rehearsal.
This can open the door to more conversations,
and a mentorship can be developed. Having someone you can discuss choral ideas with can be very
beneficial, especially if you live in a smaller community where you may be the only “choir person.”
Enrich your life. I am willing to bet that most of us
originally wanted to teach choir due to an amazing
experience we had in someone else’s choir class.
Once we start teaching, however, we tend to lose
sight of what initially brought us into the field of
choral music. Singing in a community choir is a way
for you to have some of those amazing experiences. Rehearsing and performing next to adults
who love the choral art as much as you do can be
the artistic outlet you may be searching for. From
the perspective of the singer, you can rediscover
the joy of performing that once drew you to choral music.
More important than any of these reasons for joining a community choir are the friendships you will create. We all see the
bonds our students make with each other in our classroom
everyday, and through participation in a community choir you
will find colleagues and friends. It is bonds such as these that will
allow you to call your community home.
DEPARTMENT of MUSIC
Once the school year starts, it does not take long for our
schedules to fill up, and we may not have 1-2 free hours a week
to spend singing in a community choir. However, if you can find
the time, it is well worth your energy. Suddenly, you will find
yourself surrounded by friends who will, in time, show their
appreciation in any number of ways. Maybe they will help build
sets for your musical production. Maybe they will come see
your concerts (even if they do not have kids in choir). Maybe
they will donate money to your booster program. Or maybe
they will just be someone you can confide in, someone you can
relate with, someone you can call a friend.
Undergraduate
Graduate Degrees
Bachelor of Music
Master of Music
SM
— Jazz Studies
— Music Education
· Instrumental K-12
· Vocal K-12
— Music Education
— Music Performance
Teaching Assistantships available
for 2013-14
— Performance
· Band/Orchestra
· Piano/Keyboard
· Vocal
— Theory and Composition
Bachelor of Arts
— Music
Dr. David Edmund, Music Education Dr. Stanley Wold, Director of Choral Activities
Alice Pierce, Opera Director
Rachel Inselman, Elias Mokole , Tina Thielen-Gaffey, Full-time Vocal Faculty
Q uesti o n s o r As s i st a n ce Co nt a c t:
Star of the North
UM D Depar t m ent of Musi c c/o Dee Charl e s
21 8.726.820 8
um dmusi [email protected] n.edu
On-line edition available at acda-mn.org
The Univeristy of Minnesota is an equal oppor tunity educator and employer.
The MSUM Department of Music
Choral Ensembles
Daniel A. Mahraun, D.M.A., Director of Choral Activities
Concert Choir | Draco Voces Men’s Choir | Festival Women’s Choir | Snowfire Vocal Jazz Ensemble
Thursday, October 10, 2013
7:30 p.m.
Lutheran Church of the
Good Shepherd, Moorhead
Featuring
Works by Benjamin Britten
World premiere of
“The Dragon and the Undying”
by Linda Kachelmeier
(commissioned for MSUM’s 125th anniversary)
> Linda Kachelmeier
> Benjamin Britten
Minnesota State University Moorhead is an equal opportunity educator and employer and is a member of the Minnesota State Colleges and Universities system.
31
From the Field
It Takes A Village To Sing In A Choir
DARYL TIMMER
Metro East District Chair
Woodbury High School
Woodbury, MN
It takes a village to sing in the choir. Membership
in a community choir is something that brings
together those from all walks of life. Despite the
varied backgrounds of chorus members, they all
have one thing in common: a real passion and commitment for creating music together. Many choir
members fondly remember the days in junior high,
high school, and college when they participated in
a choir. They recall the sense of being a part of the
choir, their accomplishments, and also the pride
in making music together. For some, community
choirs can be a new opportunity and/or challenge
for those who haven’t sung in the past.
According to Merriam-Webster online dictionary
community is defined as “a unified body of individuals: the people with common interests living
in a particular area.” There we have it, or do we?
It takes more than those from a certain area coming together to sing. As directors, we know from
experience that creating a community in choir
takes hard work and determination on the part of
everyone involved. Why, then, be a part of a community choir? There are as many and varied reasons as there are members of the choir. “I want
to perform,” “I want to make a difference in my
community,” “I want to grow as a musician,” “I
want to…” the list goes on and on.
For me, singing in a community choir not only
allows me to step back and be a singer, but it also
allows me to continue to be a learner and practice
what I preach every day in my classroom. Choir is
not a respecter of the clothes we wear, the money
we make, or the car we drive. We come together
as individuals – equals in the choir – to experience life in a new way through our love of singing
and music. I know my life is richer because of the
experiences I’ve had singing in a community choir.
I would never have met the people I now call
friends without such an experience. The wealth
of knowledge and experience that each member
brings to the choir – and then shares – has helped
me grow and become a better person.
As I prepared to write this article, I spoke with
several members of the community choir of which
I am a part. They shared freely and willingly about
their experiences of singing in various community
32
organizations. It was overwhelmingly unanimous
that one of the most important things to them was
the importance of belonging to the choir and being
valued as a member of the choir. Several members
shared openly how the choir’s support was invaluable to them as they were facing difficult personal
times. It was also as important to them to be able
to celebrate an accomplishment or birth of a child
or grandchild.
In the following statements, I’ve highlighted what
was expressed to me when I asked, “What does
being in a community choir mean to you? What do
you see as its value?”
“The experience has filled a void in me that only
creating music with other people can. The dedication
that the members show to not only the music, but to
the inner workings of the group is inspiring. Seeing
all of the different people come together to achieve
our goal of successful and enjoyable performances
is what brings our season ticket holders back year
after year.” (KL)
“The main reason I sing is because I love it. I feel
such a sense of being in the proper place, the proper
time, and just plain “right-ness” when I am singing.
The connection I experience with my fellow singers
is intense, and intimates in a spiritual sense. It’s a
whole group of people, singing together at the same
tempo on the same note (or in harmony), breathing together, and moving together and communicating the same emotion or thought together. Singing
allows me to be a part of something much bigger
and more beautiful than myself; it is how I express
the feelings I cannot express on my own.” (MP)
“My experiences as a member of a community
choir have by far been the most memorable. Community choirs give you a chance to meet people of
myriad professions, ages, and musical backgrounds.
I appreciate the exposure that the community choir
gives me to music from numerous genres and from
a range of composers. Plus, quite honestly, it’s downright fun to be in a community choir. I can’t imagine
my life without it!” (MS)
It takes a village to sing in the choir and it takes the
members of the choir to create the community!
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33
fmc endowment
fund update
The F. Melius Christiansen Endowment Fund
Committee extends a BIG “thank you” to those
ACDA-MN members who generously donated
$2,525 to the F. Melius Christiansen (FMC)
Endowment Fund during the 2013 Summer Dialogue. Your contributions are very much appreciated and will assist with guaranteeing a vibrant
future for exemplary choral music in Minnesota
which is the FMC Endowment Fund’s mission.
diana j. leland
Director of Development,
F. Melius Christiansen
Endowment Fund
Seven scholarships were awarded by the FMC
Endowment Fund Committee for choral directors
to attend 2013 Summer Dialogue. Included below
are brief testimonials from four of the scholarship
recipients about what they gained as a Summer
Dialogue attendee.
ACDA-MN’s Summer Dialogue was one of the most
friendly and welcoming conferences that I have ever
attended. Everyone reached out a hand to introduce
themself and genuinely wanted to connect. Not only
were the sessions and presentations of very high quality, but the collegiality of the participants and presenters alike was unsurpassed. The connections I made
at Dialogue will support me throughout this year and
in the years to come. I am still in awe of how generous everyone was with their knowledge and expertise. ~ Nyssa Brown
Southview Middle School, Edina Choral Arts Finale Applications Due
January 9, 2014
2013-14 State Honor Choir Concerts
Friday, November 22 • 4-5-6 Children
Saturday, November 23 • 7-8 Boys and Girls
St. Andrew’s Lutheran Church • Mahtomedi
Thursday, February 13 • 9-10 Women and Mixed
Central Lutheran Church • Minneapolis
34
Working in a small, rural school district means that
I am the one-and-only choir director. Don’t get me
wrong; I love my job! However, I sometimes wish there
were other “choir nerds” like myself close by. Joining
ACDA during my first year as a choir director gave
me many ideas and resources to use in my teaching,
but it didn’t necessarily make me feel connected to
the choral community. After attending my first Summer Dialogue, I have made many new friends in my
field that I plan to keep in touch with throughout the
year. I had the opportunity to learn all kinds of things
from some very inspirational leaders in our state and
region, and I now feel a sense of rejuvenation and
renewal! For me, the biggest takeaway from dialogue
is my new sense of belonging in a community of wonderful music educators in our state. I so am thankful to the FMC Endowment Fund and ACDA-MN for
this special opportunity, and I look forward to getting more involved with our fabulous organization!
~ Stephanie Schumacher
Kenyon-Wanamingo HS/MS
Attending ACDA-MN’s Summer Dialogue made a
profound difference in my connection to the choral community. Being new to Minnesota, I sincerely
appreciated this invaluable opportunity to meet choral colleagues in such a welcoming and inspirational
environment. I left Summer Dialogue with a renewed
energy for conducting and a sense of belonging in
the great fellowship of Minnesota choral musicians. ~ Ben Riggs
Twin Cities Gay Men’s Chorus,
Minneapolis
ACDA Dialogue was a wonderful experience! It
allowed me to meet and connect with so many colleagues, have enlightening conversations, and learn
new music to program with my students. A highlight
of the week was singing in the Directors’ Chorus with
Karen Kennedy. She is amazing! I feel very grateful
to ACDA for the FMC Endowment Fund Scholarship
which I received to attend Dialogue this summer! ~ Rachel Schmeltzer
Oak-Land Junior High, Stillwater
THREE SCHOLARSHIP
APPLICATION REMINDERS!
All are due December 1, 2013
GRADUATE STUDY
Application due December 1
Must be ACDA-MN member
• Conductors with at least two years of experience
in Minnesota
• Graduate Study in choral music part-time or full-time
ACDA NORTH CENTRAL
DIVISION CONFERENCE
Des Moines, IA – March 19-22, 2014
• Undergraduate junior or senior vocal music education
majors
• Graduate students in choral conducting
• Conductors who are in their first six years of teaching –
New Opportunity
WORLD SYMPOSIUM ON CHORAL MUSIC
Seoul, South Korea – August 6-13, 2014
• Conductor has been active in ACDA-MN for five years or
more
2013 FMC Endowment Fund
Summer Dialogue
Scholarship Recipients
Front Row: Nyssa Brown, Rachel Schmeltzer,
Elizabeth Egger; Back Row: Ben Riggs,
Stefan Swanson, Stephanie Schumacher
Not pictured: Will Lopes
2013 FMC Endowment Fund
Student Conducting Project
Scholarship Recipients:
Please consider submitting an application for these special funding opportunities! To learn more about these
three FMC Endowment Fund scholarships, please visit:
http://fmcendowment.org/scholarships
PLEASE MARK YOUR CALENDARS! The annual Give
to the Max Day will be held on Thursday, November 14. We
invite and encourage 100% participation from our ACDA-MN
members on Give to the Max Day. Contributions of only $10
are most welcome!
I’ll look forward to greeting you at the ACDA-MN state conference on November 22-23 in Mahtomedi. Best wishes for
your 2013-14 choral music endeavors.
Moving? New School? New Address?
Change of Email or Phone Number?
Contact Bruce Becker, Executive Director
[email protected]
Help keep our ACDA-MN
membership database current!
Front Row: Karen Kennedy, Lauren Feider, Dan
Sailer, Brianna Webber, Lisa Hager, Antonia Ross
Back Row: Brandon Dean, Matthew Ferrell, Sam
Fouts, Tucker Moore, Ian Hendrickson, Daniel Olson
STATE CONFERENCE
REGISTRATION RATE DEADLINES
October 1 – Early Rate
November 1 – Regular Rate
After November 1 – Late Rate
Save dollars by registering early!
35
SCHOLARSHIP
SHORTS
This year’s Summer Dialogue was my first, and it
was quite an eye opening experience. I had the
pleasure of meeting many future colleagues, the
opportunity to reconnect with a few of my former choir teachers, and was able to catch up with
friends who have started their careers over the
past year.
JOSHUA SMITH
Student Board
Representative
St. Cloud State University
St. Cloud, MN
Summer Dialogue allowed me to network with
choir directors from all over Minnesota, and I was
anxious every day to be able to pick their brains.
The sessions and discussions gave ample time to
trade ideas and techniques to use in the classroom, and ways to keep students engaged and
loving music. I especially loved Karen Kennedy’s
session on “idol worship” and how students are
trying to recreate the vocal styles of various pop
artists. The reading sessions were also fantastic
because it gave us some time to sample new choral music for various ages and voice parts, and it
was also just awesome to hear so many different
styles of choral music!
On a more personal level, the acceptance and
advise from these outstanding educators rekindled a fire within me to finish the year strong, and
to look forward to the career of which I will soon
be a part. I would like to express my gratitude for
everyone on the ACDA-MN Board of Directors
for making me feel so accepted, and especially to
Steven Albaugh for reaching out and answering all
the questions I had over the week.
As a student, this conference was essential in motivating me for the new school year, and I highly recommend that any student interested in a career
in vocal music start attending ACDA events! It
was an unbeatable experience, and with a student
membership, extremely affordable. I cannot wait
for the State Conference in November, and am
already awaiting next year’s Summer Dialogue!
We would love to work with you on your next performance tour.
www.musicfestivals.com • 1-800-331-8579
36
Emerging Conductor’s Network
The Emerging Conductors Network (ECN) has had
a great first year as a branch of ACDA-MN. Since
September of 2012, there have been 3 meetings,
1 clinician, 1 happy hour, 20+ members involved
at meetings and 45 members as part of the group
on Facebook. In the coming years, the group will
look to expand the ways in which it reaches out to
young conductors around the state.
Andrew Beard
Osseo High School
Osseo, MN
In August, the ECN had its first meeting at a statewide event at Summer Dialogue. Young conductors met in a round-table format to brainstorm
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ways that ACDA-MN and the ECN could provide
meaningful sessions to young conductors. Out of
this session came three big topic areas that will be
the focus of ECN sessions during the next year:
Classroom Procedures and Organization; Repertoire Discussions- balance, how to choose; and
Instructional Strategies in the classroom. These
sessions take place in a sort of “Micro-Conference”
where ECN members get together for 3-4 hours
and dive in to a single topic session. Dates for these
ECN conferences will be coming out soon!
DON’T MISS...
2013 ACDA-MN State Conference
November 22 & 23
Mahtomedi, MN
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37
commissioning Corner
SING (to Change the World)
By Steve Heitzeg
It is an honor to be commissioned by Elizabeth
Shepley to compose a new piece for the 2013 Elementary Honor Choir. Liz and I have been friends
ever since she premiered my O, Colored Earth for
children’s choir and piano in 1994 and has performed this piece extensively throughout the U.S.
since.
STEVE HEITZEG
Commissioned for the
2013 ACDA-MN
Elementary Honor Choir
It is fitting that Liz will conduct the premiere
of SING as she also knew my mother, Barbara
Heitzeg – to whom I have dedicated this piece.
ACDA-MN STATE CONFERENCE
November 22-23, 2013
St. Andrew’s Lutheran Church • Mahtomedi, MN
Relevant Interest Sessions
Inspiring Choral Performances
Annual Award Presentations
Engagement with your Professional Community
My mom was a kind and generous person and one
of the most hopeful and positive persons I have
ever known. She had a deep love of nature and
always believed in peace and education. With this
in mind, SING is a simple plea for peace. It is also a
call to action to preserve the beauty of this planet
and to respect all human beings and nature. Is it
not in music and the arts that humans are at their
best and able to empathize with others – bringing
about insight into the world and positive change
through a shared collective experience? We must
remember to sing not only for or ourselves, but
for everyone.
Help ensure Minnesota’s
Choral Legacy
Give annually to the
FMC Endowment Fund
at: www.fmcendowment.org
37th Annual State Conference
15 Choirs • 3 State Honor Choirs • 21 Interest Sessions
2 Special Event Concerts • 2 Magnificent Performance Venues
Outstanding Auditioned Choirs
Angelica Cantanti Concert Choir • Centennial HS Concert Choir
McNally Smith Contemporary Vocal Ensemble • Minnesota Valley Women’s Chorale
Minnetonka HS Treble Choir • Mound-Westonka HS Concert Choir
One Voice Mixed Chorus • St. Croix Prep Academy 7th & 8th Grade Girls Choir
University of Minnesota-Duluth University Singers
Early Registration Deadline: October 1, 2013
On-line Registration opens on September 1, 2013 at:
www.acda-mn.org
38
Cathedral of St. Paul
State Conference
A Celebration of Women’s Voices: Empowering the Spirit
November 22-23
TWENTY-ONE RELEVANT INTEREST SESSIONS
Elementary Level
Vocal Jazz: Style and Rehearsal Techniques
Middle & High School Level
Edith Copley, Northern Arizona University
Linda Berger, St. Olaf College
Elizabeth Shepley, Northfield Youth Choirs
Relevant Technologies to Stimulate Learning in the Choral Classroom
Scott Lipscomb, University of Minnesota
World Music Drumming in the Choral Classroom
Paul Corbiere, Columbus Junction, Iowa
Music and Worship/Community Choirs
The Aging Female Voice:
Exploring the Experience... Implementing Best Practice
Iris S. Levine,Vox Femina, Los Angeles, CA
Donald Simonson, Iowa State University, Ames, IA
Mary Kay Geston, Great River Chorale, St. Cloud
Jerry Rubino,Voices of Experience
Jennifer Parker, McNally-Smith College of Music
Student Symposium
Women’s Choirs and the Female Voice
Bret Amundson, College of St. Scholastica
Melissa Culloton,Voice Teacher
Angela Mitchell, Stillwater Area High School
Judy Sagen, Minnesota Valley Women’s Chorale
Mary Jo Bot, St. Cloud State University
Artistry & Kinesthetic Movement in Rhearsal
Karen Lutgen, Minnehaha Academy
Emerging Conductors’ Network
Andrew Beard, Moderator, Osseo High School
NINE OUTSTANDING CHOIR PERFORMANCES
THREE STATE HONOR CHOIR CONCERTS
7-8 Boys – Andre’-Louis Heywood, conductor
7-8 Girls – Nicki Toliver, conductor
4-5-6 Children – Elizabeth Shepley, conductor
ANNUAL AWARDS LUNCHEON
F. Melius Christiansen Lifetime Achievement Award
Minnesota Choral Director of the Year
Outstanding Young Choral Director Award
Creative Programming Award
TWO SPECIAL EVENTS
FRIDAY EVENING CONCERT
*Estonian Philharmonic Chamber Choir
Cathedral of St. Paul
SATURDAY AFTERNOON CONCERT
A Celebration of Women’s Voices:
Empowering the Spirit
Honoring the Pioneering Choral Legacy of
Alice T. Larsen (1924-1989)
St. Olaf College Manitou Singers
Sigrid Johnson, conductor
ACDA-MN Grade 12 Select Women’s Choir
Edith Copley, guest conductor
Mahtomedi, MN
*Separate concert ticket needed
Combined Concert Choir Women
Chanhassen HS – Sarah Gilbertson, conductor
Wayzata HS – Rebecca Wyffels, conductor
White Bear Lake HS – Marie Spar Dymit, conductor
THE AMERICAN CHORAL DIRECTORS ASSOCIATION OF MINNESOTA • LAND OF 10,000 CHOIRS
Our Mission: To support and inspire a community of choral musicians in our state.
39
mmea update
ACDA-MN Dialogue was a tremendous success
on so many levels. Perhaps the highlight of the
week was the Director’s Chorus conducted by
Dr. Karen Kennedy. ACDA-MN’s COMMUNITY
CHOIR, an inclusive enterprise that encourages
creative expression by presenting the culture of a
collectively shared identity. The Director’s Chorus
is the quintessential Community Choir.
MELAINE KJELLBERG
Andover High School
Andover, MN
The 2013 MMEA All-State Choir Camp at St. John’s
University was a tremendous success, as well.
Once again, St. John’s provided extraordinary hospitality and excellent organization. Axel Theimer
earned unprecedented praise for all he did behind
the scenes to ensure that the students had the best
MMEA All-State Choir experience possible.
This year’s conductors, Dr. Lee Nelson (Wartburg
College), All-State Men’s Choir; Dr. Jo-Michael
Sheibe (Thornton School of Music at the University of Southern California), All-State Mixed Choir;
and Dr. Sandra Peter (formally of Luther College), All-State Women’s Choir were exceptional.
Many thanks to these conductors for providing
Minnesota All-State Choir students a week they
will never forget. Many thanks, also, to the 2013
MMEA All-State Choir staff who provided guidance, patience, support, expertise, commitment,
and professionalism throughout the week.
ALL-STATE AUDITIONS…
LOOKING FORWARD
MMEA All-State auditions are undergoing a significant change. After considerable deliberation and
research, the MMEA board unanimously decided
to move to recorded All-State auditions in 2014.
In the Fall 2012 Interval, MMEA President Patrick
Geiger spelled out the reasoning for the change
stating that there have been serious concerns with
the current audition scenario that include scoring consistency, inclusiveness, and overall cost. A
committee of board members was formed to create this new audition process to conform to the
parameters of a recorded audition and close the
gap of those concerns.
The committee researched, studied, and analyzed
other states’ music education associations that had
already moved to recorded auditions. In addition,
MMEA had countless conversations with directors
40
from Minnesota and from many states throughout the country. MMEA member input helped to
create the documents and methodology used to
create the core of the recorded audition. It was
MMEA’s responsibility and commitment to
keep as much of the live audition process
that directors deemed valuable within the
recorded audition which will provide judges
with an authentic sample of the students’
musical talents and skills.
Recorded auditions will help solve the problem
of scoring inconsistencies by making it possible to
assign one or more judges to listen to all recorded
auditions of the same voicing. This will eliminate
the median variance issue providing higher consistency amongst audition scores. It will also allow
judges to listen and score auditions from the comfort of their home, which will mean considerable
savings in travel, lodging and overall paid judges’
time for MMEA.
Recorded auditions will erase the geographical
barriers that have historically limited participation
from the many regions of our state in terms of
time and travel. Provided that the school will assist
with the recording, the student’s only cost for an
audition would be the fee regardless of where the
student lives.
As of 2012, the cost of live auditions has been at
least twice as much as the audition fee that has
been collected from students. That cost has been
assessed to All-State participants through the camp
fee, which has been the solution for at least the
past 15 years. Therefore, the cost of All-State
Camp would be reduced for students selected to
participate.
MMEA has selected OpusEvents to manage Minnesota All-State audition recordings. OpusEvents
is no stranger to Minnesota choral directors as it
has been used by ACDA-MN for all Honor Choir
auditions for the past two years. Information for
user accounts and audition entries will be posted
on the MMEA website this coming December.
The 2014 All-State Audition changes include the following:
• Student will sing an accompanied solo selection that highlights their voice quality and ability, limited to an arts song or
aria (not Alma del Core).
• Student will sing Alma del Core at a moderate tempo,
UNACCOMPANIED, in the key corresponding with the
student’s voice type.
• Beginning on indicated pitches, students will sing their highest and lowest singable note using numbers, solfege, or a
neutral syllable.
If you have additional questions about the new All-State audition process, please email [email protected] or contact any
MMEA board member.
Resources for schools and sponsoring teachers can be found
on the MMEA website and include a recording equipment
guide and background on why MMEA has chosen recorded
auditions. Updates will be posted throughout the year at
www.mmea.org/students/allstate.
ACDA NATIONAL AWARDS
FOR EXCELLENCE
In addition, recording engineers will present a session on how to
make recorded auditions at the 2014 MMEA Midwinter Clinic.
Note: Sponsoring teachers and students are responsible for
adhering to the MMEA digital ethics guidelines which can be
found on the MMEA website, as well.
While MMEA and the executive committee acknowledges that
this is an enormous change in the All-State audition process, it
is an exciting opportunity providing ALL students access to the
audition process and ALL students the opportunity to be a part
of the MMEA All-State Choirs.
Star of the North Newsletter
1991 • 1997 • 1999 • 2003
2005 • 2007 • 2009 • 2011
ACDA-MN Website
2011
Hybrid Website and Newsletter
2013
41
In The News
Men’s Choir/Women’s Choir Festival
Every fall I feel the same mix of anticipation, excitement and a little bit of
foreboding. What will the year bring?
What will that unique chemistry of this
year’s choir members create? Will it
be one of my best years ever or will
it become (heaven forbid!) one that I
am anxious to have come to an end.
We all have our collection of things we
do to try to ensure that this year will
be a good year. It’s also good to add
some new things along the way to see
what effect they will have on our choir
members.
Just a few things to note:
• Order your music early as one of the pieces (“Ich wollt,
meine lieb” – Mendelssohn) is print-on-order and may take
a couple of weeks (there will also be no store discount for
that reason).
• This festival is open to all like-voice college choirs and high
school aged quartets. High school aged singers from community or church choirs are encouraged to participate.
• Registration deadline is October 4th for high school quartets and September 27th for college choirs.
If you have participated in one of the past 23 years in the
ACDA-MN Men’s Choir/Women’s Choir Festival at the end of
October, then you know what it can contribute to your year:
• A great opportunity for students to experience women’s
literature and men’s literature (which for many high schools
is a rare occurrence).
• A chance for high school aged students to work with outstanding college directors from across the state.
• An opportunity for college men’s and women’s choirs to
perform early in the year and for high school and college
students from around the state to get to hear them!
• A great day for directors to “touch base” with each other
and share how the year has started.
I hope to see you the last Saturday in October and I hope you
have one of your best years ever!
If you have not participated in the Men’s/Women’s Choir Festival then this may be that event to add that can help to make
your year a “good” year. It’s an easy one to add:
• Registration cost is low (only $16/student which includes
lunch, or $100 for a college choir) and easy because it is all
on line at the ACDA-MN website.
• It is the last Saturday in October, October 26th, which is
early enough in the year so that it is not too busy, yet but
not too early to have students prepared for a festival experience.
• Preparation is easy. Rehearsal tracks are online and downloadable. Or you can still purchase them on a CD ready to
give to your students.
• While we ask for balanced quartets I am frequently able to
“balance” the quartets between schools that, for example,
might have an extra alto for the school that is short an alto
(just contact me at [email protected] and I will help
that to happen).
Minnesota HS Choral Directors
will self-select and register their
top three grade 12 singers
(Soprano 1 • Soprano 2 • Alto)
120 voices accepted
on a first-come, first-registered basis.
Online registration opens on September 3
and will close upon being filled.
MICHAEL WALSH
Men’s/Women’s Choir
Festival Coordinator
Buffalo High School
Buffalo, MN
42
Need more information? See the Men’s/Women’s Festival
information page on the ACDA-MN website or contact me at
[email protected].
Announcing
Grade 12 Women’s Select Choir
to appear in the
Alice T. Larsen Legacy Concert
Saturday, November 23, 2013 • 1:30pm
ACDA-MN State Conference
St. Andrew’s Lutheran Church • Mahtomedi
Registration cost is $39 per student
and includes the following:
Guest conductor and accompanist fees,
facility rental, lunch, snacks, printing,
shuttle bus transportation and concert CD.
For more information go to: www.acda-mn.org
The American Choral Directors
Association of Minnesota
(ACDA-MN)
2013-14 State Honor
Choir Program
STATE 4-5-6 CHILDREN’S HONOR CHOIR – FRIDAY, November 22
St. Andrew’s Lutheran Church, Mahtomedi (ACDA-MN State Conference Event)
GuestConductor–ElizabethShepley,NorthfieldYouthChoirs
Honor Choir Co-Chairs: Shannon Dorschner & Kayla Krizek
Audition Timeline: Wednesday, October 9 – On-Line auditions due
Wednesday,October16–Directorsnotified
Friday, November 1 – Directors return student forms and fees
(save this notice for future reference)
STATE 7-8 BOYS’ & 7-8 GIRLS’ HONOR CHOIR – SATURDAY, November 23
STATE 9-10 WOMEN’S & MIXED HONOR CHOIR – THURSDAY, February 13
St. Andrew’s Lutheran Church & Mahtomedi High School, Mahtomedi
7-8 Boys’ Guest Conductor – André-Louis Heywood, St. John’s Boyschoir
7-8 Girls’ Guest Conductor – Nicki Toliver, Anoka-Ramsey Community College
7-8 Boys’ Co-Chairs – Chris Larson & Michael Skaar
7-8 Girls’ Co-Chairs – Jamye Casperson & Terri Thomas
Audition Timeline: Wednesday, October 16 – On-Line auditions due
Wednesday,October23–Directorsnotified
Friday, November 1 – Directors return student forms and fees
Central Lutheran Church, Minneapolis (MMEA Mid-Winter Clinic Event)
9-10 Women’s Guest Conductor – Julia Fahey, Partners In Praise
9-10 Mixed Guest Conductor – Allen Hightower, Luther College
9-10 Women’s Co-Chairs – Jami Lercher & Laura Odden
9-10 Mixed Co-Chairs – Kyle Eastman & Sarah Gilbertson
Audition Timeline: Wednesday, November 6 – On-Line auditions due
Wednesday,November13–Directorsnotified
Wednesday, November 27 – Directors return student forms and fees
Directors go to: www.acda-mn.org
for complete student audition information, honor choir pricing structure, conductor biographies, photos, and new on-line audition procedures.
Current director membership in ACDA is required for student participation in the State Honor Choir program
For further information on the ACDA-MN State Honor Choirs contact Honor Choir Executive Assistant Barb Geier at: [email protected]
American Choral Directors Association of Minnesota (ACDA-MN) • Land of 10,000 Choirs!
The choral director’s source for engaging and ongoing professional development
Our Mission: To inspire and support a community of choral musicians in our state
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43
In The News
ACDA National New
Membership Campaign
Ends October 31
The ACDA national office has announced several major new
membership initiatives designed to reach out and seek new or
renewal memberships to ACDA. The program was launched in
early September and will conclude by October 31.
This marks the first time in ACDA history that a major membership campaign has been planned, according to Tim Sharp,
Executive Director.
The campaign entitled “Sing Up” will focus on recruiting active
and student members across the country. Each state has been
awarded Membership Certificates based on their current membership roster with the goal of increasing state membership
roles by 10%.
Active Members
Minnesota President Tom Hassig reports that our state will
receive 41 certificates to award prospective active members.
The offer is extended only to NEW members, not renewing members. ACDA-MN members are encouraged to send
names of neighboring colleagues who are not members, to
Bruce Becker, ACDA-MN Executive Director.
More details on the program and the process to recommend
new members will be posted on the ACDA-MN website under
MEMBERSHIP. Formal announcements will be posted in regular
issues of The Daily Beat throughout the membership campaign.
Groth Music to Support
Member Renewals
In an effort to continue to support ACDA-MN members,
Groth Music of Bloomington will offer a 5% discount on a music
purchase of any size to any ACDA-MN member who renews
their membership with the ACDA national office. The offer
will start on October 1, and is good for one music purchase
anytime during the 2013-14 academic year.
ACDA-MN President Tom Hassig states: “We are extremely
grateful for the support of our friends at Groth Music to offer
this special incentive to ACDA-MN members who renew their
memberships.”
Special details on this exciting membership incentive program
will be posted on the ACDA-MN website homepage and will be
regularly featured in The Daily Beat throughout the school year.
2014 Church Choir
Consortium Commission Project
Noted Minnesota choral composer and organist Aaron David
Miller has been engaged to compose a new piece for SATB
church choirs. A consortium of twelve choirs will come
together to pay for the commission and be featured in the
world premiere on Saturday, November 22, 2014 during the
State Conference weekend.
Cost to participate is $250 with check payable to ACDA-MN.
Deadline to apply is Tuesday, October 15, 2013.
Application/Registration Form is available on the ACDA-MN
web site homepage under ACTIVITIES.
Our Values
Artistry • Community • Excellence
Inspiration • Legacy • Renewal • Support
Student Members
Any student who becomes a new member of ACDA during the
fall campaign will become a member for $5! That’s right…$5!
This incentive program is targeted to NEW student members
only, and cannot be extended to renewing student members.
Student Member Forms have already been distributed to collegiate advisors and their students, just in time for students
to attend the State Conference with the privilege of receiving
reduced student member registration rates.
Deadline for student response is October 31.
44
Minnesota Sings!, the statewide choral festival begun during the 2012 ACDA-MN 50th
anniversary year, is back by popular demand and will be scheduled in four locations on
Saturday, November 9.
Minnesota Sings! is a free and non-auditioned choral festival simultaneously presented
for choirs of any size, age or ability representing school, community and faith-based
organizations. In addition to choral groups, small ensembles, show choirs, chamber
choirs, contest ensembles, soloists, or even songs from a musical production could be
featured in the 20 minute performance slot.
The goal of Minnesota Sings! is to celebrate choral music making in any description in
the Land of 10,000 Choirs. Choral groups will receive an official ACDA-MN performance certificate.
Locations for the 2013 event are:
Moorhead – Concordia College Centrum
Mankato – River Hills Mall
Minnetonka – Ridgedale Shopping Center
Roseville – Rosedale Shopping Center
Groups may select a preferred performance time in morning (9-11 am); mid-day
(11 am-1 pm); or afternoon (1-3 pm).
Choral risers, piano, music stands and sound system will be provided in each location.
For more information on Minnesota Sings!, go to the ACDA-MN website at:
acda-mn.org.
Deadline for application is: Monday, October 14.
The Magic Flute, 2012
© Iko Freese, courtesy Komische Oper Berlin
Minnesota Sings!
Set for Second Year!
Give your
students the
experience
of live opera!
Macbeth
Thur, Jan 23, 2014
Based on the Shakespeare
play, Verdi’s Macbeth
examines the corrosive
consequences of tyranny.
Ideal for students 13 – 18.
Magic Flute
Fri, April 11, 2014
Experience Mozart’s
masterful comedy about
love, truth and the pursuit
of enlightenment like
never before. Kids will be
2013 ACDA-MN State Conference
November 22-23
A celebration of Women’s Voices:
Empowering the Spirit
St. Andrew’s Lutheran Church Mahtomedi
National Headliners
Edith Copley, Iris Levine, Paul Corbiere, Don Simonson
Minnesota Presenters
Linda Berger, Elizabeth Shepley, Scott Lipscomb
Sean Vogt, Mary Kay Geston, Jerry Rubino
Brandon Dean, Bret Amundson, Andrew Beard
Mary Jo Bot, Melissa Culloton, Karen Lutgen
Angela Mitchell, Jennifer Parker, Judy Sagen,
Michael Culloton
mesmerized with this
spectacular new
production that blends
live performance with
animation. Ideal for
students ages 8 – 18.
Fully staged productions with English
translations projected above the stage.
Tickets are only $10!
For more information, check out
mnop.co/student-rehearsals
Call 612-333-6669 to order today.
45
In The News
New Student Representative on State Board
In an effort to continue reaching out to over 100 active student members across the state, the ACDA-MN Board of Directors has
recently authorized the addition of a Student Representative position. The student representative will attend all board meetings as a
non-voting member, and be a special envoy of the Board during the Student Symposium scheduled during the annual State Conference
weekend, and have a significant leadership presence at Summer Dialogue.
During the 2012-13 school year, the first student representative was Elijah Johnson, of Concordia College-Moorhead, originally from
Brainerd and a former student of ACDA-MN Past President Brian Stubbs.
The 2013-14 student representative is Joshua Smith, a vocal music education major at St. Cloud State University, originally from Chaska and a former student of Sarah Gilbertson.
We welcome the emerging leadership and youthful perspective of these student members so important to our
organization, as we seek to reach out and support them in their educational pursuits.
JOSHUA SMITH
The Mission of the American Choral Directors Association
is to inspire excellence in choral music through
education, performance, composition and advocacy
"" A
gift
to
the
F.
Melius
Christiansen
Endowment
Fund
is
a
lasting
way
to
remember
or
honor
loved
ones,
musical
mentors,
friends,
or
colleagues.
Your
contribution
will
help
sustain
the
distinguished
legacy
of
exemplary
choral
music
in
Minnesota.
A Special Gift...A Lasting Legacy
in
your
will
or
trust.
The
following
statement
will
ensure
that
your
gift
is
appropriately
directed:
%%%%*#$
)&'#$#($!
corporation
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55124.
A
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estate
planning
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is
available
at:
"
!!!
For
further
information
contact:
Diana
J.
Leland,
Director
of
Development,
612.861.5071,
[email protected]
!
46
ACDA of Minnesota
Mentoring Program
Greetings, colleagues! I am excited to announce that ACDA
of Minnesota is in the planning stages for a mentoring program.
Several other states, including Iowa and Texas, have strong programs, which we are studying. National ACDA is also implementing a mentoring program in the near future.
Many of us had the benefit of mentoring by caring people who
stepped into our lives at the beginning of our careers. They
gave us confidence, tools, and honest feedback when we were
about to do something we might regret. I was one of the lucky
ones who had such mentors. The veteran choral director in a
neighboring town, the band director at my school, and my former teachers were all caring and available. The best thing they
did for me was to invite me to ACDA functions – and bug me
until I registered.
Not every choral director is as lucky as I was in the early stages
of their careers. As a community of choral conductors, ACDA
of Minnesota would like to help guarantee that no choral director begins his or her career alone. I am looking for ideas and
feedback from all generations of choral conductors as we
explore how to create the “Minnesota” model for mentoring.
Please contact me at [email protected] with your ideas!
Best wishes for a wonderful year! If you are a veteran conductor, take a young conductor out for coffee. It will renew your
energy, too!
ACDA-MN STATE CONFERENCE
A Celebration of Women’s Voices:
Empowering the Spirit Honoring the
Pioneering Choral Music Legacy of
Alice T. Larsen (1924-1989)
Saturday, November 23, 1:30 pm
Mahtomedi
FESTIVAL CHOIRS
St. Olaf College Manitou Singers
Sigrid Johnson, conductor
Combined Concert Choir Women of:
Chanhassen High School
Sarah Gilbertson, conductor
Wayzata High School
Rebecca Wyffels, conductor
White Bear Lake Area High School
Marie Spar Dymit, conductor
State Grade 12 Select Women’s Choir
Sue Zemlin
President-Elect
Since 1997…
Your gifts to the FMC Endowment Fund
have supported 204 Minnesota Choral
Directors with scholarship awards
totaling over $128,000!
STATE DUES REMINDER
Add $15 to Active, Life and Retired
Membership categories
when renewing your membership
with the ACDA National office.
47
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PUBLICATIONS
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48
2013-14 Fall-Winter Calendar of Events
September
NOVEMBER
3 6 8 9
22-23
23
16
Registration Opens:
• State Conference
• Men’s/Women’s Festival
• Grade 12 Select Women’s Choir
• Minnesota Sings!
• Honor Choirs
Posting of Star of the North Fall Issue
December
OCTOBER
1 5
9
16
26
9-10 HS Honor Choir Auditions Due
State Conference Hotel Reservations Due
Minnesota Sings!
State Conference
Alice T. Larsen Legacy Concert
1 Registration Deadlines:
• State Conference Early Rates
• Men’s/Women’s Festival
• Grade 12 Select Women’s Choir
• Minnesota Sings!
FMC Committee Quarterly Meeting
4-5-6 Children’s Honor Choir Auditions Due
7-8 Boys/Girls Honor Choir Auditions Due
Men’s/Women’s Combined Choral Festival
FMC Scholrship Application Deadline:
• Graduate Full & Part-Time Students
• North Central Conference – DesMoines
• World Choral Symposium – South Korea
January
9 10
11
25
Chorale Arts Finale Apllication
State Executive Board Meeting
State Board of Directors Meeting
FMC Committee Quarterly Meeting
February
13
State 9-10 HS Honor Choirs
13-15 MMEA
ACDA-MN State Board of Directors
Don’t Miss…
2014
Summer Dialogue
August 5-8
Concordia College
Moorhead
JoAnn Miller,
North Dakota State
University, headliner
and guest conductor
ACDA-MN
Directors’ Chorus
Front Row: Bruce Becker, Tom Hassig, Amy Johnson, Sue Zemlin,
Elizabeth Shepley, Diana J. Leland, Marie Flagstad, Matt Krage, Joshua
Smith; Back Row: Steve Albaugh, Kathy Pauls, Andrew Beard, Daryl
Timmer, Shelly Wahlin, Barb Geier, Tom Hale
49
6
e
Pick
men’s choirs
MICHAEL CULLOTON
R&S Chair for
Male Choirs
Concordia College
Moorhead, MN
50
All Through the Night
arr. by Douglas E. Wagner
Heritage Music Press 15/2622H
TBB, piano
This arrangement of a familiar Welsh folk song
could be one of the perfect scores to have in your
folder early on in the year. It includes unison singing that will help you work on a unified tone, and
plenty of two-part and three-part textures as well.
Every singer will have their turn with the melody,
and the harmonies are predictable enough that
you’ll be focusing on musical expression in no
time – and there’s lots of expressive singing to be
had in this work! One of the most difficult things
to teach young singers is how to sing with a sense
of sustained line, and this arrangement will help
your choir develop that skill. You might consider
working on phrasing and sustained line simply by
having all the men sing only the melody from start
to finish, while gradually introducing the harmonies as you go.
Noel
Steven Sametz
Alliance Music Publications AMP 0089
TTBB, a cappella
This work for the holiday season is one that my
male choir, Männerchor, enjoyed a great deal at
the 2013 Concordia Christmas Concerts. Each
of the four sections of the choir has a nine-bar
phrase that they sing over and over, and each part
enters one at a time. The rhythms are somewhat
complex because some bars feel like they are
in 3/4 while others are in 6/8. To help get the
rhythms locked in, I had all the men learn the bass
part, which serves as an anchor throughout the
piece. Then I had all the tenors learn both tenor
parts so that they were aware of how their lines
worked with and against each other. Once singers
were confident with their lines we experimented
with a variety of formations and eventually (to my
surprise, I’ll admit!) settled on a mixed formation
for our performance. There is a lot of fun teaching to enjoy with this piece, and it’s well worth
the rhythmic anxiety that you may feel upon your
first glance at the octavo!
Lullay My Liking
Michael Fairbairn
Santa Barbara Music Publishing, Inc. SBMP 1091
TTBB, a cappella
In December of 2012, I attended the Madrigal Dinner at North Dakota State University and heard
the men of the Madrigal Singers perform a beautiful carol with a text I was familiar with because of
the famous setting by Gustav Holst. To my delight,
I found out the score was composed by one of
the students in the choral program there so we
worked to get the score published and available
to male choirs around the country and the world.
It is a true carol in that a refrain keeps recurring,
so you get the benefit of repeated music (though
with slight variations as the tonal centers shift
around). Much of the piece is really in a TBB setting; only for the last 12 measures does it actually
divide into a full TTBB texture. The harmonies
are lush, and the slower tempo allows them to
be enjoyed. Michael employs the occasional 7th
or 9th to add color to the harmonic palate, but
does so in a way that makes them very singable by
your choir. There is a short solo that could easily
be sung by any of your singers in either the tenor
or bass sections. The trickiest part of the piece is
navigating a couple of the modulations, but this
provides for some of the musical interest in the
piece as well.
Abraham Lincoln Walks at Midnight
Abbie Betinis
Abbie Betinis Music Co. AB-061-01
TTBB, piano, snare drum
This score has strong Minnesota roots as it was
written for the Minnesota All-State Men’s Choir
and premiered in 2009 under the baton of David
Mennicke. Abbie Betinis has become well-known
around the country and we are proud to call her
one of our own as well! The music is evocative
and effectively captures the word-painting suggested by the Vachel Lindsay. Though the notes
and rhythms are somewhat tricky, the piece is in a
modified ABA form, so all your work on the first
major section is rewarded when similar music
returns near the end. The snare drum helps to
bring out the drama in this piece and should not
be omitted from performances. The piano part
is an independent one that doesn’t only serve to
provide the harmonic foundation of the piece but
also to enhance the mood. The tessituras are all
very singable for each of the voice parts, so you
shouldn’t have any battles in that regard. Lastly,
when I was studying the piece for how to best
approach it with the choir I realized that slow and
steady is the name of the game. You can have a
day where you only look at some of the music
from the two A sections, or focus only on the B
section for a couple of days. Regardless, patience
will serve you and your singers well as you prepare this marvelous work.
Ezekiel Saw the Wheel
arr. by Howard Helvey
Beckenhorst Press, Inc. BP1946
TTBB, a cappella
Howard Helvey has supplied a lot of great literature to the male choir world in the last several
years, especially works for choir and four-hand
piano. As a general rule, all of his scores are worth
examining! This spiritual arrangement is for a cappella choir and will serve as an exciting closer for
your program. It is mostly homophonic, though
some nice duet textures appear throughout the
piece. You can work on intonation and balance
a good amount with your men in this score, but
the attention paid to dynamic pacing and contrast is what puts this piece over the top for your
audience. If you are looking for a fresh and fun
addition to your repertoire, this may be the right
piece for you!
My Heart’s in the Heartland
Lon Beery (text by Robert Burns)
Alfred Publishing Co. 23108
(T)TB, piano
I first heard this score at the 2012 ACDA of Minnesota Men’s Chorus/Women’s Chorus Festival
where Timothy Sawyer and the Nortwestern
Men sang it. The new melody is an earworm that
will stay with you for days (right, Tim?!), and it is
harmonized in a practical way that will not provide for many challenges in your rehearsals. That
being said, you’ll be working on shaping a phrase
almost immediately – and what’s better than that?
The parenthetical (T) above refers to a tenor part
that is optional and functions like a descant for
most of the piece. The T and B parts sing in a duet
texture that is filled with thirds. The overall lilt of
this piece is spiced up with some hemiola rhythms
that add a nice hitch to the otherwise expected
flow of this tune in 6/8. This is another score that
I recommend for early on in the year as it will
teach musicality that will benefit your choir for
the rest of the year!
SAVE THE DATE
Give to the Max Day
Thursday, November 14, 2013
“Concert and Study Tours is
more than a tour company–
they are wonderful people.
Our tour was one
that the students and
I will never forget.”
- Dr. Lee Nelson
Wartburg College
Customized All-Inclusive
Performance Tours
Visit www.concertandstudytours.com
or call 1-800-869-1082 for more details.
51
6
e
Pick
women’s choirs
ANGELA MITCHELL
R&S Chair for
Women’s Choirs
Stillwater Area Schools
Stillwater, MN
52
The Lake Isle of Innisfree
Eleanor Daley
Oxford University Press W154
SSA, piano
Eleanor Daley is a prominent and well-respected
composer of women’s choral music and “The
Lake Isle of Innisfree” fits the female vocal range
beautifully. The poem is set with particular care to
detail and the piano accompaniment is an integral
part of the overall effect.
“The Lake Isle of Innisfree” (pronounced INN-isfree) has a recurring unison theme allowing the
opportunity to explore beautiful free tone and like
vowels with your women. There are some meter
changes throughout, but they fit the text well and
will not cause frustration for young singers. The
suspensions presented in ms. 25 are surprisingly
easy to learn and a great satisfaction to perform.
Deck the Hall
arr. John Rutter
Found in “Carols for Choirs 4,” Oxford
University Press
SSAA a cappella
This clever four-part arrangement of the traditional Welsh carol intertwines a familiar melody
with “fa la la” accompaniment throughout. It is a
two-minute virtuosic showcase for an advanced
women’s choir.
The challenges of this piece are almost completely
of a rhythmic nature. Much of the accompanying
voices react to the melody in syncopated fashion
and learning when to sing (“fa” or “la”) is one of
the greatest challenges. It may be best to begin
with an exploration of melody lines in their unison
and duet forms before adding any accompanying
voices.
The Spinning Wheel
Ruth Morris Gray
Alfred 27073
SAA; piano
“The Spinning Wheel” is a three-verse partner
song set to Waltor Landor’s “Mother, I Cannot
Mind My Wheel.” Singers are immediately taken
by this piece because of the teenage angst found in
the text as well as the melodic lines, which can be
learned quickly.
The three verses have varying tessituras, but each
fit young high school voices well. I have performed
this piece using three equal sections without regard
to assigned voice parts. The piece begins with the
unison singing of each verse allowing all singers to
become familiar with each statement. Splitting the
choir into three equal sections will give students
an opportunity to sing with others outside of their
particular voice part while allowing the conductor
the opportunity to create the best balance for the
overall effect of the piece.
Túrót eszik a cigány
Zoltan Kodaly
Universal Edition UE 8479b
SSAA
Túrót eszik a cigány is an arrangement of a Hungarian folksong. This exciting piece is in ABA form.
The A section is a whirlwind of spinning melodies
over a drum-like vocal accompaniment by the altos.
The B section is a dramatic change of mood; more
peaceful with lush homophonic chord structures.
Performing the piece in the original language is
not as difficult as it may first present. Altos have
a repeated phrase throughout much of the A section and the sopranos will find the four lines of
text in the A section manageable after a just few
rehearsals. Students will enjoy the literal translation of the piece: “See the gypsies eating cheese
and after that becoming quarrelsome, they even
say they will slap me and their grandfather!”
Minnesota Choirs to appear at ACDA North Central Conference
March 19-22, 2014 • DesMoines
Cantus • Eastview High School Concert Choir, Gregory Douma, conductor • The Gustavus Choir –
Gustavus Adolphus College, Gregory Aune, conductor • Lake Effect – University of Minnesota-Duluth,Tina
Thielen Gaffey, conductor • Princeton High School Concert Choir, Mark Potvin, conductor
Chamber Choir – University of St. Thomas, Angela Broeker, conductor
Miserere
Eva Ugalde
CM-ediciones musicales CM 2.0050
www.cm-ediciones.com
SSAA, a cappella
Eva Ugalde is a Spanish composer most well known for her
works for female choirs. Miserere is hauntingly beautiful and an
enticing challenge for advanced women’s choirs.
Cantate Domino
Heinrich Schutz
Colla Voce 20-96690
SSA; a cappella
This piece is a wonderful opener for choirs of all levels. It is
in three parts with a mix of homophony, polyphony, meter
changes and opportunities for all voice parts to lead melodic
statements.
The piece moves from three to seven parts so conductors will
need to plan splits and balance appropriately. The B section
gives the altos a chance to showcase their musicality as they
are given the theme while the sopranos perform an ostinato
reminiscent of Grieg’s “Morning.” Intonation and expression
can be a challenge throughout this piece because of the jazz-like
harmonies and the dramatic dynamic contrasts necessary to
sustain the vocal line.
The piece begins with rhythmic imitation. Introducing the
rhythmic vitality of the piece by “speak counting” both in unison and in overlapping lines will help alleviate some of the issues
presented by the multiple dotted rhythms and ties across barlines. Each voice part has opportunities for leading the theme
and students will take pride in the importance of their own
vocal part as they intertwine with all voices.
INTERESTED IN ADVERTISING WITH
ACDA-MN?
Contact Bruce W. Becker, Executive Director
[email protected]
ACDA North Central Division
Conference
March 19-22, 2014
Des Moines, IA
53
6
e
Pick
HIGH SCHOOL
CHOIRS
STEVE DEITZ
R&S Chair for
High School
Alexandria High School
Alexandria, MN
54
Deep River
Arranged by Russell Robinson Shawnee Press 35028014
SATB A Cappella
Russell Robinson has done nothing fancy or flashy
with this classic spiritual. In fact, I think he did a
very good job of “staying out of the way.” The
melody is presented in the soprano throughout,
and the choir sings in chorale style. This would be
a great arrangement for a well-balanced choir to
be reintroduced to this melodic gem. I would also
recommend this for a massed-choir festival. The
primary challenge for the singers would be to supply the air required to sing its epic phrases.
Candles in the Window
Words and Music by Dave and Jean Perry
SATB with piano
Alfred Publishing 39797
Also available for: SAB (39789) and 2-part (39799)
This is a simple and solemn piece for your holiday
program for younger high school singers. The text
contains great imagery and is illuminated nicely by
the music. Text summary: “Long ago the miracle of
oil in a lamp burning eight long days... fill the world
with light.”
How Great Our Joy
Traditional, arr. By William D. Hall
SATB Choir with Echo Chorus or Quartet A
Cappella
National Music Publishers WHC201
Assuming there are high schools that can program sacred literature for a holiday concert, this
arrangement of the traditional German carol is
compelling. It rests easily in a sing-able key, and
provides unique programming opportunities for
your venue.
See what our ACDA-MN Board
& FMC boards have been up to
lately... Check out our posted
meeting minutes at acda-mn.org
Mozart’s Fa-La-La
Music by W. A. Mozart, arr. Philip Kern
SATB A Cappella
Shawnee Press 35028656
This is classical novelty, and I will be programming
this in December with our high school caroling
group. It is based on Mozart’s Eine Kleine Nachtmusik and text dances around Deck the Hall with
lots of “Fa-la-la”, and “Ho, ho, ho.” You get the picture. I expect a few technical challenges learning this
piece, and Philip Kerns has done some quirky, and
clever things with the text.
Pure Imagination
Leslie Bricusse & Anthony Newley, arr. Jay
Althouse
SATB with piano
Alfred Publishing 37983
Also available for: SSA (37984) and 2-part
(37985)
From the original movie: Willy Wonka and the Chocolate Factory. This arrangement would be a nice
feature in a light concert, and will surely be appreciated by most audiences as a sentimental favorite.
The melody is the same that you’d recognize, but
there are some tricky changes in the chord progressions and an abundance of chromatic lines.
Two Mozart Masterworks
Edited and Arranged by Patrick M. Liebergen
SATB with piano
Shawnee Press 35028704
Available separately: Piano Trx CD (35028580)
Mozart’s “Sanctus” (from Orgelsolomesse) and
“Dona Nobis Pacem” (from Spatzemesse) are
paired as one octavo. Purists will likely find the
pairing questionable, but for a high school choir
director looking to program accessible music from
the classical era, this really works. The movements
are ordered as adagio and allegro, and are presented with Latin text. Young and experienced
choirs will be challenged to bring this music off
the page and present it with the proper spirit with
integrity.
WELCOME TO
NEW DISTRICT CHAIRS
Kathy Pauls – Central District
Andrew Beard – Metro West District
Matt Krage – Northeast District
Marie Flagstad – Southwest District
6
e
Pick
CoLleges and
universitY CHOIRS
DR. MATTHEW FERRELL
R&S Chair for
Colleges and Universities
St. Cloud State University
St. Cloud, MN
Ich bin das Brot des Lebens
Wolfram Buchenberg
Carus Verlag, CV 735100
SSAATTBB, a cappella
Part of a larger set of choral music titled, Vier geistliche Gesange, “Ich bin das Brot des Lebens” utilizes aleatoric techniques juxtaposed over chant.
Stunning dissonances appear in the women’s
voices, but the magic occurs in the men’s four-part
harmonic writing. Not widely known in the United
States, Buchenberg brings a distinctive beauty to
choral music. His concept of harmony paired with
fresh vocal techniques give this German composer
a unique voice.
Northern Lights
Eriks Ensenvalds
Musica Baltica, PE.MB1366
SSAATTBB, chimes, water-tuned glasses
Eriks Ensenvalds has become a staple composer for
choral performances at many national and international conferences. I first came across Northern
Lights at the ACDA National Conference in Dallas, TX. Commissioned for and performed by the
Choir of the West, Pacific Lutheran University, this
work is accompanied by an unconventional instrument, water-tuned glasses. I have not programmed
much of Ensenvalds’ music yet, but this young composer has incredible talent.
Entreat Me Not to Leave You
Dan Forrest
Hinshaw, HMC2324
SATB divisi, a cappella
Dan Forrest’s compositions have gained much
world recognition in the last several years. In
2012 his work, Entreat Me Not to Leave You, was
performed at the World Choral Symposium
in Argentina and performed again in 2013 at
the ACDA National Conference in Dallas, TX.
Commissioned for the Salt Lake Vocal Artists, Entreat Me Not to Leave You employs beautiful harmonies and striking dissonances while treating the poignant text with great sensitivity.
The Day is Done
Stephen Paulus
Paulus Publications, SP466
SSATTBB, a cappella
One of my favorite a cappella choral works by
Stephen Paulus, The Day is Done captures the
essence of Henry Wadsworth Longfellow’s poem
of the same title. The work was commissioned by
VocalEssence and is a favorite in the ensemble. The
music contains moments of harmony reminiscent of
Vaughan Williams, and the pastoral scene portrayed
in the poem is beautifully set by Paulus.
Abendlied, Op. 69, No. 3
Josef Rheinberger
CPDL
SAATTB, a cappella
Translated, “Bide with us, for evening shadows
darken, and the day will soon be over,” Abendlied (Evening Song) needs no introduction; however, the challenging work should be given much
consideration for performance. The six-part composition gives a feeling of double choir with men
and women divided. Written when Rheinberger
was only 16, this beautiful example of Romantic literature pays homage to the compositional style of
Monteverdi.
Cantate Domino
Claudio Monteverdi
CPDL
SSATBB, a cappella or continuo
Cantate Domino first appeared in a collection of
motets published in 1620. Although written for 6
part choir, this composition is fairly attainable for
choirs at many levels. The use of continuo will help
ground choirs tonally, and the music has many
homophonic sections. With his use of changing
meters and shifts in character, Monteverdi shows
a high level of precision in his ability to set the
text. The use of chain suspensions make for a harmonically rich motet.
2013-2014 STATE HONOR
CHOIR CONDUCTORS
4-5-6 Children – Elizabeth Shepley
7-8 Boys – André-Louis Heywood
7-8 Girls – Nicki Toliver
9-10 Women – Julia Fahey
9-10 Mixed – Allen Hightower
55
St. Olaf Records
A NEW program airing on PBS in December 2013
Check your local listings
Available this Christmas on CD, DVD and BluRay
stolafrecords.com
56
SCHOLARSHIP AND CD TO HONOR ALICE T. LARSEN
Conductor, St. Olaf College Manitou Singers (1956-1983)
A new scholarship will honor Alice T. Larsen (1929-2004), professor
of voice at St. Olaf College from 1955-1989. In anticipation of the
anniversary of Larsen’s 85th birthday, the scholarship will be established
through the F. Melius Christiansen (FMC) Endowment Fund of the
American Choral Directors Association of Minnesota (ACDA-MN).
Larsen conducted the St. Olaf College Manitou Singers, taught vocal
pedagogy classes, and occasionally directed the St. Olaf Choir. In 1992,
ACDA-MN presented her with the F. Melius Christiansen Lifetime
Achievement Award in recognition of her significant contributions to
choral music. She was elected to the Minnesota Music Educators Hall of
Fame in 1997 and in 2004 was honored with the Weston H. Noble Lifetime
Achievement Award by the ACDA North Central Division. Larsen was the
first woman conductor of the Minnesota All-State Choir and also conducted All-State Choirs in
Colorado, New Mexico, North and South Dakota, and Wyoming.
A Celebration of Women’s Voices: Empowering the Spirit is the theme of the 2013
ACDA-MN State Conference, which will feature special interest sessions and women’s choirs
performing in honor of Larsen’s legacy. A showcase festival concert will include the St. Olaf
Manitou Singers under the direction of Sigrid Johnson, the 120-voice ACDA-MN Grade 12 Select
Women’s Choir, and the combined concert choir women of Chanhassen, Wayzata and White Bear
Lake High Schools, all under the direction of Edith Copley of Northern Arizona University. The
concert will take place at 1:30 pm on Saturday, November 23, 2013 at St. Andrew’s Lutheran
Church in Mahtomedi MN, the site of the annual ACDA-MN State Conference.
In addition, a special commemorative compilation CD of the St. Olaf College Manitou Singers,
under Larsen’s leadership, will be produced and available for purchase at the concert event.
A complimentary CD will be sent to all those who donate $100 or more to the scholarship fund.
Contributions to the Alice T. Larsen Memorial Scholarship may be made on-line at:
fmcendowment.org or sent directly to: FMC Endowment Fund, 12027 Gantry Lane, Apple Valley
MN 55124. (Please designate your gift to the Alice T. Larsen Memorial Scholarship Fund.)
57
58
ACDA-MN Districts
59
REGISTRATION FORM
37th ANNUAL ACDA-MN STATE CONFERENCE • November 22-23, 2013
Name_______________________________________________________________ ACDA Member #____________________________ Exp Date��
Home Address________________________________________________________ City_______________________State_________ Zip��
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FRIDAY INTEREST SESSION ATTENDANCE
(please check one session in each of Sessions 1 & 2)
__ Session #1: Elementary Level – Linda Berger, clinician
__ Session #1: Middle Level/High School – Scott Lipscomb, clinician
__ Session #1: Music & Worship/Community Adult Choirs – The Aging Female Voice, Part 1
__ Session #1: Student and Young Conductor Symposium – Edith Copley, clinician
__ Session #2: Elementary Level – Linda Berger, clinician
__ Session #2: Middle Level/High School – Paul Corbiere, clinician
__ Session #2: Music and Worship/Community Adult Choirs – The Aging Female Voice, Part 2
__ Session #2: Student and Young Conductor Symposium – Edith Copley, clinician
SATURDAY INTEREST SESSIONS ATTENDANCE (please
check one session in each of Sessions 3, 4 & 5)
__ AM Session #3: The Only Guy in the Room – Bret Amundson, presenter
__ AM Session #3: Enabling and Unlocking Beauty of the Female Voice – Melissa Culloton, presenter
__ AM Session #3: Her Story, Her Song – Mary Jo Bot, presenter
__ AM Session #3: Moving Toward Musicality – Karen Lutgen, presenter
__ AFT Session #4: Successful Strategies in Building Community in HS Women’s Choir
Angela Mitchell, presenter
__ AFT Session #4: Building Community and Developing a Community Women’s Choir
Judy Sagen, presenter
__ AFT Session #4: Scintillating Sounds: Helping Children Discover… – Elizabeth Shepley, presenter
__ AFT Session #4: Vocal Jazz: Style and Rehearsal Techniques…
Jennifer Parker & Laura Tempel, presenters
__ AFT Session #5: Successful Strategies in Building Community in HS Women’s Choir
Angela Mitchell, presenter (repeat)
__ AFT Session #5: Building Community and Developing a Community Women’s Choir
Judy Sagen, presenter (repeat)
__ AFT Session #5: Her Story, Her Song – Mary Jo Bot, presenter (repeat)
__ AFT Session #5: Vocal Jazz: Style and Rehearsal Techniques…
Jennifer Parker & Laura Tempel, presenters (repeat)
__ AFT Session #5: Emerging Conductor’s Network – Andrew Beard, presenter
GRADUATE CREDIT
__ I will register for Graduate Credit offered by Hamline University. Check payable to “Hamline” on
site only at November 22 registration.
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(choose weekend or per day rates)
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PER WEEKEND
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__ Friday Noon Lunch @ $10��$____________
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(FREE) for Student Members only
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__ Vegetarian; __ Gluten Free)
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to FMC Endowment Fund
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Note: Registration fees must be included with registration form and are non-refundable. Three ways to register and pay:
1.Registration Form with check payable to ACDA-MN and send to:
ACDA-MN Conference Registration • 12027 Gantry Lane • Apple Valley MN 55124
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60
For registration questions contact: [email protected]
the
Lastword
Renewal…A New Season for
ACDA-MN
Bruce W. Becker
ACDA-MN
Executive Director
It seems strange to juxtapose an attitude of
renewal when the season that surrounds us
reminds us that life itself will cycle through
a transition to fall and then to winter. However, the academic year before us gives us all
an opportunity to renew ourselves as professionals, seeking those new ideas and implementing exciting teaching strategies that will
ultimately bring new life and new results into
our classrooms.
Such has been the case with ACDA-MN!
Hours of comprehensive planning with multiple leadership teams assigned to all of our
fall and early winter events, will bring new
and renewed vitality to you as professionals
and for your students. The Men’s & Women’s Combined Choir Festival, five Honor
Choirs, the new Grade 12 Select Women’s
Choir, Minnesota Sings! Annual State Conference featuring the Alice T. Larsen Festival Concert, Minnesota Choral Arts Finale,
and our communication tools of the Star of
the North and the Daily Beat all promise to
deliver an informative and positive experience for teachers and their singers as we
continue to live out our mission to inspire
and support a community of choral musicians in
our state! Best wishes for continued renewal
in you and your students.
Renewal…the Future of
Star of the North
As you may recall, back in 2009 when I
assumed the position of Executive Director,
I began a study and process that launched
a major revamp of how we access the Star
of the North state newsletter. Moving from
a costly print issue to an interactive on-line
edition, has overall, proven to be successful
for our organization. From that move made
in 2009, soon we found that other state chapters and divisional publications within the
ACDA national organization followed our
lead and began to offer on-line state newsletters to their constituencies. Two national
awards for the new Star of the North during
this transition has affirmed the continuing
leadership ACDA-MN has demonstrated in
producing excellent publications being recognized throughout the country.
We are now approaching another opportunity to develop and boldly lead the future of
Star of the North. An ACDA-MN leadership
taskforce has begun a yearlong study into
the possible transition of our current on-line
publication to a new media platform. After a
comprehensive study, we expect to make a
series of formal proposals to the ACDA-MN
Board of Directors and seek a decision, one
way or another, by the end of this school
year. I see the future of our newsletter (perhaps aptly titled Star of the North.com) looking
something like the current on-line versions
of the New York Times, or the Star Tribune,
placing content directly into your personal
smart phone or tablet. Imagine being able to
access Star of the North at any place and at
any time, on the go…wherever you go!
Renewal…it’s all around us in ACDA-MN! I
am especially appreciative of the continued
sense of renewal that has been so apparent
in the Executive Leadership Team and from
the State Board of Directors. It is an exciting time to be a member in ACDA-MN! Join
us in re-charging your personal commitment
and participation in state activities and events
that will engage and position you for selfrenewal!
That’s all for now…
fine.
61
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$45.
$90.
$135.00
Retired Minnesota (Retired members who live in the state of Minnesota)
$60.00
$120.00
$180.00
00
00
Student (full and part-time students at any level)
$35.
$70.
$105.00
Associate (Choral Singers, Administrators & non-directors)
$95.00
$190.00
$285.00
00
00
Associate Minnesota
(Administrators & non-directors who live in Minnesota)
$110.
$220.
$330.00
00
00
Institution (Ensemble or School/Church Music Dept.)
$110.
$220.
$330.00
Industry (Music-related businesses)
$135.00
$270.00
$405.00
00
00
Paying Life**
(Make a lifetime commitment)
$2,000. Annual Installment of $200. or greater $__________
**(To qualify for life membership, you must have been an active member of ACDA for a minumum of 10 years)
6. Payment - Payable to ACDA in US Dollars. Total: $
Check #_________________ (Enclosed) Do not fax if mailing a check
Visa
MasterCard
Discover
American Express
PO_______________ (PO form & this form must arrive together)
Membership will be renewed upon receipt of payment.
___ ___ ___ ___ - ___ ___ ___ ___ - ___ ___ ___ ___ - ___ ___ ___ ___ Expiration Date: ___ ___ / 20 ___ ___
C V V 2 Code: ___ ___ ___
Name on Card:__________________________________________ Signature: _______________________________________________
Billing Address:___________________________________________ Date: _______________________
______________________________________________________
I agree to pay the total according to the credit card issuer agreement and acknowledge that all sales are nal unless duplicate payment is made,
© ACDA Revised January 27, 2011
62

and Print Fall 2013 Star of the North

Transcription

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