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John Moss John Moss John Moss (1948-2010) was active nationwide as a composer, arranger, and orchestrator in a wide variety of musical styles and formats. As a composer, he had an extensive background creating original music for documentary, educational, and promotional films. As an arranger, he provided music for many live large-scale musical revues and production shows. John created the arrangements for Speak Low, a CD featuring Las Vegas trombonist John Haig with a 46-piece studio orchestra. John's educational background included undergraduate study in instrumental music at Central Michigan University and graduate work in theory and composition at Michigan State University. He taught at both public school (band and choir) and university (theory) levels in Michigan. John's music is a major contribution to the band and orchestra catalog of educational music publisher Hal Leonard Corporation and he has several hundred published works to his credit. He also served as arranger for the Disney educational project "Magic Music Days," where young performing musicians are introduced to the film scoring/recording process. He accepted numerous school band and orchestra commissions, and enjoyed writing for the Detroit Symphony Pops, the Canadian Brass, and the Detroit Chamber Winds. In 2004, John and three fellow orchestrators transcribed approximately 90 minutes of orchestral music by film composer John Williams for a Kennedy Center concert featuring the United States Marine Band, with Mr. Williams conducting. Publications by John Moss
John Behnke John Behnke John Behnke is a frequent organ recitalist, handbell clinician and festival director. He enjoys composing and arranging having nearly 450 handbell, choral and organ compositions in print with numerous publishers in the United States, Germany and Taiwan. Previously John served 13 years as Music Editor for AGEHR Music - Handbell Musicians of America, 13 years as the director of the Milwaukee Handbell Ensemble and 29 years as Organist and Choir Director at Historic Trinity Evangelical Lutheran Church in downtown Milwaukee, WI. He is Emeritus Professor of Music at Concordia University in Mequon, Wisconsin where he taught organ, graduate handbell courses, and directed The Alleluia Ringers, Concordia's touring handbell choir for 29 years from 1986 until August of 2015. He was honored in December of 1993 being named "MVP" Most Valuable Player in the Milwaukee area by Milwaukee Sentinel music critic, Nancy Raabe. He has also received an ASCAP Composers Award every year since 1998. A 1974 graduate of Concordia-River Forest, IL. he received his M. Mus. in Church Music and Organ from Northwestern University, Evanston, IL. in 1978. His D. Mus. was awarded to him in 1984 by Northwestern University where he was elected into the Alpha Chapter of Pi Kappa Lambda, a National Honorary Music Society. From August 1978 to July 1979 Dr. Behnke studied at the Westphalian Church Music Institute in Herford, W. Germany, where he passed the "A" Exam in Organ with the grade of "1-Excellent".
John La Barbera John La Barbera John La Barbera started playing cornet when he was five; by the age of seven he was performing with his parents and brothers Pat and Joe in the La Barbera Family Band, and by the late sixties he was playing trumpet and touring the world in the great Buddy Rich Orchestra. This was the beginning of his 19-year association with Buddy as his principal composer/arranger. John’s studies at the S.U.N.Y at Potsdam, Berklee College, the Eastman School of Music, and private study with Rayburn Wright contributed to his love of writing and strengthened his skills for a career in composition and arranging. He went on to play and write for many renowned big bands and is now one of the most respected composer/arrangers in jazz. His works have been recorded and performed by Buddy Rich, Woody Herman, Count Basie, Dizzy Gillespie, Mel Tormé, Chaka Khan, Harry James, Bill Watrous, Bill Perkins, Al Cohn and Phil Woods, to name just a few. John's Grammy-nominated big band CD On The Wild Side, Fantazm, and his latest Caravan have been met with tremendous artistic and commercial success. As co-producer and arranger for The Glenn Miller Orchestra Christmas recordings (In The Christmas Mood I & II), he has received Gold, Double and Triple Platinum records. He is a co-founder of the internationally acclaimed women’s big band DIVA, and has contributed work as an orchestrator for Broadway shows, with A Chorus Line being the most notable. A former Director of Jazz Ensembles at Cornell University, Mr. La Barbera is now Professor Emeritis of Music at the University of Louisville, where he implemented and teaches graduate and undergraduate courses in composition and arranging, TV and film scoring, and music industry. During his seven-year term as jazz editor of the International Trumpet Guild, his interviews with the world's leading jazz trumpet artists were a regular feature of the ITG Journal. John is active as a clinician and lecturer in colleges and high schools throughout the U.S. and abroad. He is a two-time recipient of the National Endowment for the Arts award for Jazz Composition, and has served as a panelist for the NEA in the music category. His career has been profiled in dozens of publications and encyclopedias, most notably the New Grove Dictionary of Jazz and the Biographical Encyclopedia of Jazz. 
John Leavitt John Leavitt John Leavitt (b. 1956) is a composer, conductor, teacher, and church musician, whose music continues to captivate listeners and musicians of all ages. He received his undergraduate education at Emporia State University, Emporia, Kansas, a master’s degree from Wichita State University, and the Doctorate of Musical Arts from The Conservatory of Music at the University of Missouri-Kansas City. Leavitt is a lifetime member of the American Choral Directors Association and is a member of the American Society of Composers, Authors, and Publishers, from which he has received annual recognition for his achievements. Leavitt was the recipient of the W.A. Young Award for teaching excellence, in recognition of his career at Friends University in the fields of music theory, choral, and church music. He has also served briefly on the faculties of Concordia College, Edmonton, Alberta (Canada), and Concordia University, River Forest, Illinois. Leavitt currently resides near Wichita (Andover), Kansas where he has held the post of music director at Immanuel Lutheran Church and Cantor at Reformation Lutheran Church. He also conducted the community choral program, The Master Arts Chorale and Youth Chorale, during their 12-year tenure. In March of 2003, he received the Kansas Artist Fellowship Award from the Kansas Arts Commission for his contribution to music composition. He most recently completed a residency on faculty as Director of Music at Newman University in Wichita. An extraordinary composer and clinician for church and school music literature, Leavitt continues to teach, lecture, and conduct numerous workshops, festivals, and symposia. He continues to serve as a regular guest conductor annually on the Mid America Productions Carnegie Hall Concert Series in New York, which he has done since 1998. He has also been featured regularly on the Manhattan Concert Productions Kennedy Center for the Performing Arts Series in Washington D.C. His compositions are represented in nearly every major music publisher’s catalog, including Shawnee Press and Hal Leonard. He has numerous publications for choir, piano, organ, hand bells, and string orchestra and is co-author of the widely used choral music method textbook series Essential Elements for Choir. Publications by John Leavitt
John Williams John Williams In a career spanning more than six decades, John Williams has become one of America’s most accomplished and successful composers for film and for the concert stage, and he remains one of our nation’s most distinguished and contributive musical voices.  He has composed the music and served as music director for more than one hundred films, including all nine Star Wars films, the first three Harry Potter films, Superman, JFK, Born on the Fourth of July, Memoirs of a Geisha, Far and Away, The Accidental Tourist, Home Alone and The Book Thief.  His nearly 50-year artistic partnership with director Steven Spielberg has resulted in many of Hollywood’s most acclaimed and successful films, including Schindler’s List, E.T. The Extra-Terrestrial, Jaws, Jurassic Park, Close Encounters of the Third Kind, the Indiana Jones films, Munich, Saving Private Ryan, The Adventures of Tintin, War Horse, Lincoln, The BFG and The Post.  His contributions to television music include scores for more than 200 television films for the groundbreaking, early anthology series Alcoa Theatre, Kraft Television Theatre, Chrysler Theatre and Playhouse 90, as well as themes for NBC Nightly News (“The Mission”), NBC’s Meet the Press, and the PBS arts showcase Great Performances.  He also composed themes for the 1984, 1988, and 1996 Summer Olympic Games, the 2002 Winter Olympic Games.  He has received five Academy Awards and fifty-two Oscar nominations, making him the Academy’s most-nominated living person and the second-most nominated person in the history of the Oscars. He has received seven British Academy Awards (BAFTA), twenty-five Grammys, four Golden Globes, five Emmys, and numerous gold and platinum records.  In 2003, he received the Olympic Order (the IOC’s highest honor) for his contributions to the Olympic movement.  He received the prestigious Kennedy Center Honors in December of 2004.  In 2009, Mr. Williams was inducted into the American Academy of Arts & Sciences, and he received the National Medal of Arts, the highest award given to artists by the U.S. Government.  In 2016, he received the 44th Life Achievement Award from the American Film Institute – the first time in their history that this honor was bestowed upon a composer. In 2020, he received Spain’s Princess of Asturias Award for the Arts, as well as the Gold Medal from the prestigious Royal Philharmonic Society in the UK. In January 1980, Mr. Williams was named nineteenth music director of the Boston Pops Orchestra, succeeding the legendary Arthur Fiedler.  He currently holds the title of Boston Pops Laureate Conductor which he assumed following his retirement in December 1993 after fourteen highly successful seasons.  He also holds the title of Artist-in-Residence at Tanglewood.  Mr. Williams has composed numerous works for the concert stage, among them two symphonies, and concertos commissioned by several of the world’s leading orchestras, including a cello concerto for the Boston Symphony Orchestra, a bassoon concerto for the New York Philharmonic, a trumpet concerto for The Cleveland Orchestra, and a horn concerto for the Chicago Symphony Orchestra.  In 2009, the Boston Symphony premiered his concerto for harp and orchestra entitled “On Willows and Birches”, and in the same year, Mr. Williams composed and arranged “Air and Simple Gifts” especially for the first inaugural ceremony of President Barack Obama.
Hal Leonard Vocal Competition - 2021 Winners THE 2021 HAL LEONARD VOCAL COMPETITION WINNERS Complete List ART SONG WINNERS Children's Voices Ages 12 and under (as of February 1, 2021) First Place Liliy Yezdanian (age 12) Clifton, New Jersey Lacordiare Academy Pianists: Liliana Sotrova, Glenn Gordon Voice Teachers: Amelia DeMayo, Lilana Sotirova Second Place (tie) Heidi Hager (age 10) Herndon, Virginia Navy Elementary School Recorded Accompaniment Voice Teacher: Ingrid Lestrud Maya Louise Joshi (age 11) Cresskill, New Jersey Cresskill Middle School Pianist: Liliana Sortirova Voice Teachers: Amelia DeMayo, Glenn Gordon, Liliana Sotirov Third Place (tie) Katherine Berdovskiy (age 11) Davis, California Sutter Peak Charter Academy Recorded Accompaniment Voice Teacher: Irina Leykina Diya Koul (age 11)) Lexington, Massachusetts Maria Hastings Elementary School Recorded Accompaniment Voice Teacher: Elizabeth Sterling) Honorable Mentions Kayla Cochamiro (age 11) Short Hills, New Jersey Joseph Kushner Hebrew Academy Recorded Accompaniment Voice Teacher: Rebecca Thompson-Galecki Baylee Horvath (age 12) Gilbert, Arizona Christ Greenfield School Recorded Accompaniment Voice Teacher: Nichole Jensen Juliet Lee (age 10) Vienna, Virginia Harmonia School of Music and Art Recorded Accompaniment Voice Teacher: Sonia Yon Madison Miller (age 12) Ooltewah, Tennessee Homeschooled Recorded Accompaniment Voice Teacher: Nichole Jensen Luke Reimer (age 12) Coralville, Iowa Recorded Accompaniment Voice Teacher: Mia Fryvecind Chelsea Sun (age 11) University Park, Texas McCulloch Intermediate School Recorded Accompaniment Voice Teacher: Yixuan Han Gloria Wang (age 11) Johns Creek, Georgia Wilson Creek Elementary School Pianist: Jungkyu Han Voice Teacher: Qian Li Finalists Rayna Batreja (NJ) Juliet Besch-Turner (NY) Isha Bhandari (NJ) Claire Butler (TX) Davna Ceron (NJ) Alera Cetrulo (CA) Maya Cheng (IA) Chloe Ding (CA) Scarlett Diviney (NY) Charlotte Dugan (NH) Jacqueline Foley (AZ) Agustya Harsh (NJ) Daphne Hatzigiannis (MA) Lucia Hendricks (WI) Ashley Hua (GA) Anjali Kandur (GA) David Kupchenko (IL) Audrey Lee (NJ) Josephine Martin (NY) Donna Megules (NJ) Maggie Miao (NY) Brooke Naznitsky (NJ) Shreya Philips (TX) Katherine Pottkotter (TX) Rebekah Rogstad (CA) Kendall Sorenson (NY) Ainsley Sorenson (NY) Savannah Swiatkowski (AZ) Carmen Tarajano (NC) Madeline Thach (TX) Matthew Vallero (CA) Brynn Walker (CA) Ainsley Zauel (VA) C’nai Zecharya (PA) Semi-Finalists Anika Agrawal (VA) Lyla Eve Bauer (TX) Lilia Bernstein (CA) Cadence Bleakley (CA) Theodore Burke (CA) Bekah Calaway-Habeck (IL) Kaitlin Cho (CA) Montanna Coil (AZ) Lilliana DeBoer (NJ) Rudrani Ghoshal (NC) Ellivia Gold (NY) Jianna Gutt (NY) Tilly Haselhuhn (CA) Trinity Hu (MA) Rei Huston (NH) Joyce Huynh (CA) Marcy Elizabeth Ip (GA) Catherine Ji (GA) Sid Kamat (NJ) Julia Kartvelishvili (IA) Chloe Kim (NJ) Mady King (AZ) Charlie Kratz (PA) Jiaxuan Li (GA) Elina Ma (GA) Olivia Ma (GA) Sally Marlin (IN) Brittany McGraw (NJ) Lily Mei (NJ) Lily Morgan (VA) Anh-Thu Nguyen (CA) Kaia Olberg (IL) Saisha Pal (VA) Katherine Purdy (NY) Ryan Rahman (CA) Lillian Rogers (TX) Aanya Santosh (IL) Akiv Shah (NJ) Anna Smith (TX) Sophia Toncich-Mandel (NJ) Kate Walker (CA) Reed Walker (CA) Grace Wang (GA) Owen Wang (ON) Ava Whytsell (SC) Claire Xiao (NH) Audrey Zelkovic (NY) Lindsey Zhao (TX) Early Teen Voices Ages 13-15 (as of February 1, 2021) First Place Kennedy Percival (age 15) Upland, California Homeschooled Pianist: Desireé Bryner Voice Teacher: Camille Waage Second Place Lia Zheng (age 15) San Diego, California Canyon Crest Academy Recorded Accompaniment Voice Teacher: Zeping Cai Third Place (tie) Evelyn Hsu (age 14) San Jose, California Lynbrook High School Pianist: Dmitriy Cogan Voice Teacher: Haruna Shiokawa Andrea Nalywajko (age 15) New York, New York Stuyvesant High School Pianist: Mun Tzung Wong Voice Teacher: Catherine Mazzone Honorable Mentions Jude Frazier (age 13) Orlando, Florida Osceola County School for the Arts Recorded Accompaniment Voice Teacher: Jeanai LaVita Christine Kelly (age 15) Geneva, Illinois Geneva High School Pianist: Clare Chenoweth Voice Teacher: JoEllyn Caulfield Aurna Mukherjee (age 14) Austin, Texas Liberal Arts and Science Academy Pianist: Sunkyong Park Voice Teacher: Stella Yoon Avery Nokes (age 13) Arlington, Virginia Sidwell Friends School Recorded Accompaniment Voice Teacher: Tricia Grey Lukas Palys (age 13) Dallas, Texas St. Mark’s School of Texas Pianist: Rami Palys Voice Teacher: Nili Riemer Evan Shidler (age 15) Short Hills, New Jersey Millburn High School Recorded Accompaniment Voice Teacher: Ronald Cappon Finalists Emelia Aceto (OH) Elisabeth Baer (GA) Zoey Blackman (NJ) Gabrielle Brayman (NJ) Elizabeth Cho (MD) Alicia Chu (DE) Grace Chung (NJ) Henry Cornell (NY) Eva Crichton (NY) Janie du Pont (DE) Ciela Elliott (NY) Wesley Geary (AZ) Anushri Ghoshal (NC) Shayla He (CA) Michaela Hieb (CO) Amelie Kaufman (NY) Estella Sky Keyoung (CA) Meghan Linnington (OK) Bridget Lomax (NJ) Gianna Macedon (VA) Brianna Nita (ON) Adithi Nythruva (AZ) Maxine Park (CA) Hasitha Putcha (TX) Aashna Rana (CA) Rachel Rogstad (CA) Viveka Saravanan (CA) Jocie Schnee (VA) Erin Schumacher (AZ) Elena Skirgaudas (WA) Gina Vicari (VA) Ashley Wang (CA) Roger Wang (CA) Andreas Warren (IA) Sophia Welch (VA) Samantha Wu (CA) Eddie Yin (WA) Sabrina Zhu (CA) Semi-Finalists Mithra Ajoy (CA) Alexandra Bae (NJ) Ty Brennan (WI) Max Budowski (CA) Mary Campbell (CA) Silvan Friedman (CT) Ashmita Ghosh (NC) Sophia Holmgren (MA) SangHoon Jung (NJ) Erin Kazmierczak (NY) Alex Kim (NC) Morgan Lomax (NJ) Stephanie Lopez (NY) Salina Mu (TX) Violet Pasmooij (CA) Renna Popli (CA) Raghav Ramgopal (CA) Kirby Rosplock (FL) Csepke Sallai (VA) Michelle Skylar (FL) Skye Stauffer (TX) Sarah Traphagan (TX) Sindhu Vemulapalli (CA)) Julia Wall (MA)) Xinpei Wang (TX)) Margaret Zhang (NY) High School Voices Ages 16-18 (as of February 1, 2021) First Place Joseph Murphy (age 17) Brooklyn, New York) Edward R. Murrow High School Pianist: Dmitry Glivinskiy Voice Teacher: Christine Moore Vassallo Second Place (tie) Bradley Boatright (age 18) Smithville, Texas Smithville High School Recorded Accompaniment Voice Teacher: Michelle Haché Katherine Ramirez (age 17) San Antonio, Texas New Trail Homeschool Academy Pianist: Daniel Zamora Voice Teacher: Crystal Jarrell Johnson Third Place (tie) Eloise Fox (age 16) Landenberg, Pennsylvania Avon Grove High School Pianists: Katelan Tran Terrell, Mathew Odell Voice Teachers: Lorraine Nubar, Cynthia Sanner Saman de Silva (age 16) Los Altos Hills, California Henry M. Gunn High School Recorded Accompaniment Voice Teacher: Jace Witti Honorable Mentions Avni Kamat (age 16) Lexington, Massachusetts Lexington High School Recorded Accompaniment Voice Teacher: Noune Karapetian Alison Kessler (age 17) New Rochelle, New York The Leffell School Pianist: ? Voice Teacher: Lorraine Nubar Ava Kuntz (age 17) Santa Ana, California Orange County School of the Arts Pianist: John Henri Voice Teacher: Kathleen Martin Lizi Kvernadze (age 17) Brooklyn, New York Edward R. Murrow High School Pianist: Dmitry Glivinskiy Voice Teacher: Christine Moore Vassallo Audrey Michael (age 17) Traverse City, Michigan Traverse City West Senior High Pianist: Jamie Hardesty Voice Teacher: Jayne Sleder Ella Rescigno (age 18) Columbia, South Carolina Spring Valley High School Pianist: Luke Fang Voice Teacher: Rachel Calloway Aida Skaraite (age 17) Lemont, Illinois Lemont High School Pianist: Lisa Kristina Voice Teacher: Rachel Olson Finalists Mia Baron (CA) Ellie Brenner (WI) Mina Brooks-Schmidt (AK) Alexandra Cook (CA) Matthew Danforth (NJ) Miriam Friedman (IL) Ethan Hardyk (PA) Erin Hess (NY) Samuel Higgins (MA) Emilia Jurzyk (IL) Paige Klemenhagen (MN) Mary Julia Lashley (OH) Natalie Mastali (FL) Emily Mulva (TX) Alyrie Silverman (NJ) Thalia Suleymanov (NY) Kirsten Tierney (VA) Cherie Uyanik (CA) JoEllen West (TX) William Yang (TX) Peggy Yin (NY) Flora Yuan (CA) Anna Zavelson (TX) Semi-Finalists Arya Balian (MD) Benjamin Barham-Wiese (NY) Anushku Basu (CA) Ellina Bolster (MI) Chelsea Cannon (AZ) Karly Cahn (NY) Olivia Dubay (NC) Andie Earl (NJ) Grace Finke (CA) Katrina Franco (CA) Sydney Horan (FL) Henry Hsiao (NJ) Lexi Lanni (RH) Beau Leavenworth (IA) Wyatt McDaniel (NY) Murphy McDermott (NY) Keely McNab (TX) Kylie Merrill (AZ) Tiffani Mezitis (NY) Cassie Miller (AZ) Kyubin Moon (IL) Shikta Mukherjee (NJ) Ashwini Narayanan (IL) Abby Olson (CA) Bria Petrella (NJ) Reatan Plank (AZ) Aanya Pramanik (TX) Melody Prater (KS) Tanisha Pulla (CA) Sanjna Rajagopalan (NJ) Akash Raman (MI) Olivia Roberts (OR) Soren Ryssdal (CA) Emma Stamper (FL) Abigail Sundahl (MO) Mayu Tayama (CA) Gabriella Treutle (FL) Jessica Wastchak (AZ) Amelia Williams (FL) Amy Yan (TX) Damla Yesil (NY) College/Univeristy Voices Ages 18-23 (as of February 1, 2021) First Place Sophie Naubert (age 22) Conservatoire de musique de Montréal Pianist: Chloe Dumoulin Voice Teacher: Aline Kutan Second Place (tie) Adam Catangui (age 20) Eastman School of Music Recorded Accompaniment Voice Teacher: Nicole Cabell Dalia Medovnikov (age 19) Curtis Institute of Music Pianist: Emily Olin Voice Teacher: Emily Olin Third Place (tie) Colin Aikins (age 21) Curtis Institute of Music Pianist: Lisa Keller Voice Teacher: Julia Faulkne Kaya Giroux (age 20) Carnegie Mellon University Pianist: Rosie Irwin Voice Teacher: Maria Spacagna Honorable Mentions Morgan Mastrangelo (age 22) Northwestern University Recorded Accompaniment Voice Teacher: Pamela Hinchman Madison Miller (age 22) University of Michigan Recorded Accompaniment Voice Teacher: Scott Piper Madelin Morales (age 20) Eastman School of Music Pianist: Seoyeon Park Voice Teacher: Kathryn Cowdrick Rachel Schlesinger (age 18) Purchase Conservatory of Music Pianist: Djordje Nesic Voice Teacher: Sherry Overholt MUSICAL THEATRE WINNERS Children's Voices Ages 12 and under (as of February 1, 2021) First Place Katherine Berdovskiy (age 11) Davis, California Sutter Peak Charter Academy Recorded Accompaniment Voice Teacher: Irina Leykina Second Place (tie) Ayla Collins (age 12) Alexandria, Virginia Carl Sandburg Middle School Recorded Accompaniment Voice Teacher: Aimee Barnes Charlie Russell (age 11) Alexandria, Virginia Belle View Elementary School Recorded Accompaniment Voice Teacher: Aimee Barnes Third Place (tie) Agustya Harsh (age 12) Edgewater, New Jersey homeschooled Pianist: Glenn Gordon Voice Teachers: Amelia DeMayo, Liliana Sotirova, Glenn Gordon Caitlin Hayles (age 12) Brooklyn, New York Medgar Evers College Preparatory School Pianist: Shane Schag Voice Teacher: Jeanai La Vita Honorable Mentions Anna Burnham (age 11) Georgetown, Indiana Highland Hills Middle School Recorded Accompaniment Voice Teacher: Katherine Maras Haulter Ryan Coglianese (age 11) Western Springs, Illinois McClure Junior High Recorded Accompaniment Voice Teacher: Tracey Ford Amelie Cruz (age 12) Chicago, Illinois Urban Prairie Waldorf School Recorded Accompaniment Voice Teacher: Rachel Olson Elsa Dees (age 12) Greenwich, Connecticut The Brearley School Pianist: Shane Schag Voice Teacher: Jeanai La Vita Baylee Horvath (age 12) Gilbert, Arizona Christ Greenfield School Pianist: Jenn Crandell Voice Teacher: Nichole Jensen Ashley Hua (age 10) Marietta, Georgia Mount Bethel Elementary School Recorded Accompaniment Voice Teachers: Tina Cui, Madison Zahorsky Maya Louise Joshi (age 11) Cresskill, New Jersey Cresskill Middle School Pianist: Glenn Gordon Voice Teachers: Amelia DeMayo, Liliana Sotirova, Glenn Gordon Anna Smith (age 11) Austin, Texas Zach Performing Arts Academy Recorded Accompaniment Voice Teacher: Laura Mehl Addison Valentino (age 11) Buchanan, New York Blue Mountain Middle School Pianist: Glenn Gordon Voice Teacher: Amelia DeMayo Lily Yezdanian (age 12) Clifton, New Jersey Lacordaire Academy Pianist: Glenn Gordon Voice Teachers: Amelia DeMayo, Liliana Sotirova Finalists Chloe Aldrete (CA) Ava Barabasz (IL) Lilia Bernstein (CA) Adrish Bhattacharyys (CA) Alyse Biukians (PA) Lydia Bogdonovitch (MA) Gabriella Bozan (OH) Angelina Bubel (NY) Ryan Buggle (NJ) Theodore Burke (CA) Jack Burns (WA) Claire Butler (TX) Melanie Caplan (FL) Amelia Carlson (CA) Davna Ceron (NJ) Alera Cetrulo (CA) Karolina Coelho (FL) Elle Cohen (NC) Grace Coon (MS) Catherine Copland (NC) Adeline DeFeo (MA) Alaina Fernando (IL) Hadley Fugate (AZ) Anne Gao (VA) Liam Garrett (AZ) William Goldsman (NY) Delilah Grad (TX) Ashley Hansen (CA) Natalie Hartung (WI) Annabel Hightower (VA) Nicole Hodges (TX) Veronica James (NJ) Felice Kakaletris (NJ) Sid Kamat (NJ) Sudhisksha Kamatham (TX) Chris Khourty (MA) Diya Koul (MA) Audrey Lee (NJ) Bella Leybovich (AZ) Ruthie Manasseh (CA) Embry Marcum (IN) Carter Meza (CA) Grace Millar (OR) Madison Miller (TN) Yifan Monroe (WA) Ruchira Mukherjee (CA) Brooke Naznitsky (NJ) Mollie Pedersen (NH) Shreya Philips Komattu (TX) Elliot Roa (OR) Rebeka Rogstad (CA) Agneya Roy (NC) Gemma Schleper (NJ) Akiv Shah (NJ) Amelia Shunaman (ON) Molly Kate Skupien (LA) Olivia Bee Sposa (NJ) Charlotte Storm (TX) Ailey Tetrault (FL) Lydia Tracy (TX) Emilie Tseng (CA) Ella Valente (FL) Mariela Vazquez (FL) Ansley Wadle (TX) Brynn Walker (CA) Reed Walker (CA) Angela Xiao (WA) Ainsley Zauel (VA) Samantha Zell (AZ) Semi-Finalists Nethania Ajan (TX) Anna Athungal (NJ) Anne Frances Atkinson (MS) Jennifer Augusta (CA) Nevena Aurelius (FL) Ella Bailey (AZ) Eunice Bang (NJ) Gwendolyn Bartow (OR) Gabriela Bashir (VA) Alisha Batreja (NJ) Luna Baxter (WA) Cadence Bleakley (CA) Leticia Bromley (TX) Lexi Brown (TX) Olivia Bucci (IN) Catalina Chang (NY) Amber Chen (GA) Maya Cheng (IA) Vinya Chhabra (NJ) Annabelle Chung (VA) Sua Chung (VA) Phoebe Rose Claeys (GA) Montanna Coil (AZ) Kayla Colchamiro (NJ) Valerie Combs (CA) Zoe Cook (WA) Maliyah Cooper (IN) Lucy Cox (GA) Savannah Cox (AL) Aja Crockett (MA) Lucia Cunningham (CA) Amelie Curry (CT) Avery Davis (CT) Brenley Day (TX) Lilliana DeBoer (NJ) Aerina DeBoer (NJ) Peyton Deignan (PA) Katelyn Dempsey (IL) Chloe Ding (CA) Scarlett Diviney (NY) Olivia Dulik (IL) Vince Ermita (NJ) Maya Eswaran (VA) Jacqueline Foley (AZ) Kathleen Gahagen (IN) Yiqing Gao (TX) Rudrani Choshal (NC) Riley Glenn (MD) Ellivia Gold (NY) Heidi Hager (VA) Olivia Haller (AZ) Hazel Hay (VA) Ella Hebeisen (MD) Lucia Hendricks (WI) Avital Hermann (NJ) Cassandra Herrador (NY) Amelia Holly (IL) Rei Huston (NH) Anjali Kandur (GA) Sahana Karthik (TX) Adhya Karukurichi (MN) Katelyn Kieninger (IL) Mady King (AZ) Niyati Kotagal (GA) Frederick Kranenburg (OR) Faith Krieger (PA) Farrah Lane (AL) Juliet Lee (VA) Noa Levin (IL) Nola Linder (VT) Tatum Littlejohn (AZ) McKenzie Lopezlira (AZ) Ethan Ly (LA) Mark Ma (GA) Eve Manasseh (CA) Josephine Martin (NY) Brittany McGraw (NJ) Donna Megules (NJ) Maggie Miao (NY) Aubrey Morgan (TX) Lily Morgan (VA) Ena Mujakic (ON) Elina Nartates (WA) Braylen Nelson (TX) Elsa Newbower (MA) Danica Nolasco (AZ) Kaia Olberg (IL) Sophie Ostrovski (ON) Elise Pacheco (MA) Joshua Parecki (CA) Danielle Parsons (PA) Katherine Pottkotter (TX) Mackenzie Pressley (FL) Anna Przybylko (NJ) Katherine Purdy (NY) Nikila Rajan (TX) Charlotte Raynor (PA) Guy Riskind (FL) Lillian Rogers (TX) Ruby Sachs (NY) Shea Sanders (IA) Clara Seay (IN) Samaira Singh (NJ) Ainsley Sorenson (NY) Kendall Sorenson (NY) Savannah Springer (AZ) Aditi Sridhar (VA) Sienna Stoll (AZ) Jacob Sturgis (PA) Chelsea Sun (TX) Kailey Sunwoo (NJ) Sofia Swade (NC) Savannah Swiatkowski (AZ) Madeline Switzer (OR) Carmen Tarajano (NC) Madeline Thach (TX) Sophia Toncich (NJ) Karstyn Traylor (TX) Sofia Trompeter (FL) Renee Tse (TX) Ciana Tzuo (NY) Matthew Vallero (CA) Clara Visser (IA) Alice Wade (IN) Gloria Wang (GA) Claire Xiao (NH) Savannah Zeis (NY) Kacey Zhang (ON) April Zhong (WA) Chloe Zittel (NY) Early Teen Voices Ages 13-15 (as of February 1, 2021) First Place Lizzie Gill (age 15) Dublin, Ohio Dublin Coffman High School Pianist: Amy Pottkotter Voice Teacher: Stephanie Henkle Second Place (tie) Christine Kelly (age 15) Geneva, Illinois Geneva High School Pianist: Clare Chenoweth Voice Teacher: JoEllyn Caulfield Rachel Parsons (age 15) Clairton, Pennsylvania Thomas Jefferson High School Recorded Accompaniment Voice Teacher: Erin Kesser Third Place (tie) Emelia Aceto (age 15) Hinckley, Ohio Highland High School Recorded Accompaniment Voice Teacher: Denise Milner Howell Callie Chae Pyken (age 13) Los Angeles, California Colburn School Pianist: Nick Wilders Voice Teachers: Julia Gregory, Cassie Okenka Honorable Mentions Sienna Gasparrelli (age 13) Mentions Escondido, California homeschooled Pianist: Pam Revitte Voice Teacher: Pam Revitte Morgan Greco (age 15) Camas, Washingtoon homeschooled Pianist: Elizabeth Morris Voice Teacher: Teresa Schnell-Hochanadel Shayla He (age 14) Saratoga, California The Harker School Recorded Accompaniment Voice Teacher: Alison Collins Clare Keman (age 13) Southlake, Texas Regina Caeli Academy Recorded Accompaniment Voice Teacher: Laura Melson Christopher Kranenburg (age 15) Central Point, Oregon St. Mary’s School Recorded Accompaniment Voice Teacher: Andrea Hochkeppel Camryn Malo (age 14) Barrie, Ontario The Melody in Me Pianist: Katie Pergau Voice Teacher: Margot Hamilton Aurna Mukherjee (age 14) Austin, Texas Liberal Arts and Science Academy Pianist: Sunkyong Park Voice Teacher: Stella Yoon Amanda Swickle (age 15) Jericho, New York Jericho High School Pianist: Nicholas Ferla Voice Teacher: Allie Brault Ananya Yadati (age 13) Beachwood, Ohio Hathaway Brown School Recorded Accompaniment Voice Teacher: Helen Todd Finalists Audrey Barr (NJ) Maddie Basich (CA) Lydiia Berckley (TX) Ainsley Buice (CA) Nana Castle (NC) Henry Cornell (NY) Halina de Jong-Lambert (NY) Juliana Dees (CT) Keely Donlan (NJ) Ciela Elliott (NY) Hadley Fitton (MA) Patrick Ford (MD) Macy Gabel (NY) Anika Ganesan (VA) Aleah Garcia (AZ) Julianna Gutekunst (PA) Michael Hieb (CO) Isabel Hoch (NY) Whit Jury (IA) Ellie Kim (TX) Alex Kim (NC) Sofia Lee (GA) Meghan Linnington (OK) Stephanie Lopez (NY) Grace Martin (NJ) Avery Mattison (CA) Alysia McCarthy (NV) Mia McFarland (AZ) Sarah McKinley (TX) Ellie Michaels (MI) Avery Nokes (VA) Adithi Nythruva (AZ) Maxine Park (CA) Kennedy Percival (CA) Gabe Ponichter (NY) Jennifer Ribble (TN) Frida Ruiz-Berman (TX) Ava Saba (AZ) Devin Sadler (IL) Sydney Safarik (TX) Joelle Sellers (TX) Milan Shetty (WA) Amelia Silberman (NC) Elena Skirgaudas (WA) Nandu Sreekanth (FL) Lauren Sun (NY) Marget Tenters (MA) Cooper Turk-Gagel (IN) Roger Wang (GA) Sophia Welch (VA) Claira Williams (FL) Samantha Wu (CA) Semi-Finalists Sneha Arya (TX) Madeline Austin (IA) Madeline Ayala (TX) Elisabeth Baer (GA) Anneliese Baum (NY) Kaitlin Black (TX) Zoey Blackman (NJ) Eillie Brower (MI) Vivian Brown (OH) Gracie Butt (AZ) Lilly Carroll (OR) Kate Clemetson (NV) Gianna Codispoti (FL) J.C. Colella (NJ) Eva Crichton (NY) Maeve Cunningham (NJ) Amelie Damseaux (FL) Jordan Daniels (CA) Zoe Dempsey (IL) Sophie DeOliveira (MA) Franziska Diefenbach (NY) Aniela Egan (MD) Elizabeth Babiar (GA) Jacquelyn Erickson (CO) Francesca Falbo (CA) Silvan Friedman (CT) Lucia George (MI) Ashmita Ghosh (NC) Anushri Ghoshal (NC) Ava Haller (AZ) Jessica Holliday (NJ) Kaelynn Jackson (NJ) Amelie Kaufman (NY) Jocelyn Knorr (PA) Vanessa Li (MMD) Bridget Lomax (NJ) Morgan Lomax (NJ) Cassidy Loria (VA) Aden Hayhew (IL) Elizabeth McDonald (LA) Libby McDonald (WA) Alex Metivier (OH) Sierra Milone (NJ) Lara Miranda (FL) Henley Nance (MS) Sean Nesamoney (CA) Joon-Hyung Daniel Noh (CA) Violet Pasmooij (GA) Lena Racelis (AL) Anastasia Ramirez (CA) Andrew Rickey (NJ) Kylan Ritchie (TN) Rachel Rogstad (CA) Himawari Rueff (CA) Katherine Ryan (NY) Jocie Schnee (VA) Erin Schumacher (AZ) Cole Seevers (VA) Darcy Serenbetz (NJ) Jayla Shedeed (CO) Jessica Smith (PA) Abigail Springer (AZ) Skye Stauffer (TX) Sydney Steiner (NJ) Grace Stoltzfus (PA) Addison Stout (IN) Charlotte Teeples (VA) Annabel Tew (PA) Naomi Thuren (OR) Donatella To (CA) Josh Townshend (MD) Hailey Tramonte (OH) Aaryahi Vaidya (CA) Ella Vakiner (IA) Isabella Vazquez-Janik (PA) Gina Vicari (VA) Lila Wagner-Gleeson (OH) Sydney Wechsler (NJ) Katie Wylie (MA) Margaret Zhang (NY) High School Voices Ages 16-18 (as of February 1, 2021) First Place Aliyah Douglas (age 16) Oro Valley, Arizona Ironwood Ridge High School Recorded Accompaniment Voice Teacher: Stephanie Fox Second Place (tie) Matthew Danforth (age 17) Demarest, New Jersey The Dwight Englewood School Pianists: Glenn Gordon, Steve Marzullo Voice Teachers: Amelia DeMayo, Liliana Sotirova Alyssa Sunew (age 17) Katy, Texas Seven Lakes High School Pianist: Jeannine Rowden Voice Teacher: Jeannine Rowden Third Place (tie) Ellie Brenner (age 16) Durand, Wisconsin Interlochen Arts Academy Recorded Accompaniment Voice Teacher: Elizabeth Gray Katrina Franco (age 16) San Francisco, California San Francisco University High School Recorded Accompaniment Voice Teacher: Heidi Moss Honorable Mentions Serena Dailey (age 17) Brooklyn, New York Edward R. Murrow High School Pianist: Thomas Hodges Voice Teacher: Christine Moore Vassallo Amelia Gibbons (age 16) De Pere, Wisconsin West De Pere High School Recorded Accompaniment Voice Teacher: Kaara McHugh Rachel Ginn (age 17) Pewaukee, Wisconsin Catholic Memorial High School Pianist: Kaoko Miyazawa Voice Teacher: Christine Flasch Evelyn Hecht (age 17) Maple, Ontario Westmount Collegiate Institute Pianist: Narmina Efendiyeva Voice Teacher: Miriam Eskin Ava Kuntz (age 17) Santa Ana, California Orange County School of the Arts Pianist: John Henri Voice Teacher: Kathleen Martin Lauren Marchand (age 16) Jericho, New York Jericho Senior High School Recorded Accompaniment Voice Teacher: Giuseppe Spoletini Kylie Merrill (age 17) Chandler, Arizona Perry High School Pianist: Jenn Crandall Voice Teacher: Nichole Jensen Janessa Minta (age 17) Corvallis, Oregon Corvallis High School Pianist: Joy Ueng Voice Teacher: Beverly Park Josh Pike (age 16) Peoria, Arizona Arizona Conservatory for Arts and Academics Recorded Accompaniment Voice Teacher: Susan Washburn Alexa Reeves (age 17) Mentions Cherry Hill, New Jersey (continued) Paul VI High School Pianist: Melissa Daniels McCann Voice Teacher: Melissa Daniels McCann Ty'Ria Rounds (age 17) Alton, Illinois Alton High School Voice Teacher: Eddie Hitchcock Emma Wallace (age 17) Austin, Texas McCallum High School Recorded Accompaniment Voice Teacher: Michelle Haché Finalists Maya Baijal (NY) Mia Baron (CA) Shayne Barrett (NJ) Skyy Brooks (PA) Mina Brooks-Schmidt (AK) Alison Bruner (PA) Caitlin Callahan (OR) Nicole Campos (TX) Amelie Chaouat (TX) Joceyln Coburn (NY) Hadley Connor (MA) Alexandra Cook (CA) Giorgia Dallasta (MD) Lucy Daniels (IL) Meghna Das (NJ) Andrew Dlugosch (TX) Andie Earl (NJ) Natalie Evans (AB) Eniya Fields (IL) Grace Finke (CA) Isabella Fisher (NY) Karli Fisher (TX) Sarah Fountain (CA) Francesca Gamba (NY) Alexis Gearty (MI) Ainsley Gilbert (TX) Matthew Gordon (WA) Seth Greene (NC) Grace Hahn (CA) Julia Hancock (MD) Jasmine Harrick (WA) Isabel Hernandez (IL) Hannah Hess (NC) Eveyln Izdepski (VA) Jessica Jang (TX) Nicole Jones (VA) Grace Kang (VA) Zy’Miracle Kearney (NC) Alison Kessler (NY) Erika Kessler (NJ) Rachel Lewiski (PA) Annie Martin (NJ) Zoe Martinez (CA) Wyatt McDaniel (NY) Hannah McLaughlin (NC) Olivia Miniuk (VA) Libby Mullins (VA) Kyla O’Deay (LA) Alexandra O’Farrell (ON) Abby Olson (CA) Emily Orlowski (NJ) Olivia Ostlund (CA) Marius Pearson (NJ) Bria Petrella (NJ) Samantha Phat (NC) Reagan Plank (NC) Sara Porjosh (VA) Melody Prater (KS) Tanisha Pulla (CA) Alexa Pupich (IL) Ava Jolie Savino (NJ) Madi Shaer (MA) Rose Shyk (PA) Ethan Staver (WI) Yumeko Stern (CT) Madalyn Stevens (MA) Peter Sunseri (CA) Jillian Swartout (CA) Julia Taglang (PA) Kirsten Tierney (VA) Hannah Tramonte (OH) Julisa Veron (CA) Nick Vitale (CA) Vanessa Vu (CA) Jessica Wastchak (AZ) Natalie Wiley (IL) Alaina Wilkins (NJ) Amelia Williams (FL) Bethany Yeh (MD) Peggy Yin (NY) Isabel Young (WI) Amelia Zakroff (NJ) Anderson Zoll (TX) Semi-Finalists Marissa Abbott (WI) Marina Adel (CA) Yara Afifi (VA) Cayman Alatalo (WI) Lottie Arnold (OH) Kristin Barker (MD) Bella Birdsley (TX) Sophia Bogdanovitch (MA) Mariella Boudreau (WI) Eliza Brennan (NY) Carolyn Calbeck (IL) Julia Campion (AZ) Elizabeth Crawford (MA) Samantha Croco (IA) Deborah Cusnir (FL) Jackson Daley (MA) Kathryn Dooley (TX) Olivia Dostal (AZ) Giovanni Faltz (NJ) Emersen Fitch (NC) Arijana Florez (NY) Oliva Fortuna (NJ) Simone Gelety (AZ) Jared Gibson (WI) Madeline Giebels (OR) Lauren Goldsborough (NJ) Katie Jo Graham (KY) Avery Horn (IL) Corrine Jones (IL) Faith Kirkland (AZ) Nicole Kirshy (MA) Jadyn Krouse (NJ) Sophia Kumagai (IL) Elizabeth Larabee (MA) Beau Leavenworth (IA) Cassie Miller (AZ) Kieralynn Moshier (AZ) Emma Myers (PA) Ashwini Narayanan (IL) Annemarie Pongonthara (ON) Lou Ponticiello (IL) Audrey Pottkotter (TX) Ella Reidway (VA) Leah Rettig (TX) Katya Sacharow (MA) Mackenzie Schubert (NJ) Paige Shanks (AZ) Clare Shannon (VA) Caleigh Sheehan (NY) Daniel Shirk (WI) Lillian Slater (IL) Sarah Smith (NJ) Kate Tomson (IA) Olivia Ustinovich (MA) Kavya Vandavasi VA) Ariana Velasquez (NJ) Lucy Walter (TX) Sasha Warm (NY) Skie Weaver (WA) Avery Woods Weber (CT) Kayla Xu (CA) Young Adult Voices Ages 18-23 (as of February 1, 2021) Enrollment in a school is not required in this category, nor is a voice teacher, but if the singer provided that information it appears below. First Place Morgan Mastrangelo (age 22) Northwestern University Recorded Accompaniment Voice Teacher: Pamela Hinchman Second Place (tie) Ashlyn Combs (age 21) Nashville, Tennessee Recorded Accompaniment Sarah Juliano (age 22) University of Michigan Pianist: Eric Banitt Voice Teacher: George Shirley Third Place (tie) Benjamin Perkinson (age 19) University of Mary Hardin – Baylor Recorded Accompaniment Voice Teacher: Michelle Haché Piero Regis (age 23) Boston Conservatory at Berklee Pianist: Lindsay Albert Voice Teacher: Victor Jannet Honorable Mentions Margot Frank (age 22) Millikin University Pianists: Roberta Duchak, Cameron Burgess Voice Teacher: Roberta Duchak Shavon Lloyd (age 23) SUNY Potsdam Crane School of Music Recorded Accompaniment Voice Teacher: Lonel Woods Madison Miller (age 23) University of Michigan Recorded Accompaniment Voice Teacher: Scott Piper Sabrina Shah (age 18) Recorded Accompaniment Voice Teacher: Jeanai LaVita Finalists Sarah Allbrandt Sarah Duren Katelyn Farebrother Sophia Fortuna Charlie Grass Joanna Heneveld Sam Joseph Renee Kauffman Sarah Lambert Tate McElhaney Katie Murphy Madison Raef Emma Robinson Ayaka Shimada Abigail Storm Will Upham Back To Top
Reader Testimonials Reader Testimonials Music Express is making my life easier and making the concepts more accessible to the students. THANK YOU, MUSIC EXPRESS! Lori Simmons - New River Elementary, New River, AZ Music Express keeps all our batteries charged full. I look forward to each new issue. Sometimes I don-t know who is more excited, my students or me! Sue Berry - Smith Road Elementary, Temperance, MI I love the CDs. The quality of recordings are excellent, a real plus to teaching. Jenice Rosen - Sierra Canyon School, Chatsworth, CA I love the fact that the choreography can be found on your website. Ghislaine Stewart - Benjamin Franklin Elementary School, Binghamton, NY I love this magazine! In our school, where the budget is so tight, it helps with my general music classes as well as my choral program. Keep up the good work! Cyndi Crowder - Col. Wm. Casey Elementary School, Columbia, KY Music Express is an exceptional value, exceptional quality, thorough and creative-a real pick-me-up for any teacher. This is the most helpful contribution to music resources in my 32 years of teaching. Julie Warren - Redondo Elementary, Homestead, FL I have sung your praises since the moment I started using it. Thank you for providing something I have been looking for my entire career-a season-by-season, moment-by-moment, up-to-date tool to use to share the awesome world of music to my students. Cindy Wilkerson - Springmore Elementary, Shelby, NC Thank you for sending the Music Express magazine. I love "Music Explosion." You are the best, John Jacobson. Music is everything to me. Jonathon L., Grade 4 - Bel Air School, Minot, ND, Sue Ellen Johnson, Music Teacher Music Express rocks! Lauren J., Grade 5, Pleasant Hill Elementary, Pleasant Hill, IL, Sue Coldwell, Music Teacher This is the best supplemental resource for the elementary music classroom that I-ve ever worked with! Linda Holcombe - Highlands Ranch, CO Music Express has rejuvenated my teaching and my classroom. After 28 years of teaching, it is a delight to walk into school and use such fresh, innovative, high quality material. My students love it! Eileen DiRaddo - Camp Hill, PA I have a wonderful time singing and dancing with Music Express. I hope that other kids in the country get to have the same experience. Jenny D., Grade 6 - Springfield, IL Music Express has brought a spark back to my teaching. These are fresh ideas that really encourage me. Thank you for the wonderful opportunities Music Express gives our children. Cynthia Jones - Watterson Elementary, Louisville, KY I love the fact that the lesson plans are there for me! Easy to do and follow. DeAnna Guzman - East Indianola Elementary, Topeka, KA Every month my elementary students look forward to using the magazines. One little fellow calls them the -Music Explosion- books! Catherine Truesdale - Canterbury School, Fort Meyers, FL Music Express magazine is a wonderful tool to help teach young students. The great songs and colored illustrations along with the listening lessons and CD make this a fantastic music magazine! Donna Randall - Meadows Upper Elementary, Rochester, MI I don-t know how I survived my first three years of teaching without Music Express! The magazine provides great lessons and activities that can either stand alone or supplement things we are already doing in class. Rebecca Well - Grant Elementary, Ridgefield Park, NJ I LOVE the music, CD articles, information about warm-ups, K-1-2 activities- everything! This is my personal teaching style. I can-t believe there is a magazine to supplement my program so well! Dianne Borth - Gardner Elementary, Olathe, KS I really like the idea of something to put in the hands of the children that is so colorful and appealing to them. Ingrid Wingate - R.B. Wright Elementary, Moultrie, GA I teach K-5th grade in four buildings and in many rooms. Textbooks are too heavy to move from room to room, but I can use the magazines in many locations! Karen McCausland - Edgarton Elementary School, Newfield, NJ I love that the lessons are aligned with the National Standards and are laid out so well. Margaret Lott - Suttons Bay elementary, Suttons Bay, MI What a wonderful teacher resource! Each issue is truly inspirational, instructional and a gentle reminder to anyone who might be drooping why we love children and our truly noble profession! Keep it coming! Rebecca Arnold - Mansfield, OH Hal Leonard Online - Reader Testimonials Reader Testimonials Music Express is making my life easier and making the concepts more accessible to the students. THANK YOU, MUSIC EXPRESS! Lori Simmons - New River Elementary, New River, AZ Music Express keeps all our batteries charged full. I look forward to each new issue. Sometimes I don-t know who is more excited, my students or me! Sue Berry - Smith Road Elementary, Temperance, MI I love the CDs. The quality of recordings are excellent, a real plus to teaching. Jenice Rosen - Sierra Canyon School, Chatsworth, CA I love the fact that the choreography can be found on your website. Ghislaine Stewart - Benjamin Franklin Elementary School, Binghamton, NY I love this magazine! In our school, where the budget is so tight, it helps with my general music classes as well as my choral program. Keep up the good work! Cyndi Crowder - Col. Wm. Casey Elementary School, Columbia, KY Music Express is an exceptional value, exceptional quality, thorough and creative-a real pick-me-up for any teacher. This is the most helpful contribution to music resources in my 32 years of teaching. Julie Warren - Redondo Elementary, Homestead, FL I have sung your praises since the moment I started using it. Thank you for providing something I have been looking for my entire career-a season-by-season, moment-by-moment, up-to-date tool to use to share the awesome world of music to my students. Cindy Wilkerson - Springmore Elementary, Shelby, NC Thank you for sending the Music Express magazine. I love "Music Explosion." You are the best, John Jacobson. Music is everything to me. Jonathon L., Grade 4 - Bel Air School, Minot, ND, Sue Ellen Johnson, Music Teacher Music Express rocks! Lauren J., Grade 5, Pleasant Hill Elementary, Pleasant Hill, IL, Sue Coldwell, Music Teacher This is the best supplemental resource for the elementary music classroom that I-ve ever worked with! Linda Holcombe - Highlands Ranch, CO Music Express has rejuvenated my teaching and my classroom. After 28 years of teaching, it is a delight to walk into school and use such fresh, innovative, high quality material. My students love it! Eileen DiRaddo - Camp Hill, PA I have a wonderful time singing and dancing with Music Express. I hope that other kids in the country get to have the same experience. Jenny D., Grade 6 - Springfield, IL Music Express has brought a spark back to my teaching. These are fresh ideas that really encourage me. Thank you for the wonderful opportunities Music Express gives our children. Cynthia Jones - Watterson Elementary, Louisville, KY I love the fact that the lesson plans are there for me! Easy to do and follow. DeAnna Guzman - East Indianola Elementary, Topeka, KA Every month my elementary students look forward to using the magazines. One little fellow calls them the -Music Explosion- books! Catherine Truesdale - Canterbury School, Fort Meyers, FL Music Express magazine is a wonderful tool to help teach young students. The great songs and colored illustrations along with the listening lessons and CD make this a fantastic music magazine! Donna Randall - Meadows Upper Elementary, Rochester, MI I don-t know how I survived my first three years of teaching without Music Express! The magazine provides great lessons and activities that can either stand alone or supplement things we are already doing in class. Rebecca Well - Grant Elementary, Ridgefield Park, NJ I LOVE the music, CD articles, information about warm-ups, K-1-2 activities- everything! This is my personal teaching style. I can-t believe there is a magazine to supplement my program so well! Dianne Borth - Gardner Elementary, Olathe, KS I really like the idea of something to put in the hands of the children that is so colorful and appealing to them. Ingrid Wingate - R.B. Wright Elementary, Moultrie, GA I teach K-5th grade in four buildings and in many rooms. Textbooks are too heavy to move from room to room, but I can use the magazines in many locations! Karen McCausland - Edgarton Elementary School, Newfield, NJ I love that the lessons are aligned with the National Standards and are laid out so well. Margaret Lott - Suttons Bay elementary, Suttons Bay, MI What a wonderful teacher resource! Each issue is truly inspirational, instructional and a gentle reminder to anyone who might be drooping why we love children and our truly noble profession! Keep it coming! Rebecca Arnold - Mansfield, OH
Meet John Jacobson Meet John Jacobson Composing, choreographing, teaching, and performing, John Jacobson has become a familiar face to hundreds of thousands of children and music educators throughout North America and abroad. As a performer, he has sung and danced for children and adults in schools in every state of the union, most Canadian provinces, and many foreign countries. His most recent original recordings, Hop 'til You Drop, Conga in the Kitchen, and Around the World with Me, have quickly become favorites of children everywhere. He has written songs that have been licensed by Sesame Street and performed by their characters in live productions. John is a popular hit with junior high, elementary, and preschool children. As a motivational speaker, John is in constant demand for teacher workshops and faculty in-services as well as school assemblies and student rallies. His motivational tapes and videotapes, To Be a Teacher and If It Ain't Got Heart, It Ain't Art!, are fast sellers in the education field. As a writer and composer, John has published dozens of musicals and musical revues for schools and churches. Thousands of schools across the country perform John's musicals as a part of their curriculum each year. Besides the numerous musicals and single songs, John has also published and sold his educational resource materials including Gotta Sing/Gotta Dance (a how-to book/video on choreography), John Jacobson's Dictionary of Dance, and hundreds of videos for use in music classrooms. John is the founder and president of America Sings, Inc., a non-profit, charitable organization that creates non-competitive choral festivals. These festivals provide young performers with the opportunity to utilize their talents in service projects and worthwhile causes. Since 1989, more than 100,000 young people have attended these events. John has a Bachelor of Music Education degree from the University of Wisconsin-Madison and a Masters of Liberal Arts with an emphasis in Literature from Georgetown University in Washington, D.C. Meet John Jacobson Composing, choreographing, teaching, and performing, John Jacobson has become a familiar face to hundreds of thousands of children and music educators throughout North America and abroad. As a performer, he has sung and danced for children and adults in schools in every state of the union, most Canadian provinces, and many foreign countries. His most recent original recordings, Hop 'til You Drop, Conga in the Kitchen, and Around the World with Me, have quickly become favorites of children everywhere. He has written songs that have been licensed by Sesame Street and performed by their characters in live productions. John is a popular hit with junior high, elementary, and preschool children. As a motivational speaker, John is in constant demand for teacher workshops and faculty in-services as well as school assemblies and student rallies. His motivational tapes and videotapes, To Be a Teacher and If It Ain't Got Heart, It Ain't Art!, are fast sellers in the education field. As a writer and composer, John has published dozens of musicals and musical revues for schools and churches. Thousands of schools across the country perform John's musicals as a part of their curriculum each year. Besides the numerous musicals and single songs, John has also published and sold his educational resource materials including Gotta Sing/Gotta Dance (a how-to book/video on choreography), John Jacobson's Dictionary of Dance, and hundreds of videos for use in music classrooms. John is the founder and president of America Sings, Inc., a non-profit, charitable organization that creates non-competitive choral festivals. These festivals provide young performers with the opportunity to utilize their talents in service projects and worthwhile causes. Since 1989, more than 100,000 young people have attended these events. John has a Bachelor of Music Education degree from the University of Wisconsin-Madison and a Masters of Liberal Arts with an emphasis in Literature from Georgetown University in Washington, D.C. Hal Leonard Online - Who is John Jacobson?
20th Century French Art Songs Hal Leonard Online - French Art Songs 20th CENTURY FRENCH ART SONGS Mélodies française du XXe siècle Edited by Carol Kimball Published by Éditions Durand DF 16250/HL 50565798 High Voice edition DF 16251/HL 50565799 Medium/Low Voice edition Distributed in Europe and Asia by Hal Leonard MGB Distributed in North and South America by Hal Leonard Distributed in Australia and New Zealand by Hal Leonard Australia Download & Print Introductory Notes Complete Online Introductory Notes, Unabridged copyright © 2015 Editions Durand An abridged version of editor Carol Kimball’s “Introduction” appears in the High Voice and Medium/Low Voice publications. Her complete length “Introduction” appears below. See the publications for the poetry texts in French and translations in English. GEORGES AURIC CLAUDE DEBUSSY HENRI DUTILLEUX GABRIEL FAURÉ REYNALDO HAHN ARTHUR HONEGGER JACQUES LEGUERNEY OLIVIER MESSIAEN DARIUS MILHAUD FRANCIS POULENC MAURICE RAVEL ALBERT ROUSSEL ERIK SATIE DÉODAT DE SÉVERAC GEORGES AURIC (1899-1983) George Auric was something of a child prodigy, performing a piano recital at the Musicale Indépendante at the age of fourteen. The following year, the Société Nationale de Musique performed several songs he had composed. He studied composition at the Paris Conservatoire with Georges Caussade, and later with Vincent d’Indy and Albert Roussel at the Schola Cantorum de Paris. Before he was twenty, Auric had orchestrated and written incidental music for several stage productions and ballets. He composed a significant amount of avant-garde music during the years between 1910-20. Around 1914, he widened his acquaintances to include members of Les Six, a group of composers informally associated with Erik Satie and Jean Cocteau, and became a part of their group. Auric and Francis Poulenc became fast friends and remained so for life. Music criticism was an important part of Auric’s career; his writing focused on promoting the ideals of Les Six and Cocteau. He was also especially known for his film scores, which are consistently imaginative. He forged a major career in the English movies of the 1940s and ’50s. Among his most well-known scores is the music for the film Moulin Rouge. Other popular film titles with scores by Auric include The Lavender Hill Mob, Roman Holiday, Beauty and the Beast, and Bonjour Tristesse. In 1962 he became the director of the Opéra National de Paris and later, chairman of SACEM, the French Performing Rights Society. Auric continued to write classical chamber music until his death. Le Jeune sanguine (1940) from Trois Poèmes de Louise de Vilmorin poem by Louise de Vilmorin (1902-1969) This mélodie is the second song in Auric’s cycle titled Trois poèmes de Louise de Vilmorin. Vilmorin’s poetry reverberates with sensitivity to affairs of the heart. She was one of Poulenc’s preferred poets; he set her poetry when writing specifically for the female voice, such as in Fiançailles pour rire. A sort of veiled humor is at the heart of this text that describes a young hussy whose lover departs early with the dawn’s first light, leaving her weeping disconsolately. Auric provides a prelude and postlude for formal balance as the miserable young woman mourns her loss. He also inserts several unexpected and amusing measures of a tango as the young man arches his back and leaves the sound of her sobbing. For his three Vilmorin songs, Auric used the style of a chansonette, or more popular song. Printemps (1935) Poem by Pierre de Ronsard (1524-1585) Auric composed this lilting waltz song for a play by Edouard Bourdet titled La Reine Margot (1935). The celebrated musical theatre actress-singer Yvonne Printemps created the role of Queen Margot of Navarre at Théâtre de la Michodière. Auric and Francis Poulenc collaborated on the incidental music for this play; Poulenc took the second act, Auric the first. Poulenc composed the Suite française and the song “A sa guitare”; Auric’s contribution was “Printemps.” Yvonne Printemps sang both songs in the play. Both composers used texts by Pierre de Ronsard, and the musical style of each is reminiscent of the Renaissance. Ronsard’s original poem had twenty-three stanzas. Auric set only the first three. BACK TO TOP CLAUDE DEBUSSY (1862-1918) Claude Debussy wrote expertly for the voice and was acutely responsive to transforming poetic nuance into musical expression. Possibly no other French composer was as attuned to blending poetry and music. His literary taste was highly refined and he maintained a visible and active role in the literary and artistic circles of his time. He chose to set poetry of his contemporaries, notably Verlaine and Mallarmé. Verlaine’s verse with its inherent musical qualities, provided Debussy with poetry for numerous works. For Debussy, poetry as poetry was the paramount determinant of the musical texture. His ability to detect the essence of a poem and perfectly transform it into musical expression makes his mélodies unique in the history of French song. Le promenoir des deux amants (1904, 1910) poems by Tristan l’Hermite (c. 1601-1656) “Auprès de cette grotte sombre,” the first song, made its first appearance with the title “La Grotte,” song two of Trois chansons de France of 1904. In 1910, it was retitled and combined with two other poems by Tristan l’Hermite (“Crois mon conseil, chère Climène” and “Je tremble en voyant ton visage”) to form the miniature cycle Le Promenoir de deux amants, which has been called the finest of all Debussy’s works for voice and piano. It is also the least-often performed. Debussy chose the texts from Les Amours de Tristan, a collection by the seventeenth-century poet Tristan l’Hermite. The poems are set close to a grotto, secluded and silent. The transparent, barely stirring waters mingle with the silence of the cloistered spot, creating a dreamlike atmosphere. Debussy establishes an intimate, tender mood immediately and maintains this fragile mix of sound and color throughout the three mélodies. The interplay of resonance and texture in voice and piano results in an exquisite blend of light and shade, perfectly complementing l’Hermite’s poetic images. Subtly inflected vocal phrases are key to recreating the infinite calm and Pelléas-like atmosphere of the poetry, a perfect fusion of stillness and sensuality. Fêtes galantes II (1904) poems by Paul Verlaine (1844-1896) Debussy’s fascination with the work of the French Symbolist poet Paul Verlaine resulted in his setting to music no fewer than seventeen of Verlaine’s texts. He composed two sets of three songs each, both titled Fêtes galantes, the first in 1892, and the second in 1904. Fêtes galantes II, Debussy’s last setting of Verlaine, closely following the composition of his opera Pélleas et Mélisande, is representative of the composer’s mature vocal works. It is marked by sparser textures, freer tonalities and a more concentrated compositional style than the first set; but like the first set, Fêtes galantes II presents three unrelated songs. None of the Watteau-like scenes are found here; rather, these three poems are filled with mystery, and are without sentimentality. The theme of time appears in each of the poems: the first, sentimental youthful remembrances; the second, inexorable fleeting time; and finally in the last song, time never to be reclaimed. “Les Ingénus” recalls the first awakenings of sexual attraction, and deals with the breathless awe with which a group of unsophisticated young men of the mid-nineteenth century view their similarly naïve female companions. The scene unfolds in a highly chromatic texture, skillfully balanced to preserve the delicate, poignant images in Verlaine’s verse. Debussy’s free-floating harmonies are carefully contrived to complement the uncertain emotions and repressed sensations of the youths in the poem. “Le Faune” begins with a prelude; time unravels in an inflexible dance featuring a rhythmic, hypnotic figure in the piano, imaging the traditional reed pipe and “tambourin,” a small drum played with a stick. The old terra-cotta statue in Verlaine’s poem is probably the woodland god Pan, playing a monotonous rhythm that is both sensual and slightly menacing, matching the mood of the two mélancolique pélerins. Mesmerized by the repetitive rhythms of drum and reed flute, the dejected travelers are caught in the whirlpool of passing time, which spins past as they watch helplessly. “Colloque sentimental.” Colloquial (colloque) refers to ordinary speech or conversation. This disturbing poem is the touchstone of one of Debussy’s great mélodies. It is the last poem in Verlaine’s collection titled Fêtes galantes, and provides a chilling climax. It blends themes of despair, death and disillusion. In this extraordinary song, the ghosts of two lovers meet in a wintry park. As they speak of their former love, their words match the setting: glacial and detached from feeling. Throughout the song their wintry words are enhanced by Debussy’s simple and subtle vocal treatment: one voice urgent and persistent, the other stonily indifferent. Debussy’s manipulation of musical texture between voice and piano is masterful. The sparse vocal lines are almost speech-like, and the piano figures mirror the frozen landscape in which this conversation–equally cold–takes place. The song’s kinship to Debussy’s opera Pélleas et Mélisande is unmistakable. The listener becomes one with the poem’s narrator, straining to see and hear the couple’s conversation in the icy cold of the deserted, frozen park. Debussy reaches back to “En sourdine” (the first mélodie of Fêtes galantes I), takes the wistful song of the nightingale, and inserts it into this song at various points. The nightingale’s melody (“voix de nôtre dessespoir, le rossignol chantera”) provides a touching and melancholy association, linking the two sets of Fêtes galantes together symbolically and musically, foreshadowing the disenchantment of love hinted at in “En sourdine” with the lovers’ conversation in “Colloque sentimental,” and unifying the two sets by a subtle musical component. This panel of three mélodies was Debussy’s last setting of the poetry of Paul Verlaine. Noël des enfants qui n’ont plus de maisons (1915) poem by the composer This is Debussy’s last song, written to his own text, a Christmas carol for children made homeless by World War I. Its intensity comes from its simple sincerity. Debussy composed it on the eve of his first operation for the cancer that would end his life two years later. It was his personal protest against the invasion of northern France by the German armies. When asked for permission to orchestrate the song, Debussy refused, saying, “I want this piece to be sung with the most discreet accompaniment. Not a word of the text must be lost, inspired as it is by the rapacity of our enemies. It is the only way I have to fight the war.” Originally composed in 1915 for piano and voice, Debussy also created a version for children’s chorus, and in 1916, a version for piano and two sopranos. BACK TO TOP HENRI DUTILLEUX (1916-2013) Henri Dutilleux studied at the Paris Conservatory with Maurice Emmanuel. He received the Prix de Rome in 1938 at age twenty-two, and went on to work at the Paris Opéra and the French Radio. France’s musical institutions defined his career: in 1961, he joined the faculty at the école Normale de Musique, teaching composition. In 1970, he taught at the Paris Conservatoire. He destroyed many of his early works, considering them derivative of Ravel, the preeminent composer in France during his youth. His music that had been published avoided demolition. After World War II, Dutilleux concentrated almost exclusively on instrumental and orchestral music, much of which has been widely programmed and recorded. His songs are not well known. In the chronological catalogue of his compositions, beginning in 1929, the Quatre mélodies for mezzo soprano or baritone is only the eleventh entry. It also exists in an orchestral version. The collection is dedicated to the French baritone Charles Panzéra and his wife, pianist Magdeleine Panzéra-Baillot, prominent interpreters of French song in the interwar years. Gabriel Fauré dedicated his last cycle, L’horizon chimérique, to Panzéra. Quatre mélodies (1942) uses poems by four different poets and presents a delightful collection of moods, although it must be admitted that the level of the poetry is not uniformly high: “Féérie au clair de lune” (poem by Raymond Genty), a graceful scherzo of dancing fairies that evokes Shakespeare’s A Midsummer Night’s Dream; “Pour une amie perdue” (Edmond Borsent); “Regards sur l’infini” (Anna de Noailles); and “Fantasio” (André Bellessort). The last mélodie is the most successful of the set and is one of two songs from the set (the other being “Pour une amie perdue”) that Dutilleux acknowledged. He wanted to exclude the first and third songs because their poetry was relatively mediocre. Fantasio (1942) from Quatre Mélodies poem by André Bellessort (1866-1942) “Fantasio” (the original title of Bellessort’s poem is “Les funérailles de Fantasio”) is a colorful poem that chronicles the funeral of the titled character, who has expired before the text begins. The poem, set in Venice during Carnival, is full of glittering and compelling imagery that changes quickly, following the pace of the Carnival. Musical textures are skillfully handled and exhibit some of Dutilleux’s developing style. “Pauvre Fantasio,” is heard several times during the text, acting as both a funereal chant that unifies the proceedings and perhaps as well, keeping the mourners’ footsteps marching together. BACK TO TOP GABRIEL FAURÉ (1845-1924) Gabriel Fauré was one of the great composers of French song who, with Duparc and Debussy, perfected the mélodie as a true art song form. He composed about a hundred songs, all original in conception, constantly developing in style, and pointing the way to future works. His songs express a broad range of emotion and a great variety of musical textures, extending the musical parameters of the genre and inspiring new techniques of song compositions. His songs are often divided into three compositional periods for purposes of study and definition. Fauré has been characterized as a skillful watchmaker; with great precision his songs, which overflow with subtle nuances and delicate detail. His approach is in keeping with the French musical aesthetic: elegant and rational, dealing with sentiment rather than literal sensation. He was able to capture the entire poetic mood of each poem he set and to create an aura around it with his musical setting. Dans la fôret de septembre, Op. 85, No. 1 (1902) poem by Catulle Mendès (1841-1909) This touching poem symbolizes the onset of old age. Mendès was among the founders of a literary magazine, La Revue fantaisiste, which published many poems of the Parnassian poets. Fauré’s musical style perfectly suited this style of poetry: elegance of style, richness of rhyme, regularity and symmetry of rhythm. The Parnassians avoided the excessively romantic and aimed for “art-for-art’s sake.” Fauré was nearly sixty years old when he composed this mélodie, and his reaction to this poem is beautifully poignant. The words describe the poet’s reflective walk through a quiet, somber forest, capturing the chill of mortality and the overall mood of the turning point of life. The ancient forest, sensing a kindred spirit, provides the walker with a sign of friendship and understanding. Fauré set this contemplative poem in a rich harmonic musical texture with a vocal line that borders on quasi-recitative-like shapes. The solemn thoughts of old age call forth a melancholy, but it is a subtle melancholy. It is almost hymn-like in the fusion of words, emotions, and musical texture. This mélodie may be considered as marking the threshold to the final period of Fauré’s compositions. Accompagnement, Op. 85, No. 3 (1902) poem by Albert Victor Samain (1858-1900) This mélodie is a beautiful barcarolle–a nighttime scene, silvery and hazy, alluring but unreal. The image of the poet rowing on the lake is reflected in the musical texture. Fauré had a lifelong fascination with water imagery in music; this poem offers a little reel of unfolding pictures of a moonlight journey a dark lake. The words “dans le rêve” tell us that this is all a dream. This is a rarely sung Fauré mélodie that yields great rewards for the performer. Chanson, Op. 94 (1906) poem by Henri di Régnier (1864-1936) This poem has a gentle charm and a calm simplicity. It is the last of Fauré’s madrigals that include delicate love songs such as “Lydia,” and “Clair de lune.” It has a wonderful fluidity that is a perfect foil for the poetic images The text is a simple set of variations on one theme: nothing on earth has any meaning unless the beloved somehow touches it. Fauré’s reaction to the words called forth a musical setting of delicate transparency and limited range. It is not well known; like “Le Don silencieux,” “Chanson” was published as a single song and therefore not widely disseminated. It is an example of exquisitely planned musical economy, and definitely belongs in Fauré’s third period of musical compositions. Le Don silencieux, Op. 92 (1906) poem by Marie Closset (1875-1952), under the pseudonym Jean Dominique Here is another little known Fauré song, a rarity because it was published separately and was never included in any of the Fauré recueils. The poem has a gentle melancholy–the plea of a timid lover, a mixture of hope and imagined disappointment. The words are tender and flowing, but the overall mood is one of unrelieved sadness. This song marks the beginning of Fauré’s third compositional period, which includes the cycles La Chanson d’Eve, Le Jardin clos, Mirages, and L’Horizon chimérique. Writing of this mélodie in a letter to his wife, Fauré said, It does not in the least resemble any of my previous works, nor anything that I am aware of; I am very pleased about this...It translates the words gradually as they unfold themselves; it begins, opens out, and finishes, nothing more, nevertheless it is unified. 1 NOTES: Quoted in Graham Johnson, Gabriel Fauré: The Songs and their Poets (London: Guildhall School of Music and Ashgate Publishing Ltd., 2009), 291. Quotation from Jean-Michel Nectoux, Gabriel Fauré: A Musical Life, trans. Roger Nichols (Cambridge: Cambridge University Press, 1991), 304. This is a translation of Fauré’s letter to his wife of 17 August 1906. BACK TO TOP REYNALDO HAHN (1875-1947) Reynaldo Hahn, Venezuelan by birth, came to Paris with his family at age four and made a brilliant career. In addition to his career as a composer and singer, he was director of the Paris Opéra, music critic for the newspaper Figaro, and conductor of the Salzburg Festival. He was enough of a scholar to edit some of the works of Rameau. He maintained close friendships throughout his life with actress Sarah Bernhardt and writer Marcel Proust. During the Belle époque, French mélodie was at the height of its development. Hahn was a habitué of the most fashionable salons, where he was in demand as a performer. On these occasions, he usually sang and played his own accompaniment, often with a cigarette dangling from his lips. The art of singing was one of his major passions, and he wrote three books on singing (Du chant, Thèmes varies, and L’oreille au guet), as well as a memoir of Sarah Bernhardt. Hahn’s songs are models of French restraint–devoid of overt display, with beautiful melodies in a modest vocal range. They reflect the style of his teacher, Jules Massenet. Hahn composed approximately ninety-five works for solo voice: eighty-four mélodies, five English songs to texts of Robert Louis Stevenson, and six Italian songs in the Venetian dialect. After 1912, Hahn composed in larger forms: opera, operetta, and film music. Perhaps his most famous work is his operetta Ciboulette (1923), which is still performed. À Chloris (1916) poem by Théophile de Viau (1590-1626) “À Chloris” is No. 14 in Deuxième volume de vingt mélodies, the last major publication of Hahn’s songs during his lifetime. In many of his later songs, he turned to a deliberately archaic style. “À Chloris” features an elegant vocal line above a piano texture that features Baroque musical characteristics; it is its own piece, with ornamented melody and chaconne-like bass. Vocal line and piano piece are woven into a musical tapestry that is both declarative and intimate. Poet Théophile de Viau was considered one of the most influential libertin poets during Louis XIII’s reign. The libertins’ verses had a unique charm that is instantly appealing, but somewhat artificial. Despite this, de Viau’s love poetry is not bland, but full of suggestive passion and elegant wit. BACK TO TOP ARTHUR HONEGGER (1892-1955) Arthur Honegger composed over forty mélodies for voice and piano. Taken as a whole, they are diverse and imaginative. For his texts, he favored contemporary poets such as Jean Cocteau, Guillaume Apollinaire, Paul Claudel, and Paul Fort. He also chose to set unrelated poems by a single poet, such as his Poesies (Cocteau) and Alcools (Apollinaire). Poetry with strong imagery appealed to the dramatist in his personality. For Honegger, as for most successful mélodie composers, the word provides the starting place. He is quoted as saying: For me, the music a song is always dependent upon the poetic model. It must join so closely with the poetry, that they become inseparable and one can picture the poem in wholly musical terms. This is not to say that the music becomes subservient. It must be so crafted that it can stand on its own merits, playable without the text, logical and complete. 1 Born of Swiss parents in Le Havre, France, Arthur Honegger initially studied for two years at the Zurich Conservatory, but enrolled in the Paris Conservatoire from 1911 to 1918, studying with Charles-Marie Widor and Vincent d’Indy. Some of his more familiar large vocal works include the dramatic psalm Le roi David (King David), composed in 1921 and still in the choral repertoire; and his dramatic oratorio of 1935, Jeanne d’Arc au bûcher (Joan of Arc at the stake), with text by Paul Claudel, considered to be one of his finest works. Between the world wars, he composed nine ballets and three vocal stage works, among works in other genres. His total compositional catalog is an impressive list of music: orchestral works, chamber music, concertos, ballets, operas, operettas, and oratorios. Widely known as a train enthusiast, he was passionately interested in locomotives, to which he attributed almost human characteristics. His “mouvement symphonique,” Pacific 231, gained him early acclaim in 1923. Honegger’s musical style is a fascinating mixture of impressionistic effects peppered with penetrating dissonances. He had a fondness for mixing tonalities and using modality. His compositions for the voice display an eclectic focus of coloristic harmonies and architectural clarity. He was a member of Les Six, but unlike most of that group, did not share their overwhelming reaction against German romanticism. Honegger’s musical style is fuller and more serious than his colleagues. He and Darius Milhaud were close friends. Honegger’s generous body of song has proved of enduring interest to contemporary performers. His was a distinctive voice in the vocal music of the twentieth-century French mélodie. Trois Psaumes (1940-41) from the Huguenot Psalter Psaumes XXXIV and CXL translated by Théodore de Bèze (1519-1605) Psaume CXXXVIII translated by Clément Marot (1496-1544) The spirit of Bach shines in the first psaume, “Psalm 34,” in which a chant-like vocal line alternates with a gently moving episodic keyboard part. This call and response continues until the last three vocal phrases, when the vocal line merges with the instrumental texture in a psalm of praise. The second song is “Psalm 140,” “ô Dieu donne-moi la déliverance de cet homme pernicieux” (O God, deliver me from this evil man). Honegger’s biographer, Harry Halbreich, suggests that the “evil man” who was oppressing Europe in those last days of 1940 might be the reason for Honegger’s text choice. This piece was composed before the first and third songs. Its emotional mood peaks with the chorale tune “I know that my Redeemer liveth.” 2 The last song in the set, “Psalm 138,” has the Latin title “Confiteor tibi, Domine” (I thank thee, O Lord) and is a paraphrase by Clément Marot, one of the greatest of the French Renaissance poets. It contains a familiar chorale tune, which is used in canon between voice and piano. NOTES: Arthur Canter and Rachel Joselson, Liner notes, The Songs of Arthur Honegger and Jacques Leguerney. Rachel Joselson, Réne Lecuona , piano. Albany Records, TROY691, 2004. Harry Halbreich, trans. Roger Nichols, Arthur Honegger (Portland, OR: Amadeus Press, 1999), 165. BACK TO TOP JACQUES LEGUERNEY (1906-1997) Most of Jacques Leguerney’s sixty-eight mélodies were composed and published from 1940 to 1964. Many were commissioned and premiered by French baritone Gérard Souzay, his sister, soprano Geneviève Touraine, and pianist Jacqueline Bonneau. Early songs are comparable in mood and style with Ravel or Roussel (who encouraged Leguerney’s composition); later songs have been compared to those of his contemporary, Poulenc. Leguerney writes virtuoso piano parts–often dramatic, and with such an individual sense of harmonic style and color that Pierre Bernac reportedly described them as “mélodies de pianist.” 1 When asked about Leguerney’s songs, Gérard Souzay wrote, “How does one describe this music which is, at the same time, classic and modern? It is pure, but colorfully nuanced; it speaks to the heart as well as the mind–at times calm at times witty–wise, yet sensual...” 2 Many of Leguerney’s songs deal with themes of love and nature, expressing a huge range of emotions from deeply felt meditation to wild, ribald humor. Leguerney stopped composing in 1964, and his songs became neglected. The quality of Leguerney’s text setting, lyrical beauty, and harmonic innovations all call for his songs to be better known and more widely performed. Jacques Leguerney was drawn to the work of Renaissance poets, notably Ronsard. There are eight collections titled Poèmes de la Pléaide, representing settings of sixteenth and seventeenth-century French poetry and totaling thirty-two songs. Additionally, there are cycles and other collections [for a complete listing of Leguerney’s songs, see Dibbern, Kimball, and Choukroun, Interpreting the Songs of Jacques Leguerney]. 3 They may be thought of as the last in the great mainstream of twentieth-century French song. La Caverne d’écho (1954) from Poèmes de la Pléiade, Volume 7 poem by Antoine Girard de Saint-Amant (1594-1661) Dedication: Josiane and Jean Cier. First performance: Bernard Kruysen, baritone; Jean-Charles Richard, pianist. 29 May 1965, Radio France Culture. Marc-Antoine Girard, sieur de Saint-Amant, wrote poetry of great descriptive power, and his use of language set him apart from the other seventeenth-century poets. He was also an adept musician and skillful lute player, writing verses that often describe musical sounds linked to visual images. The poem takes place in a dark cave, home of the nymph, Echo; it is a charmed place, absolutely still and peaceful. The poet’s lute resounds inside the cavern as he tries to soothe the inconsolable Echo, who mourns for her lover Narcissus. Leguerney creates the grotto’s mysterious resonance with bitonality. Piano figures illustrate the strumming of the lute. The text contains many sounds with the consonant “r.” The rolling quality of this speech sonority re-creates the cavern’s resonance. The closing measures of the mélodie produce a striking effect as the singer’s voice echoes eerily in the cavern, blending with the piano’s resonance and creating a remarkably realistic echo. À son page (1944) from Poèmes de la Pléiade, Volume 2 poem by Pierre de Ronsard (1524-1585) Dedicated to Gérard Souzay. First performance: Gérard Souzay, baritone; Jacqueline Robin (Bonneau). 3 May 1945, Salle Gaveau, Paris. This is a lusty scene with four characters: a nobleman tipsy from drink, his page, and two women, Jeanne and Barbe. Carpe diem is the theme here. The singer philosophizes on this idea while enjoying his wine and the tender companionship of the two beautiful women. Leguerney evokes the crackling staccato of a stylized harpsichord with rhythmic accents in the piano. The text is brilliantly set with jagged vocal lines and driving rhythms that illustrate the singer’s intoxication. It ends with Leguerney’s repetition of the last poetic line and the addition of nonsense syllables which fit beautifully into the imagery and mood of Ronsard’s colorful characters. Je me lamente (1943) from Poèmes de la Pléiade, Volume 1 poem by Pierre de Ronsard (1524-1585) Dedicated to Geneviève Touraine. First performance: Paul Derenne, tenor; Jeanne Blancard, pianist. 29 March 1944, Salle de l’Ecole Normale de Musique, Paris. This is one of Leguerney’s most beautiful songs, setting Pierre de Ronsard’s text from his collection of love poems for Marie Dupin, a country girl from a small village in southern France. She was half his age and probably represented the youth he constantly pursued. It has been suggested that the Marie in question was probably Marie de Clèves, passionately adored by Henri III. 4 Leguerney called this mélodie a constant crescendo from beginning to end. 5 Ronsard’s anguish is captured with a texture of stark chords, crowned by a regal and sustained vocal line. As the song progresses, the poet’s anguish is embodied in a more expansive texture, bidding Marie a happy resting place near God or in the Elysian fields. NOTES: Liner notes by Mary Dibbern. Mélodies sur poèmes de la Renaissance (Jacques Leguerney).Harmonia Mundi France. LP recording HMC 1171. Letter to the author. Quoted in Mary Dibbern, Carol Kimball, and Patrick Choukroun. Interpreting the Songs of Jacques Leguerney (Hillsdale, NY: Pendragon Press, 2001), 3. Ibid., 289-295. Ibid., 69. See note 20. Ibid., 70. BACK TO TOP OLIVIER MESSIAEN (1908-1992) Olivier Messiaen was born in 1908 in Avignon, France, into a literary family. He grew up around words and absorbed their shapes, colors and sounds naturally. His father, Pierre Messiaen, was a well-known translator of Shakespeare, and his mother, Cécile Sauvage, was a poet. As a youngster, before beginning to compose music, he had an especially perceptive ear attuned to the unique prosody of the French language. Early in his compositional career, he published a book titled Technique de mon langage musical (1944). About his musical setting of words, Jane Manning observes: ...the syllables themselves create a glittering mosaic of sonorities and subtle resonances, in addition to their actual meaning (many of the poems do not translate at all satisfactorily). The composer’s awareness of the minutiae of verbal enunciations and articulations is miraculous. Each vocal sound can be precisely placed as intended, all dynamics are scrupulously plotted, and the performer’s involvement and intimate connection to the music is enhanced by the sensual nature of words projection... 1 He often used stained glass to explain his music. When viewed from a distance, the myriad details blend into a single entity, whose purpose is to dazzle the listener. Understanding is not necessary, feeling is the prime requisite. The music of Olivier Messiaen is a skillfully designed and unique language, with meaning and form kept separate. Its meaning is unchangeable, harkening back to Gregorian chant, culminating in instruments that are able to prolong sound (organ, strings, or the ondes Martenot). Messiaen’s musical language is defined by its rhythms and tone colors. His uncanny instinct for associating sound with color produced works unique in their concept of the combination of sounds. He said that when he heard or read music, his mind’s eye saw colors that move with the music; he sensed these colors, and at times he precisely indicated their arrangements in his scores. His fascination with birdsong was lifelong; he referred to himself as an ornithologist and tracked birds and their songs all over the world. He considered their resonances as songs and not merely sounds. He notated these on manuscript paper and they found their way into his music. Trois mélodies (1930) poems by Olivier Messiaen, Cécile Sauvage (1883-1927) This little cycle of songs is Messiaen’s first recognized work for voice and piano. The songs are modest in length and not typical of Messiaen’s later style, but show influences of late Fauré and Duparc in the overall musical texture. There is only one song in his vocal compositions in which Messiaen set the poetry of another poet. It is found in this cycle, which uses the text of his mother, the poet Cécile Sauvage, who died three years before the composition of this work. The three movements form a warm and delicate little triptych. Two of Messiaen’s own poems stand on either side of the poem by Cécile Sauvage, throwing that charming little poem into high relief. “Pourquoi?” introduces a litany of the pleasures of nature: birdsong, the unfolding seasons, and water images. The poet becomes emotional, asking why all these bring him no joy. “La Sourire,” the shortest song of the set, is a beautiful microcosm of intimate and spiritual understanding between two people. It is a delicate example of musical economy and word setting in a quasi-recitative style. The last song, “La fiancée perdue,” offers fleeting hints of Messiaen’s cycle to come, Poèmes pour Mi–most specifically, the final song. Here, the poet prays for divine blessing on the soul of the “fiancée” in the title. The fervent incantation illuminates and affirms man’s connection to a higher authority. Examining the poetic content of the three texts, we are struck by the images that underlie the words: the emotional outburst “pourquoi,” (why?), perhaps questioning the death of Cécile, followed by Cécile’s tender affirmation of love, and finally, the prayer asking for Divine grace and the blessing of the soul of the departed. NOTES: Jane Manning, “The Songs and Song Cycles,” in The Messiaen Companion, ed. Peter Hill (Portland, OR: Amadeus Press, 1995), 107. BACK TO TOP DARIUS MILHAUD (1892-1974) Darius Milhaud was probably the most prolific composer of the group known as Les Six (Francis Poulenc, Louis Durey, Arthur Honegger, Germaine Tailleferre, Georges Auric, and Milhaud). The group was unified by friendship rather than a single musical style. Championed by influential writer Jean Cocteau and composer Erik Satie, Les Six often presented their works at the same concerts and met with great regularity–often at Milhaud’s house–to make music and exchange ideas. Louis Durey observed that it was the wide diversity in their personalities and musical styles that gave the group its rich depth and permitted its development. Embodied in the credo of their musical thought was relative sparseness of texture and clarity. Turn-of-the-century France offered popular entertainments that drew the French to an environment of merry-go-rounds, shooting galleries, outdoor concerts, circuses, and a jumble of excitement. Milhaud was fascinated by Parisian street life, and could hear the sounds of the Montmartre fair from his apartment. Often on their group outings, Les Six went together to the Cirque de Médrano to see the Fratellinis, a famous family of clowns of that day. Milhaud observed that their acts were worthy of the Commedia dell’arte. 1 Trois Poèmes de Jean Cocteau, Op. 59 (1920) poems by Jean Cocteau (1889-1963) Trois poèmes de Jean Cocteau is like lyric fragments. The small-range vocal lines have a sparse lyricism–one of emotional mood rather than overt melody. The little mélodies are skillful studies in brevity. These match Cocteau’s rather enigmatic poems that exemplify the style termed dépouillé (stripped to the essentials), his aesthetic creed. Milhaud dedicated the songs to Satie. The three miniatures are a colorful kaleidoscope of the circus and the outdoor fairs that entranced the French during this period. “Fumée” describes the equestrienne of the Cirque Médrano atop a horse, jumping through hoops, captured in Toulouse-Lautrec’s familiar painting titled “L’écuyère au Cirque Fernando (1888); “Fête de Bordeaux” is a description of the merry-go-round at the Bordeaux fair; and “Fête de Montmartre” evokes the nighttime boats and sailors, possibly having to do with a game involving camouflaged ships found at the Montmartre fair. Milhaud infuses stylistic and melodic elements of folk songs and children’s tunes into the tiny pieces, tying the innate excitement of these popular destinations to simple, childlike reactions. NOTES: Laurence Davies, The Gallic Muse (New York: A.S. Barnes and Co., 1967), 164. BACK TO TOP FRANCIS POULENC (1899-1963) Francis Poulenc’s 150 mélodies form the largest body of songs to be added to French vocal literature in the twentieth century. Poulenc’s flair for the dramatic, combined with his superb skill in mixing poetry and music, produced songs that singers find immensely gratifying, not only for their musical value, but for their heightened sense of drama. Poulenc’s mélodies reflect concern and feeling for declamation, inflection, breathing, and above all, show extraordinary warmth of feeling for the human voice. He was fond of saying, “J’aime la voix humaine!” The sophistication of Poulenc’s songs spring from their poetic inspirations. Poulenc was quite knowledgeable about poetry, and chose his texts carefully. His gift of divining the inner life of the texts he set produced songs that do more than merely illustrate the poems. His gift for melody is at the very heart of all his songs and seems to assert itself naturally in shaping the color, weight, and meaning of the texts he set. Ce doux petit visage (1938) poem by Paul éluard (1895-1952) Paul Eluard was one of Poulenc’s three main poets. This is a beautiful introduction to Eluard’s poetry, lyrical and passionately intense. The simplicity of Poulenc’s setting allows the poem to shine. It is one of Poulenc’s tiny gems, and he admitted his partiality to the short song. Eluard’s skill at evoking nostalgia and melancholy are seen here, linked to lost youth. The mélodie is dedicated to the memory of Raymonde Linossier, Poulenc’s most intimate childhood friend, who influenced his literary taste and musical tendencies. He said: “I have a great liking for this short song. Raymonde Linossier was my best advisor for the music of my youth. How many times, during the years since her death, I would have liked to have had her opinion on this or the other of my works.” 1 La Grenouillère (1938) poem by Guillaume Apollinaire (1880-1918) “La Grenouillère” is an outstanding example of Poulenc’s romantic lyricism. This is a text by Guillaume Apollinaire describing the Ile de Croissy, an island in the Seine on the outskirts of Paris, frequented by artists and their models, and celebrated in paintings by Monet, Manet, and Renoir. “The Froggery” was a restaurant on the island. The overall images of happy days that cannot be relived can be seen in Pierre Auguste Renoir’s paintings Les Déjeuner des canotiers (The Boatman’s Luncheon), or La Grenouillère. In this lament for boating parties on the Seine, vocal phrases are sustained and languid, floating over a slowly rocking piano accompaniment. The lazy piano figures mirror the empty tethered boats rocking on the water, bumping against each other, and give expression to the sweet melancholy of the poet’s words. Montparnasse (1945) poem by Guillaume Apollinaire (1880-1918) Apollinaire’s poem is dated 1912. Poulenc writes in his journal of songs that it took him four years to complete “Montparnasse,” almost phrase by phrase, and that he had no regrets about the length of time it took because “it is one of my best songs.” 2 It is a sentimental and heartfelt tribute to Paris. Both Apollinaire and Poulenc loved the city and it played a continuing role in their work. “Montparnasse” is about the idyllic artistic existence lived at the edge of Paris. Poulenc wrote in his diary: “Let us imagine this Montparnasse all at once discovered by Picasso, Braque, Modigliani, Apollinaire.” 3 The mélodie has a carefree nonchalance about it; it is not sad, but thoughtful– a beautiful blend of poetic and musical lyricism. Poulenc’s vocal and harmonic textures are full of surprising harmonic details that bind this song–which he composed in fragments–together into a touching and expressive picture of Paris in the early years of the twentieth century. Bleuet (1939) poem by Guillaume Apollinaire (1880-1918) Guillaume Apollinaire was one of Poulenc’s preferred poets. This is a wartime poem that Apollinaire penned in 1917 in Paris in convalescence after a head injury; both Apollinaire and Poulenc served in World War II. There are several word plays at work here. “Bleuet” was the nickname for French soldiers in World War I, because their uniforms were blue, like the color of a little cornflower, which is a “bleuet.” Also, “Un bleu” was the term used for a raw recruit. “Bleuet” is one of Poulenc’s most moving songs– agonizing in its emotional content yet noble in its message. It is a quiet and private moment in which a twenty-year-old boy who does not yet know all that life can be, is characterized–and addressed–by the poet in a sweetly serious speech. Poulenc wrote that for him, the key to the poem were the words, “It is five o’clock and you would know how to die.” 4 This song is simple, intimate, and poignant. Les Chemins de l’amour (1940) poem by Jean Anouilh (1910-1987) Poulenc composed this valse chantée as incidental music for Léocadia, a play by Jean Anouilh. Within the play, the song was described as a pseudo Viennese waltz, and functioned as a leitmotiv in the plot. Sung by Yvonne Printemps, one of France’s most celebrated musical theatre stars, “Les Chemins de l’amour” became a popular success. It embodies the relaxed elegance of a self-styled Viennese waltz style, encased in one of Poulenc’s haunting melodies. Banalités (1940) poems by Guillaume Apollinaire (1880-1918) Banalités is not a cycle, but a group of five songs. The poems have no connection with each other; however, their order provides a well-constructed recital group. They may be performed separately. The work is one of Poulenc’s most popular vocal works, and deservedly so. Poulenc chose contrasting poems, placing them so that the collection begins briskly and ends with lyrical gravity. “Chanson d’Orkenise” is Poulenc’s title for the poem contained in the strange mixture of prose and poetry that Apollinaire called Onirocritique. Orkenise is a road in Autun leading to the Roman gate of the same name. The musical setting has the feeling of a popular folk song. The narrator sings of a tramp leaving the city and a carter who is entering it - one leaving his heart there, one bringing his heart to be married. There is a word in the poem with a double meaning: “grise” can be translated as “gray” or “tipsy.” The merry quality of the song opens the set with gaiety, but both Apollinaire and Poulenc offer a little food for thought. “Hôtel” is a poem that immediately represented for Poulenc a hotel room in Montparnassse, where the idle poet wants only to bask in the sun’s warmth and smoke. Pierre Bernac referred to it as “the laziest song ever written.” 5 The piano figures are fashioned of Poulenc’s luxuriant chromatic harmonies, stacked as if to cushion the lethargy of the singer. “Fagnes de Wallonie” is set in the gloomy, desolate uplands of the Ardennes with a terrain of vast heaths, twisted trees, and peat bogs, swept by winds of considerable force. Its gloomy setting complements the melancholy mood of the poet. Poulenc’s spiky musical setting is a whirlwind that sweeps from beginning to end in a turbulent texture that demands precise articulation from singer and pianist. Sandwiched between Songs 3 and 5 is a tiny bonbon, “Voyage à Paris.” It resembles a little commercial jingle about Paris–“which one day love must have created”–an invitation to the pleasures of that beautiful city, away from “the dreary countryside.” Poulenc sprinkles his quicksilver setting–a valse-musette–with indications of “amiable” and “avec charme.” The composer referred to it as having “deliciously stupid lines...Anything that concerns Paris I approach with tears in my eyes and my head full of music.” 6 The cycle concludes with “Sanglots”, one of Apollinaire’s finest poems about the universality of lost love, a theme that Poulenc matches with exquisite modulations in a setting that embodies the essence of the words. The vocal lines are eloquently lyrical. The poem is difficult to understand because of the juxtaposition of the main narrative and the interior “asides,” that in effect form a poem within a poem. 7 The song has an elegant serenity that culminates in a stunning climactic point at the words: “Est mort d’amour ou c’est tout comme/ Est mort d’amour et le voici.” The ending lines of the song sustain the profoundly calm mood, bringing Banalités to its close. La Courte Paille (1960) poems by Maurice Carême (1899-1978) The last song cycle Poulenc composed was La Courte paille, on seven poems of Belgian poet Maurice Carême. Poulenc composed the songs for soprano Denise Duval, creator of leading roles in his three operas, hoping that she would sing them to her young son. Poulenc considered the mélodies very poetic and whimsical; unfortunately, Duval disliked the music and never did sing the cycle. Poulenc asked Carême to provide an overall title for the work and requested permission to change the titles of several selected poems: the original title of “Quelle aventure!” is “Une puce et l’éléphant”; “Le Reine de cœur” is “Vitres de lune”; “Le carafon” is “La carafe et le carafon.” For the cycle’s title, Carême chose La Courte Paille (The Short Straw), referring to drawing lots by the method of a short straw. Poulenc was delighted, saying the title symbolized his little musical game exactly. He also wrote in his diary, “They must be sung tenderly; that is the surest way to touch the heart of a child.” 8 The cycle is full of child-like innocence, whimsy and imagination, with a few shadowy undertones. The first song, “Le Sommeil,” is a beautiful lullaby to a restless child who cannot go to sleep, tossing and turning in his small bed. He seems ill, crying and perspiring, but hopefully will finally surrender to slumber. In “Quelle aventure!” the child describes an absurd happening: he saw a flea driving a carriage with a small elephant in it. The story grows more bizarre but the rhythmic pace never wavers, careening to the end of the song when the child wonders how on earth he’ll ever be able to persuade “Mama” that it really happened. The verses are witty, yet the shrieks of “Mon Dieu!” are laced with a feeling of childish terror. “La Reine du cœur” is a beautiful, languid melody that paints a picture of the mysterious Queen of Hearts, beckoning to visitors from her frosty castle, where she reigns over a court of lovers, including the young dead. In “Ba, Be, Bi, Bo, Bu...,” the child is chided “on all sides” about studying. The title of the song presents the French vowels, and the text contains words that make their plural with an “x” (“pou, chou, genou, hibou”). The formidable cat of the poem’s opening lines is none other than that tricky feline Puss-in-Boots! The entire song is a little tongue-twister, an exercise in diction and accuracy. “Les anges musiciens” are none other than the school children staying home on Thursday, the half-day school holiday in France in Poulenc’s time, practicing Mozart on their harps, just like good little angel musicians should do. “Le carafon” is a crazy little story of a carafe that longs for a baby carafe (carafon) just like the giraffe at the zoo, who has a girafon. This is a ridiculous rhyming game like those that children love to play. The text is full of whimsical characters: the carafe, a giraffe, a sorcerer astride a phonograph, Merlin, and finally, a carafon. “Lune d’Avril” is another lullaby, very slow and otherworldly, which serves as an epilogue. Bound together in a musical texture that features a syncopated pedal point, it is filled with enchanted images the child wishes to dream about: a land of joy, light, and flowers where all guns are silent. The ending leaves the listener suspended in a mood of unfinished magic. La Courte Paille is the last vocal music Poulenc composed. NOTES: Quoted in Pierre Bernac, Francis Poulenc: The Man and his Songs (New York: W.W. Norton Co., 1977), 125. Francis Poulenc, Journal de mes mélodies, trans. Winifred Radford (London: Victor Gollancz, 1985), 75. Ibid., 75. Ibid., 57. Bernac, 72. Poulenc, 67. The English translation of “Sanglots” has parentheses that delineate the “asides” so that both “poems” may be seen. These may be found in Pierre Bernac’s books Francis Poulenc: The Man and his Songs, page 75, or The Interpretation of French Song, pages 284-85 Poulenc, 109. BACK TO TOP MAURICE RAVEL (1875-1937) The songs of Maurice Ravel represent a transition between the mature mélodies of Debussy and the vocal literature that followed, notably the songs of Les Six. Debussy dominated the French musical scene from the turn of the century until his death in 1918. It was Ravel who was regarded as the leading musical spokesman for France following World War I. He was a skillful craftsman and his songs have a sense of evenness of rhythmic structure and flow that call for scrupulous execution. The fusion of music and text into a logical whole was of utmost importance to him. He composed elegant and subtle mélodies, using classical phrase structure. His melodic phrases often tend toward modality. His songs range from those with a folk-like style to more to those that are more speech-like, and those that encompass a melodic romanticism. He was precise in his thought and his scoring, and scrupulous in his musical execution. His music encompassed some of the fascinating influences of the post-Wagnerian era. Ravel’s musical contributions were of utmost importance to this exciting and new era in French cultural history. He made notable contributions to musical literature for the piano, the French art song, opera, chamber music, orchestral literature, and the ballet. Sur l’herbe (1907) poem by Paul Verlaine (1833-1896) This mélodie is Ravel’s only setting of Verlaine. It has often been suggested that this poem was probably inspired by Watteau’s painting L’île enchantée. There is also a reference to a famous eighteenth-century dancer, Marie-Anne Cuppi, known as (La) Camargo, who was immortalized on canvas by the painter Nicolas Lancret. The scene is an outside gathering, elegant and artificial. A number of people are there, chief among them, a licentious abbé, slightly tipsy from a bit too much Cyprian wine. He exchanges a few disconnected gallantries with the ladies–innocent conversations on the surface, but sensuous in undertone. The conversation is disconnected; we do not know exactly who is speaking. Ravel shapes very flexible vocal phrases, in keeping with the abbé’s intoxicated state, underscored with graceful piano figures that evoke an eighteenth-century dance. In a letter to Jean-Aubrey, Ravel commented on “Sur l’herbe”: “In this piece, as in the Histoires naturelles, the impression must be given that one is almost not singing. A bit of preciosity is found there which is indicated moreover by the text and the music.” 1 Noël des jouets (1905) poem by the composer This is the only solo song for which Ravel wrote the text. It describes a Christmas manger scene, replete with the Virgin and Christ-child, animals, and angels. It embodies Ravel’s delight with tiny mechanical toys and figures, and his fascination with the unspoiled world of child-like experience. His genius for text painting is displayed in the delightful mélodie. The mechanical toys come to life in the piano figures. Ravel’s charming text creates the images around and over the crèche, with not a word wasted. Ravel commented that the music is “clear and plain, like the mechanical toys of the poem.” 2 This little song foreshadows other Ravel settings of make-believe, beginning with the song cycle Histoires naturelles and culminating with his opera L’Enfant et les sortilèges. The music of menacing dog Belzébuth foreshadows the music of the Beast in the Mother Goose Suite (Ma Mère lOye). Rêves (1927) poem by Léon-Paul Fargue (1876-1947) The poetry of Léon-Paul Fargue has been described as reflecting the union of dream and memory. This mélodie has a tender lyricism within a sparse musical texture. The text is fashioned of a series of miniature images that pass by rather quickly, unrelated, like the images found in dreams. For all their differences, they have a simplicity about them that seems timeless, existing together, as the poet says, “in a vague countryside.” When the dreamer finally awakens, the little fleeting pictures “die quietly.” The piano postlude perpetuates the dream state, creating an ethereal little microcosm that continues to draw the dreamer to it. Ronsard à son âme (1924) poem by Pierre de Ronsard (1524-1585) In his Abrégé de l’art poétique français (1565) Pierre de Ronsard advocated the union of poetry and music, and Renaissance composers frequently set his poems. 3 In this strikingly simple mélodie, Ronsard speaks to his soul, calling it by a series of diminutives: little soul, dainty little one, sweet little one. Ravel uses a series of parallel fifths in the piano figures to invoke a Renaissance mood. This is Ronsard’s last poem, and Ravel’s last adaptation of Renaissance poetry. Ravel’s setting recalls the elegance of his early mélodie, “D’Anne qui me jecta de la neige,” to a poem of Clément Marot. Manteau de fleurs (1903) poem by Paul Barthélemy Jeulin (1863-1936) The poem notes everything in the garden that is pink–all the flowers that will become a beautiful cloak to complement the beauty of the lady of the poem. Ravel usually had very sophisticated taste in choosing texts; this particular poem is an unusual choice. It is a simple text, somewhat banal, but Ravel’s shimmering musical texture imparts a dramatic character for each flower in the poem. The overall piano texture suggests orchestral colors. The last section of the mélodie changes course slightly, with the piano harmonies creating a slightly wistful mood. Clearly, Ravel lavished a beautiful musical setting on a rather ordinary set of words. Don Quichotte à Dulcinée (1932-33) [Medium/Low Voice edition only] poems by Paul Morand (1888-1976) This miniature cycle was Ravel’s last vocal work. His musical portrait of the noble Spanish knight, Don Quixote, is embodied in three mélodies, all based on characteristic Spanish or Basque dance rhythms: (1) the guajira, alternating 6/8 and 3/4 meter; (2) the zorzica, a Basque dance in quintuple meter; and (3) the jota, a lively triple-metered Spanish dance. “Chanson Romanesque” presents the chivalrous idealist Don Quixote, confidently promising to rearrange everything in nature to his lady Dulcinea’s liking in order to win her favor. Dulcinea is in reality a poor farm girl, but the Don’s illusion will not be shaken. He remains authoritative and focused in his quest for her love. “Chanson épique” is Quixote’s reverent prayer to Saint Michael and Saint George, beseeching them to bless his sword and his Lady. Ravel creates a beautifully sustained and prayerful vocal line over a simple accompaniment. “Chanson à boire” is a exuberant drinking song. Although the Don’s tippling has made him overly boisterous, he never oversteps the bounds of his noble bearing. His robust laughter is heard in the piano figures and even a hiccup intrudes between “lorsque j’ai” and “lorsque j’ai bu.” NOTES: Maurice Ravel, in a letter to Jean-Aubrey written in September, 1907. Quoted in Arbie Orenstein, Ravel: Man and Musician (New York: Dover Publications, 1991), 165-66. Quoted in Orenstein, 161. Orenstein, 192. BACK TO TOP ALBERT ROUSSEL (1869-1937) In 1894 Albert Roussel left a highly successful career as a naval officer to pursue music. After completing his studies, he became professor of counterpoint at the Schola Cantorum in Paris. Satie and Varèse were among his students. Roussel was one of the most prominent French composers of the interwar period. He composed almost forty mélodies as well as chamber music, ballets, and operas. His style is eclectic but highly individual. Early works show the influence of Vincent d’Indy, works dating from 1910 to 1920 exhibit influences of Debussy and Ravel, but he turned to neoclassicism in his later compositions. His love for the sea was almost a spiritual attraction and continued to influence his music throughout his career. He had a fascination for distant places; his extended tour of Southeast Asia in 1909 had a tremendous influence on his composition. “Sarabande” and “Cœur en peril” are mélodies to texts of René Chalupt, a close friend. They are found in op. 20 and 50, respectively. Roussel’s overall musical catalogue is not extensive, but its quality is of an extremely high level, and his vocal writing in particular contains some mélodies of great delicacy and style, squarely in the French tradition. For Roussel, the word held primacy in his mélodies, being both transformed by its musical setting and merging with it to create a perfect union. Commenting on the quality of Roussel’s songs, composer Charles Koechlin is quoted as saying: “The sense of austerity pervading them, stemming simply from the composer’s natural reserve, heightens their expressiveness and further embellishes them; in language and content they are absolutely personal. This collection of songs is one which will last because its essence is undying sensitivity.” 1 Sarabande (1919) from Deux mélodies, Op. 20, No. 2 poem by René Chalupt This is surely one of Roussel’s most delicate and magical creations. His writing for the piano is particularly outstanding, placing Chalupt’s poem in an overall texture of elegance and veiled sensuality. There is an Oriental delicacy in Roussel’s musical evocation of the fluttering doves, feathers drifting into a pool, and the gentle drift of chestnut blossoms onto bare flesh. Cœur en péril (1933-34) from Deux mélodies, Op. 50, No. 1 poem by René Chalupt This mélodie is much different in mood–witty and flirtatious. It is the narrative of a young man eager to convince his ladylove of his fidelity. Vocal phrases are tuneful, with a spirited piano texture of Iberian flavor. NOTES: Liner notes, Dom Angelico Surchamp, trans. Elisabeth Carroll, Roussel Mélodies, Colette Alliot-Lugaz, Mady Mesplé, Kurt Ollmann, José Van Dam; Dalton Baldwin, Patrick Gallois. EMI Digital. CDS 7492712, 1987 BACK TO TOP ERIK SATIE (1866-1925) Erik Satie wrote very few songs and most of them date from late in his life. The eccentric father figure of the French avant-garde of the twentieth century had a wildly independent spirit that found its way into his musical compositions. Throughout his life, he kept a great deal of childlike inquisitiveness and innocence. He was a curious personality of unconventional habits whose sense of the absurd and whimsy permeated both his life and his music. Quintessential Satie compositions are laconic and witty. It was Satie who named Les Nouveaux Jeunes, soon known as Les Six, and influenced the early development of the group. La Statue de bronze (1916) from Trois Mélodies poem by Léon-Paul Fargue (1876-1947) This is Satie’s first setting of the poetry of Léon-Paul Fargue, the “Bohemian poet of Paris.” Satie used Fargue’s witty verses again for Ludions. The scene is a garden game–the jeu de tonneau. A bronze frog, perched atop a cabinet with numbered chambers, grows impatient of being the target of the game where metal disks are tossed into her mouth. She dreams of being freed from her pedestal and being able to use her wide-open mouth to utter “LE MOT.” 1 She wants to be free to join the other frogs gathered near the rust-colored washhouse “blowing musical bubbles from the soapy moonlight.” But the game continues, the disks rattle through her mouth into numbered compartments and at night, insects sleep in her mouth. This mélodie can be linked musically to “La Grenouille américaine,” found in Ludions. Both songs share piano figures derived from the café-concert chanson. Ludions (1923) poems by Léon-Paul Fargue (1876-1947) Ludions is the last of Satie’s purely vocal works, composed two years before his death, and is perhaps his finest set of songs. It epitomizes his lifelong quest for musical simplicity and his irreverence for the intricate compositional techniques and overactive emotions of the Impressionists. Ludions is translated as “bottle imps” (a ludion is a little figure suspended in a hollow ball, which descends or rises in a vase filled with water when one presses down on the elastic membrane covering the mouth of the vase). The cycle is a kaleidoscopic set of musical miniatures, riddled with puns and illogical phrases. Fargue’s nonsensical verse complements Satie’s musical aesthetic, and the two friends’ personalities closely matched one another. All the mélodies in Ludions are short, like tiny cameos. They are colorful, saucy, fantastic, and defy translation. “Air du rat,” “La Grenouille américaine,” and “Chanson du chat” are right out of the music hall, and Satie uses with a mock-serious “tongue-in-cheek” treatment for “Spleen” and “Air du poète.” Je te veux (1902) poem by Henry Pacory (1873-?) The valse chantée, or sung waltz was a favorite of the café concerts, for which Satie composed a number of works. Café concerts were a form of Parisian popular entertainment in the late nineteenth and early twentieth century. The all-musical programs were held outside; French popular singers presented repertoire that catered to lower and middle-class audiences who came to talk, eat, drink, and observe the long informal programs, for which there was no admission charge. “Je te veux” was composed for Paulette Darty, dubbed “the Queen of the slow waltz.” It was one of her signature musical presentations for the caf’conc (café concerts), and one that Darty remained associated with throughout her career. A statuesque blonde with an ample figure, Darty was a commanding performer who kept the most boisterous of the Saturday night audiences enthralled. Lyricist Henry Pacory’s rather explicit poem was watered down at Satie’s request before the song was published. La Diva de l’Empire (1904) poem by Charles Bessat, named Numa Blès (1871-1917) The “Diva de l’Empire,” 2 one of Satie’s café-concert songs, was another work written for and performed by Paulette Darty. It was composed for a Bonnaud-Blès music-hall revue called Dévidons la Bobine (Let’s Unwind the Bobbin) that toured several seaside resort towns. The British “diva” is a femme fatale performer who enchants all who see her. The song is a syncopated cakewalk describing her seductive beauty as she struts her stuff “showing the wiggling of her legs and some pretty frilly underwear.” Interspersed at points along the way with English words: Greenaway, baby, little girl, etc. The piano provides a jaunty ragtime rhythm throughout that melds perfectly with the suggestive text. NOTES: ”Le mot” has a double meaning. It was the title of a broadsheet published by Jean Cocteau between 1914-15 and is short for “le mot de Cambronne,” a polite way of saying “merde.” Cambronne was a famous French general who replied “Merde!” when asked to surrender. In Steven Moore Whiting, Satie the Bohemian: From Cabaret to Concert Hall. (New York: Oxford University Press, 1999), 43. Empire refers to the Empire Theatre of Varieties, Leicester Square, London. BACK TO TOP DÉODAT DE SÉVERAC (1872-1921) Déodat de Séverac, of aristocratic lineage, was born in the Languedoc region of southwest France in Saint-Félix-Caraman (now Saint-Félix Lauragais), near Toulouse. After studies in Paris with Vincent d’Indy at the Schola Cantorum, he returned home and remained there. He was a contemporary of Fauré, Debussy and Ravel, but was considered a petit maître in their company, possibly because of his return to Languedoc at the completion of his musical studies. Séverac composed piano and orchestral music, operas and songs. The culture of his native Languedoc figured prominently in his music, which is highly descriptive. He often wrote parts for regional folk music in his scores. Many considered him provincial and unsophisticated, but his music displays his skill in integrating folk elements–and often, regional folk instruments–of his native Languedoc into his works. He often referred to himself as “the peasant musician.” Influences of Debussy, Mussorgsky, and Bizet may be found in his mélodies. Although his music is rather conservative in style, Séverac fused folk elements with the musical styles of the day in a unique and individual manner. Ma poupée chérie (1914) poem by the composer Composed in 1914 (and published in 1916) for his daughter Magali and dedicated to her, this little cradlesong is probably de Séverac’s best loved and most performed mélodie. Séverac’s fresh musical setting contains just the right combination of simplicity and delightful childlike honesty. Despite the subject matter, the composer’s heartfelt poem avoids an overly cloying atmosphere. BACK TO TOP OTHER SOURCES CONSULTED: Jane Bathori, On the Interpretation of the Mélodies of Claude Debussy, transl. and with an introduction by Linda Laurent (Stuyvesant, NY: Pendragon Press, 1998). Pierre Bernac, Francis Poulenc: The Man and his Songs, transl. by Winifred Radford (New York: W.W. Norton, 1977). Pierre Bernac, The Interpretation of French Song, transl. by Winifred Radford(New York: W.W. Norton, 1978). Elaine Brody, Paris: The Musical Kaleidoscope 1870-1925 (New York: George Braziller, 1987). Mary Dibbern, Carol Kimball, and Patrick Choukroun, Interpreting the Songs of Jacques Leguerney (Hillsdale, NY: Pendragon Press, 2001) Alan M. Gillmor, Erik Satie (New York: W.W. Norton Co., 1992). James Harding, The Ox on the Roof: Scenes from musical life in Paris in the Twenties (New York: Da Capo Press, 1986). Peter Hill, ed., The Messiaen Companion (Portland, OR: Amadeus Press, 1995). Graham Johnson, Gabriel Fauré: The Songs and their Poets (London: Ashgate Publishing Ltd. and the Guildhall School of Music and Drama, 2009) Graham Johnson and Richard Stokes, A French Song Companion (Oxford: Oxford University Press, 2000). Carol Kimball, Song: A Guide to Art Song Style and Literature (Milwaukee, WI: Hal Leonard Corp., 2005). Carol Kimball and Richard Walters, eds., The French Song Anthology (Milwaukee, WI: Hal Leonard Corp., 2001). Timothy LeVan, Masters of the French Art Song (Metuchen, NJ: Scarecrow Press, 1991). Barbara Meister, Nineteenth-Century French Song (Bloomington, IN: Indiana University Press, 1980). Wilfrid Mellers, Francis Poulenc (Oxford: Oxford University Press, 1993). Arbie Orenstein, Ravel: Man and Musician (New York: Columbia University Press, 1975). Nancy Perloff, Art and the Everyday: Popular Entertainment in the Circle of Erik Satie(Oxford: Clarendon Press, 1991) Caroline Potter, Henri Dutilleux: His Life and Works (Brookfield, VT: Ashgate Publishing Co., 1997). Francis Poulenc, Moi et mes amis: Confidences recueilles par Stéphane Audel (Paris: La Palatine, 1963). Francis Poulenc, Diary of my Songs [Journal de mes mélodies] transl. by Winifred Radford (London: Victor Gollancz, Ltd., 1985) Marie-Claire Rohinsky, ed., The Singer’s Debussy (New York: Pelion Press, 1987) Roger Shattuck, The Banquet Years (New York: Vintage Books, 1968). 20TH CENTURY FRENCH ART SONGS Mélodies française du XXe siècle Edited by Carol Kimball Published by Éditions Durand DF 16250/HL 50565798 High Voice edition DF 16251/HL 50565799 Medium/Low Voice edition Distributed in Europe and Asia by Hal Leonard MGB Distributed in North and South America by Hal Leonard Distributed in Australia and New Zealand by Hal Leonard Australia Download & Print Introductory Notes Complete Online Introductory Notes, Unabridged copyright © 2015 Editions Durand An abridged version of editor Carol Kimball’s “Introduction” appears in the High Voice and Medium/Low Voice publications. Her complete length “Introduction” appears below. See the publications for the poetry texts in French and translations in English. GEORGES AURIC CLAUDE DEBUSSY HENRI DUTILLEUX GABRIEL FAURÉ REYNALDO HAHN ARTHUR HONEGGER JACQUES LEGUERNEY OLIVIER MESSIAEN DARIUS MILHAUD FRANCIS POULENC MAURICE RAVEL ALBERT ROUSSEL ERIK SATIE DÉODAT DE SÉVERAC GEORGES AURIC (1899-1983) George Auric was something of a child prodigy, performing a piano recital at the Musicale Indépendante at the age of fourteen. The following year, the Société Nationale de Musique performed several songs he had composed. He studied composition at the Paris Conservatoire with Georges Caussade, and later with Vincent d’Indy and Albert Roussel at the Schola Cantorum de Paris. Before he was twenty, Auric had orchestrated and written incidental music for several stage productions and ballets. He composed a significant amount of avant-garde music during the years between 1910-20. Around 1914, he widened his acquaintances to include members of Les Six, a group of composers informally associated with Erik Satie and Jean Cocteau, and became a part of their group. Auric and Francis Poulenc became fast friends and remained so for life. Music criticism was an important part of Auric’s career; his writing focused on promoting the ideals of Les Six and Cocteau. He was also especially known for his film scores, which are consistently imaginative. He forged a major career in the English movies of the 1940s and ’50s. Among his most well-known scores is the music for the film Moulin Rouge. Other popular film titles with scores by Auric include The Lavender Hill Mob, Roman Holiday, Beauty and the Beast, and Bonjour Tristesse. In 1962 he became the director of the Opéra National de Paris and later, chairman of SACEM, the French Performing Rights Society. Auric continued to write classical chamber music until his death. Le Jeune sanguine (1940) from Trois Poèmes de Louise de Vilmorin poem by Louise de Vilmorin (1902-1969) This mélodie is the second song in Auric’s cycle titled Trois poèmes de Louise de Vilmorin. Vilmorin’s poetry reverberates with sensitivity to affairs of the heart. She was one of Poulenc’s preferred poets; he set her poetry when writing specifically for the female voice, such as in Fiançailles pour rire. A sort of veiled humor is at the heart of this text that describes a young hussy whose lover departs early with the dawn’s first light, leaving her weeping disconsolately. Auric provides a prelude and postlude for formal balance as the miserable young woman mourns her loss. He also inserts several unexpected and amusing measures of a tango as the young man arches his back and leaves the sound of her sobbing. For his three Vilmorin songs, Auric used the style of a chansonette, or more popular song. Printemps (1935) Poem by Pierre de Ronsard (1524-1585) Auric composed this lilting waltz song for a play by Edouard Bourdet titled La Reine Margot (1935). The celebrated musical theatre actress-singer Yvonne Printemps created the role of Queen Margot of Navarre at Théâtre de la Michodière. Auric and Francis Poulenc collaborated on the incidental music for this play; Poulenc took the second act, Auric the first. Poulenc composed the Suite française and the song “A sa guitare”; Auric’s contribution was “Printemps.” Yvonne Printemps sang both songs in the play. Both composers used texts by Pierre de Ronsard, and the musical style of each is reminiscent of the Renaissance. Ronsard’s original poem had twenty-three stanzas. Auric set only the first three. BACK TO TOP CLAUDE DEBUSSY (1862-1918) Claude Debussy wrote expertly for the voice and was acutely responsive to transforming poetic nuance into musical expression. Possibly no other French composer was as attuned to blending poetry and music. His literary taste was highly refined and he maintained a visible and active role in the literary and artistic circles of his time. He chose to set poetry of his contemporaries, notably Verlaine and Mallarmé. Verlaine’s verse with its inherent musical qualities, provided Debussy with poetry for numerous works. For Debussy, poetry as poetry was the paramount determinant of the musical texture. His ability to detect the essence of a poem and perfectly transform it into musical expression makes his mélodies unique in the history of French song. Le promenoir des deux amants (1904, 1910) poems by Tristan l’Hermite (c. 1601-1656) “Auprès de cette grotte sombre,” the first song, made its first appearance with the title “La Grotte,” song two of Trois chansons de France of 1904. In 1910, it was retitled and combined with two other poems by Tristan l’Hermite (“Crois mon conseil, chère Climène” and “Je tremble en voyant ton visage”) to form the miniature cycle Le Promenoir de deux amants, which has been called the finest of all Debussy’s works for voice and piano. It is also the least-often performed. Debussy chose the texts from Les Amours de Tristan, a collection by the seventeenth-century poet Tristan l’Hermite. The poems are set close to a grotto, secluded and silent. The transparent, barely stirring waters mingle with the silence of the cloistered spot, creating a dreamlike atmosphere. Debussy establishes an intimate, tender mood immediately and maintains this fragile mix of sound and color throughout the three mélodies. The interplay of resonance and texture in voice and piano results in an exquisite blend of light and shade, perfectly complementing l’Hermite’s poetic images. Subtly inflected vocal phrases are key to recreating the infinite calm and Pelléas-like atmosphere of the poetry, a perfect fusion of stillness and sensuality. Fêtes galantes II (1904) poems by Paul Verlaine (1844-1896) Debussy’s fascination with the work of the French Symbolist poet Paul Verlaine resulted in his setting to music no fewer than seventeen of Verlaine’s texts. He composed two sets of three songs each, both titled Fêtes galantes, the first in 1892, and the second in 1904. Fêtes galantes II, Debussy’s last setting of Verlaine, closely following the composition of his opera Pélleas et Mélisande, is representative of the composer’s mature vocal works. It is marked by sparser textures, freer tonalities and a more concentrated compositional style than the first set; but like the first set, Fêtes galantes II presents three unrelated songs. None of the Watteau-like scenes are found here; rather, these three poems are filled with mystery, and are without sentimentality. The theme of time appears in each of the poems: the first, sentimental youthful remembrances; the second, inexorable fleeting time; and finally in the last song, time never to be reclaimed. “Les Ingénus” recalls the first awakenings of sexual attraction, and deals with the breathless awe with which a group of unsophisticated young men of the mid-nineteenth century view their similarly naïve female companions. The scene unfolds in a highly chromatic texture, skillfully balanced to preserve the delicate, poignant images in Verlaine’s verse. Debussy’s free-floating harmonies are carefully contrived to complement the uncertain emotions and repressed sensations of the youths in the poem. “Le Faune” begins with a prelude; time unravels in an inflexible dance featuring a rhythmic, hypnotic figure in the piano, imaging the traditional reed pipe and “tambourin,” a small drum played with a stick. The old terra-cotta statue in Verlaine’s poem is probably the woodland god Pan, playing a monotonous rhythm that is both sensual and slightly menacing, matching the mood of the two mélancolique pélerins. Mesmerized by the repetitive rhythms of drum and reed flute, the dejected travelers are caught in the whirlpool of passing time, which spins past as they watch helplessly. “Colloque sentimental.” Colloquial (colloque) refers to ordinary speech or conversation. This disturbing poem is the touchstone of one of Debussy’s great mélodies. It is the last poem in Verlaine’s collection titled Fêtes galantes, and provides a chilling climax. It blends themes of despair, death and disillusion. In this extraordinary song, the ghosts of two lovers meet in a wintry park. As they speak of their former love, their words match the setting: glacial and detached from feeling. Throughout the song their wintry words are enhanced by Debussy’s simple and subtle vocal treatment: one voice urgent and persistent, the other stonily indifferent. Debussy’s manipulation of musical texture between voice and piano is masterful. The sparse vocal lines are almost speech-like, and the piano figures mirror the frozen landscape in which this conversation–equally cold–takes place. The song’s kinship to Debussy’s opera Pélleas et Mélisande is unmistakable. The listener becomes one with the poem’s narrator, straining to see and hear the couple’s conversation in the icy cold of the deserted, frozen park. Debussy reaches back to “En sourdine” (the first mélodie of Fêtes galantes I), takes the wistful song of the nightingale, and inserts it into this song at various points. The nightingale’s melody (“voix de nôtre dessespoir, le rossignol chantera”) provides a touching and melancholy association, linking the two sets of Fêtes galantes together symbolically and musically, foreshadowing the disenchantment of love hinted at in “En sourdine” with the lovers’ conversation in “Colloque sentimental,” and unifying the two sets by a subtle musical component. This panel of three mélodies was Debussy’s last setting of the poetry of Paul Verlaine. Noël des enfants qui n’ont plus de maisons (1915) poem by the composer This is Debussy’s last song, written to his own text, a Christmas carol for children made homeless by World War I. Its intensity comes from its simple sincerity. Debussy composed it on the eve of his first operation for the cancer that would end his life two years later. It was his personal protest against the invasion of northern France by the German armies. When asked for permission to orchestrate the song, Debussy refused, saying, “I want this piece to be sung with the most discreet accompaniment. Not a word of the text must be lost, inspired as it is by the rapacity of our enemies. It is the only way I have to fight the war.” Originally composed in 1915 for piano and voice, Debussy also created a version for children’s chorus, and in 1916, a version for piano and two sopranos. BACK TO TOP HENRI DUTILLEUX (1916-2013) Henri Dutilleux studied at the Paris Conservatory with Maurice Emmanuel. He received the Prix de Rome in 1938 at age twenty-two, and went on to work at the Paris Opéra and the French Radio. France’s musical institutions defined his career: in 1961, he joined the faculty at the école Normale de Musique, teaching composition. In 1970, he taught at the Paris Conservatoire. He destroyed many of his early works, considering them derivative of Ravel, the preeminent composer in France during his youth. His music that had been published avoided demolition. After World War II, Dutilleux concentrated almost exclusively on instrumental and orchestral music, much of which has been widely programmed and recorded. His songs are not well known. In the chronological catalogue of his compositions, beginning in 1929, the Quatre mélodies for mezzo soprano or baritone is only the eleventh entry. It also exists in an orchestral version. The collection is dedicated to the French baritone Charles Panzéra and his wife, pianist Magdeleine Panzéra-Baillot, prominent interpreters of French song in the interwar years. Gabriel Fauré dedicated his last cycle, L’horizon chimérique, to Panzéra. Quatre mélodies (1942) uses poems by four different poets and presents a delightful collection of moods, although it must be admitted that the level of the poetry is not uniformly high: “Féérie au clair de lune” (poem by Raymond Genty), a graceful scherzo of dancing fairies that evokes Shakespeare’s A Midsummer Night’s Dream; “Pour une amie perdue” (Edmond Borsent); “Regards sur l’infini” (Anna de Noailles); and “Fantasio” (André Bellessort). The last mélodie is the most successful of the set and is one of two songs from the set (the other being “Pour une amie perdue”) that Dutilleux acknowledged. He wanted to exclude the first and third songs because their poetry was relatively mediocre. Fantasio (1942) from Quatre Mélodies poem by André Bellessort (1866-1942) “Fantasio” (the original title of Bellessort’s poem is “Les funérailles de Fantasio”) is a colorful poem that chronicles the funeral of the titled character, who has expired before the text begins. The poem, set in Venice during Carnival, is full of glittering and compelling imagery that changes quickly, following the pace of the Carnival. Musical textures are skillfully handled and exhibit some of Dutilleux’s developing style. “Pauvre Fantasio,” is heard several times during the text, acting as both a funereal chant that unifies the proceedings and perhaps as well, keeping the mourners’ footsteps marching together. BACK TO TOP GABRIEL FAURÉ (1845-1924) Gabriel Fauré was one of the great composers of French song who, with Duparc and Debussy, perfected the mélodie as a true art song form. He composed about a hundred songs, all original in conception, constantly developing in style, and pointing the way to future works. His songs express a broad range of emotion and a great variety of musical textures, extending the musical parameters of the genre and inspiring new techniques of song compositions. His songs are often divided into three compositional periods for purposes of study and definition. Fauré has been characterized as a skillful watchmaker; with great precision his songs, which overflow with subtle nuances and delicate detail. His approach is in keeping with the French musical aesthetic: elegant and rational, dealing with sentiment rather than literal sensation. He was able to capture the entire poetic mood of each poem he set and to create an aura around it with his musical setting. Dans la fôret de septembre, Op. 85, No. 1 (1902) poem by Catulle Mendès (1841-1909) This touching poem symbolizes the onset of old age. Mendès was among the founders of a literary magazine, La Revue fantaisiste, which published many poems of the Parnassian poets. Fauré’s musical style perfectly suited this style of poetry: elegance of style, richness of rhyme, regularity and symmetry of rhythm. The Parnassians avoided the excessively romantic and aimed for “art-for-art’s sake.” Fauré was nearly sixty years old when he composed this mélodie, and his reaction to this poem is beautifully poignant. The words describe the poet’s reflective walk through a quiet, somber forest, capturing the chill of mortality and the overall mood of the turning point of life. The ancient forest, sensing a kindred spirit, provides the walker with a sign of friendship and understanding. Fauré set this contemplative poem in a rich harmonic musical texture with a vocal line that borders on quasi-recitative-like shapes. The solemn thoughts of old age call forth a melancholy, but it is a subtle melancholy. It is almost hymn-like in the fusion of words, emotions, and musical texture. This mélodie may be considered as marking the threshold to the final period of Fauré’s compositions. Accompagnement, Op. 85, No. 3 (1902) poem by Albert Victor Samain (1858-1900) This mélodie is a beautiful barcarolle–a nighttime scene, silvery and hazy, alluring but unreal. The image of the poet rowing on the lake is reflected in the musical texture. Fauré had a lifelong fascination with water imagery in music; this poem offers a little reel of unfolding pictures of a moonlight journey a dark lake. The words “dans le rêve” tell us that this is all a dream. This is a rarely sung Fauré mélodie that yields great rewards for the performer. Chanson, Op. 94 (1906) poem by Henri di Régnier (1864-1936) This poem has a gentle charm and a calm simplicity. It is the last of Fauré’s madrigals that include delicate love songs such as “Lydia,” and “Clair de lune.” It has a wonderful fluidity that is a perfect foil for the poetic images The text is a simple set of variations on one theme: nothing on earth has any meaning unless the beloved somehow touches it. Fauré’s reaction to the words called forth a musical setting of delicate transparency and limited range. It is not well known; like “Le Don silencieux,” “Chanson” was published as a single song and therefore not widely disseminated. It is an example of exquisitely planned musical economy, and definitely belongs in Fauré’s third period of musical compositions. Le Don silencieux, Op. 92 (1906) poem by Marie Closset (1875-1952), under the pseudonym Jean Dominique Here is another little known Fauré song, a rarity because it was published separately and was never included in any of the Fauré recueils. The poem has a gentle melancholy–the plea of a timid lover, a mixture of hope and imagined disappointment. The words are tender and flowing, but the overall mood is one of unrelieved sadness. This song marks the beginning of Fauré’s third compositional period, which includes the cycles La Chanson d’Eve, Le Jardin clos, Mirages, and L’Horizon chimérique. Writing of this mélodie in a letter to his wife, Fauré said, It does not in the least resemble any of my previous works, nor anything that I am aware of; I am very pleased about this...It translates the words gradually as they unfold themselves; it begins, opens out, and finishes, nothing more, nevertheless it is unified. 1 NOTES: Quoted in Graham Johnson, Gabriel Fauré: The Songs and their Poets (London: Guildhall School of Music and Ashgate Publishing Ltd., 2009), 291. Quotation from Jean-Michel Nectoux, Gabriel Fauré: A Musical Life, trans. Roger Nichols (Cambridge: Cambridge University Press, 1991), 304. This is a translation of Fauré’s letter to his wife of 17 August 1906. BACK TO TOP REYNALDO HAHN (1875-1947) Reynaldo Hahn, Venezuelan by birth, came to Paris with his family at age four and made a brilliant career. In addition to his career as a composer and singer, he was director of the Paris Opéra, music critic for the newspaper Figaro, and conductor of the Salzburg Festival. He was enough of a scholar to edit some of the works of Rameau. He maintained close friendships throughout his life with actress Sarah Bernhardt and writer Marcel Proust. During the Belle époque, French mélodie was at the height of its development. Hahn was a habitué of the most fashionable salons, where he was in demand as a performer. On these occasions, he usually sang and played his own accompaniment, often with a cigarette dangling from his lips. The art of singing was one of his major passions, and he wrote three books on singing (Du chant, Thèmes varies, and L’oreille au guet), as well as a memoir of Sarah Bernhardt. Hahn’s songs are models of French restraint–devoid of overt display, with beautiful melodies in a modest vocal range. They reflect the style of his teacher, Jules Massenet. Hahn composed approximately ninety-five works for solo voice: eighty-four mélodies, five English songs to texts of Robert Louis Stevenson, and six Italian songs in the Venetian dialect. After 1912, Hahn composed in larger forms: opera, operetta, and film music. Perhaps his most famous work is his operetta Ciboulette (1923), which is still performed. À Chloris (1916) poem by Théophile de Viau (1590-1626) “À Chloris” is No. 14 in Deuxième volume de vingt mélodies, the last major publication of Hahn’s songs during his lifetime. In many of his later songs, he turned to a deliberately archaic style. “À Chloris” features an elegant vocal line above a piano texture that features Baroque musical characteristics; it is its own piece, with ornamented melody and chaconne-like bass. Vocal line and piano piece are woven into a musical tapestry that is both declarative and intimate. Poet Théophile de Viau was considered one of the most influential libertin poets during Louis XIII’s reign. The libertins’ verses had a unique charm that is instantly appealing, but somewhat artificial. Despite this, de Viau’s love poetry is not bland, but full of suggestive passion and elegant wit. BACK TO TOP ARTHUR HONEGGER (1892-1955) Arthur Honegger composed over forty mélodies for voice and piano. Taken as a whole, they are diverse and imaginative. For his texts, he favored contemporary poets such as Jean Cocteau, Guillaume Apollinaire, Paul Claudel, and Paul Fort. He also chose to set unrelated poems by a single poet, such as his Poesies (Cocteau) and Alcools (Apollinaire). Poetry with strong imagery appealed to the dramatist in his personality. For Honegger, as for most successful mélodie composers, the word provides the starting place. He is quoted as saying: For me, the music a song is always dependent upon the poetic model. It must join so closely with the poetry, that they become inseparable and one can picture the poem in wholly musical terms. This is not to say that the music becomes subservient. It must be so crafted that it can stand on its own merits, playable without the text, logical and complete. 1 Born of Swiss parents in Le Havre, France, Arthur Honegger initially studied for two years at the Zurich Conservatory, but enrolled in the Paris Conservatoire from 1911 to 1918, studying with Charles-Marie Widor and Vincent d’Indy. Some of his more familiar large vocal works include the dramatic psalm Le roi David (King David), composed in 1921 and still in the choral repertoire; and his dramatic oratorio of 1935, Jeanne d’Arc au bûcher (Joan of Arc at the stake), with text by Paul Claudel, considered to be one of his finest works. Between the world wars, he composed nine ballets and three vocal stage works, among works in other genres. His total compositional catalog is an impressive list of music: orchestral works, chamber music, concertos, ballets, operas, operettas, and oratorios. Widely known as a train enthusiast, he was passionately interested in locomotives, to which he attributed almost human characteristics. His “mouvement symphonique,” Pacific 231, gained him early acclaim in 1923. Honegger’s musical style is a fascinating mixture of impressionistic effects peppered with penetrating dissonances. He had a fondness for mixing tonalities and using modality. His compositions for the voice display an eclectic focus of coloristic harmonies and architectural clarity. He was a member of Les Six, but unlike most of that group, did not share their overwhelming reaction against German romanticism. Honegger’s musical style is fuller and more serious than his colleagues. He and Darius Milhaud were close friends. Honegger’s generous body of song has proved of enduring interest to contemporary performers. His was a distinctive voice in the vocal music of the twentieth-century French mélodie. Trois Psaumes (1940-41) from the Huguenot Psalter Psaumes XXXIV and CXL translated by Théodore de Bèze (1519-1605) Psaume CXXXVIII translated by Clément Marot (1496-1544) The spirit of Bach shines in the first psaume, “Psalm 34,” in which a chant-like vocal line alternates with a gently moving episodic keyboard part. This call and response continues until the last three vocal phrases, when the vocal line merges with the instrumental texture in a psalm of praise. The second song is “Psalm 140,” “ô Dieu donne-moi la déliverance de cet homme pernicieux” (O God, deliver me from this evil man). Honegger’s biographer, Harry Halbreich, suggests that the “evil man” who was oppressing Europe in those last days of 1940 might be the reason for Honegger’s text choice. This piece was composed before the first and third songs. Its emotional mood peaks with the chorale tune “I know that my Redeemer liveth.” 2 The last song in the set, “Psalm 138,” has the Latin title “Confiteor tibi, Domine” (I thank thee, O Lord) and is a paraphrase by Clément Marot, one of the greatest of the French Renaissance poets. It contains a familiar chorale tune, which is used in canon between voice and piano. NOTES: Arthur Canter and Rachel Joselson, Liner notes, The Songs of Arthur Honegger and Jacques Leguerney. Rachel Joselson, Réne Lecuona , piano. Albany Records, TROY691, 2004. Harry Halbreich, trans. Roger Nichols, Arthur Honegger (Portland, OR: Amadeus Press, 1999), 165. BACK TO TOP JACQUES LEGUERNEY (1906-1997) Most of Jacques Leguerney’s sixty-eight mélodies were composed and published from 1940 to 1964. Many were commissioned and premiered by French baritone Gérard Souzay, his sister, soprano Geneviève Touraine, and pianist Jacqueline Bonneau. Early songs are comparable in mood and style with Ravel or Roussel (who encouraged Leguerney’s composition); later songs have been compared to those of his contemporary, Poulenc. Leguerney writes virtuoso piano parts–often dramatic, and with such an individual sense of harmonic style and color that Pierre Bernac reportedly described them as “mélodies de pianist.” 1 When asked about Leguerney’s songs, Gérard Souzay wrote, “How does one describe this music which is, at the same time, classic and modern? It is pure, but colorfully nuanced; it speaks to the heart as well as the mind–at times calm at times witty–wise, yet sensual...” 2 Many of Leguerney’s songs deal with themes of love and nature, expressing a huge range of emotions from deeply felt meditation to wild, ribald humor. Leguerney stopped composing in 1964, and his songs became neglected. The quality of Leguerney’s text setting, lyrical beauty, and harmonic innovations all call for his songs to be better known and more widely performed. Jacques Leguerney was drawn to the work of Renaissance poets, notably Ronsard. There are eight collections titled Poèmes de la Pléaide, representing settings of sixteenth and seventeenth-century French poetry and totaling thirty-two songs. Additionally, there are cycles and other collections [for a complete listing of Leguerney’s songs, see Dibbern, Kimball, and Choukroun, Interpreting the Songs of Jacques Leguerney]. 3 They may be thought of as the last in the great mainstream of twentieth-century French song. La Caverne d’écho (1954) from Poèmes de la Pléiade, Volume 7 poem by Antoine Girard de Saint-Amant (1594-1661) Dedication: Josiane and Jean Cier. First performance: Bernard Kruysen, baritone; Jean-Charles Richard, pianist. 29 May 1965, Radio France Culture. Marc-Antoine Girard, sieur de Saint-Amant, wrote poetry of great descriptive power, and his use of language set him apart from the other seventeenth-century poets. He was also an adept musician and skillful lute player, writing verses that often describe musical sounds linked to visual images. The poem takes place in a dark cave, home of the nymph, Echo; it is a charmed place, absolutely still and peaceful. The poet’s lute resounds inside the cavern as he tries to soothe the inconsolable Echo, who mourns for her lover Narcissus. Leguerney creates the grotto’s mysterious resonance with bitonality. Piano figures illustrate the strumming of the lute. The text contains many sounds with the consonant “r.” The rolling quality of this speech sonority re-creates the cavern’s resonance. The closing measures of the mélodie produce a striking effect as the singer’s voice echoes eerily in the cavern, blending with the piano’s resonance and creating a remarkably realistic echo. À son page (1944) from Poèmes de la Pléiade, Volume 2 poem by Pierre de Ronsard (1524-1585) Dedicated to Gérard Souzay. First performance: Gérard Souzay, baritone; Jacqueline Robin (Bonneau). 3 May 1945, Salle Gaveau, Paris. This is a lusty scene with four characters: a nobleman tipsy from drink, his page, and two women, Jeanne and Barbe. Carpe diem is the theme here. The singer philosophizes on this idea while enjoying his wine and the tender companionship of the two beautiful women. Leguerney evokes the crackling staccato of a stylized harpsichord with rhythmic accents in the piano. The text is brilliantly set with jagged vocal lines and driving rhythms that illustrate the singer’s intoxication. It ends with Leguerney’s repetition of the last poetic line and the addition of nonsense syllables which fit beautifully into the imagery and mood of Ronsard’s colorful characters. Je me lamente (1943) from Poèmes de la Pléiade, Volume 1 poem by Pierre de Ronsard (1524-1585) Dedicated to Geneviève Touraine. First performance: Paul Derenne, tenor; Jeanne Blancard, pianist. 29 March 1944, Salle de l’Ecole Normale de Musique, Paris. This is one of Leguerney’s most beautiful songs, setting Pierre de Ronsard’s text from his collection of love poems for Marie Dupin, a country girl from a small village in southern France. She was half his age and probably represented the youth he constantly pursued. It has been suggested that the Marie in question was probably Marie de Clèves, passionately adored by Henri III. 4 Leguerney called this mélodie a constant crescendo from beginning to end. 5 Ronsard’s anguish is captured with a texture of stark chords, crowned by a regal and sustained vocal line. As the song progresses, the poet’s anguish is embodied in a more expansive texture, bidding Marie a happy resting place near God or in the Elysian fields. NOTES: Liner notes by Mary Dibbern. Mélodies sur poèmes de la Renaissance (Jacques Leguerney).Harmonia Mundi France. LP recording HMC 1171. Letter to the author. Quoted in Mary Dibbern, Carol Kimball, and Patrick Choukroun. Interpreting the Songs of Jacques Leguerney (Hillsdale, NY: Pendragon Press, 2001), 3. Ibid., 289-295. Ibid., 69. See note 20. Ibid., 70. BACK TO TOP OLIVIER MESSIAEN (1908-1992) Olivier Messiaen was born in 1908 in Avignon, France, into a literary family. He grew up around words and absorbed their shapes, colors and sounds naturally. His father, Pierre Messiaen, was a well-known translator of Shakespeare, and his mother, Cécile Sauvage, was a poet. As a youngster, before beginning to compose music, he had an especially perceptive ear attuned to the unique prosody of the French language. Early in his compositional career, he published a book titled Technique de mon langage musical (1944). About his musical setting of words, Jane Manning observes: ...the syllables themselves create a glittering mosaic of sonorities and subtle resonances, in addition to their actual meaning (many of the poems do not translate at all satisfactorily). The composer’s awareness of the minutiae of verbal enunciations and articulations is miraculous. Each vocal sound can be precisely placed as intended, all dynamics are scrupulously plotted, and the performer’s involvement and intimate connection to the music is enhanced by the sensual nature of words projection... 1 He often used stained glass to explain his music. When viewed from a distance, the myriad details blend into a single entity, whose purpose is to dazzle the listener. Understanding is not necessary, feeling is the prime requisite. The music of Olivier Messiaen is a skillfully designed and unique language, with meaning and form kept separate. Its meaning is unchangeable, harkening back to Gregorian chant, culminating in instruments that are able to prolong sound (organ, strings, or the ondes Martenot). Messiaen’s musical language is defined by its rhythms and tone colors. His uncanny instinct for associating sound with color produced works unique in their concept of the combination of sounds. He said that when he heard or read music, his mind’s eye saw colors that move with the music; he sensed these colors, and at times he precisely indicated their arrangements in his scores. His fascination with birdsong was lifelong; he referred to himself as an ornithologist and tracked birds and their songs all over the world. He considered their resonances as songs and not merely sounds. He notated these on manuscript paper and they found their way into his music. Trois mélodies (1930) poems by Olivier Messiaen, Cécile Sauvage (1883-1927) This little cycle of songs is Messiaen’s first recognized work for voice and piano. The songs are modest in length and not typical of Messiaen’s later style, but show influences of late Fauré and Duparc in the overall musical texture. There is only one song in his vocal compositions in which Messiaen set the poetry of another poet. It is found in this cycle, which uses the text of his mother, the poet Cécile Sauvage, who died three years before the composition of this work. The three movements form a warm and delicate little triptych. Two of Messiaen’s own poems stand on either side of the poem by Cécile Sauvage, throwing that charming little poem into high relief. “Pourquoi?” introduces a litany of the pleasures of nature: birdsong, the unfolding seasons, and water images. The poet becomes emotional, asking why all these bring him no joy. “La Sourire,” the shortest song of the set, is a beautiful microcosm of intimate and spiritual understanding between two people. It is a delicate example of musical economy and word setting in a quasi-recitative style. The last song, “La fiancée perdue,” offers fleeting hints of Messiaen’s cycle to come, Poèmes pour Mi–most specifically, the final song. Here, the poet prays for divine blessing on the soul of the “fiancée” in the title. The fervent incantation illuminates and affirms man’s connection to a higher authority. Examining the poetic content of the three texts, we are struck by the images that underlie the words: the emotional outburst “pourquoi,” (why?), perhaps questioning the death of Cécile, followed by Cécile’s tender affirmation of love, and finally, the prayer asking for Divine grace and the blessing of the soul of the departed. NOTES: Jane Manning, “The Songs and Song Cycles,” in The Messiaen Companion, ed. Peter Hill (Portland, OR: Amadeus Press, 1995), 107. BACK TO TOP DARIUS MILHAUD (1892-1974) Darius Milhaud was probably the most prolific composer of the group known as Les Six (Francis Poulenc, Louis Durey, Arthur Honegger, Germaine Tailleferre, Georges Auric, and Milhaud). The group was unified by friendship rather than a single musical style. Championed by influential writer Jean Cocteau and composer Erik Satie, Les Six often presented their works at the same concerts and met with great regularity–often at Milhaud’s house–to make music and exchange ideas. Louis Durey observed that it was the wide diversity in their personalities and musical styles that gave the group its rich depth and permitted its development. Embodied in the credo of their musical thought was relative sparseness of texture and clarity. Turn-of-the-century France offered popular entertainments that drew the French to an environment of merry-go-rounds, shooting galleries, outdoor concerts, circuses, and a jumble of excitement. Milhaud was fascinated by Parisian street life, and could hear the sounds of the Montmartre fair from his apartment. Often on their group outings, Les Six went together to the Cirque de Médrano to see the Fratellinis, a famous family of clowns of that day. Milhaud observed that their acts were worthy of the Commedia dell’arte. 1 Trois Poèmes de Jean Cocteau, Op. 59 (1920) poems by Jean Cocteau (1889-1963) Trois poèmes de Jean Cocteau is like lyric fragments. The small-range vocal lines have a sparse lyricism–one of emotional mood rather than overt melody. The little mélodies are skillful studies in brevity. These match Cocteau’s rather enigmatic poems that exemplify the style termed dépouillé (stripped to the essentials), his aesthetic creed. Milhaud dedicated the songs to Satie. The three miniatures are a colorful kaleidoscope of the circus and the outdoor fairs that entranced the French during this period. “Fumée” describes the equestrienne of the Cirque Médrano atop a horse, jumping through hoops, captured in Toulouse-Lautrec’s familiar painting titled “L’écuyère au Cirque Fernando (1888); “Fête de Bordeaux” is a description of the merry-go-round at the Bordeaux fair; and “Fête de Montmartre” evokes the nighttime boats and sailors, possibly having to do with a game involving camouflaged ships found at the Montmartre fair. Milhaud infuses stylistic and melodic elements of folk songs and children’s tunes into the tiny pieces, tying the innate excitement of these popular destinations to simple, childlike reactions. NOTES: Laurence Davies, The Gallic Muse (New York: A.S. Barnes and Co., 1967), 164. BACK TO TOP FRANCIS POULENC (1899-1963) Francis Poulenc’s 150 mélodies form the largest body of songs to be added to French vocal literature in the twentieth century. Poulenc’s flair for the dramatic, combined with his superb skill in mixing poetry and music, produced songs that singers find immensely gratifying, not only for their musical value, but for their heightened sense of drama. Poulenc’s mélodies reflect concern and feeling for declamation, inflection, breathing, and above all, show extraordinary warmth of feeling for the human voice. He was fond of saying, “J’aime la voix humaine!” The sophistication of Poulenc’s songs spring from their poetic inspirations. Poulenc was quite knowledgeable about poetry, and chose his texts carefully. His gift of divining the inner life of the texts he set produced songs that do more than merely illustrate the poems. His gift for melody is at the very heart of all his songs and seems to assert itself naturally in shaping the color, weight, and meaning of the texts he set. Ce doux petit visage (1938) poem by Paul éluard (1895-1952) Paul Eluard was one of Poulenc’s three main poets. This is a beautiful introduction to Eluard’s poetry, lyrical and passionately intense. The simplicity of Poulenc’s setting allows the poem to shine. It is one of Poulenc’s tiny gems, and he admitted his partiality to the short song. Eluard’s skill at evoking nostalgia and melancholy are seen here, linked to lost youth. The mélodie is dedicated to the memory of Raymonde Linossier, Poulenc’s most intimate childhood friend, who influenced his literary taste and musical tendencies. He said: “I have a great liking for this short song. Raymonde Linossier was my best advisor for the music of my youth. How many times, during the years since her death, I would have liked to have had her opinion on this or the other of my works.” 1 La Grenouillère (1938) poem by Guillaume Apollinaire (1880-1918) “La Grenouillère” is an outstanding example of Poulenc’s romantic lyricism. This is a text by Guillaume Apollinaire describing the Ile de Croissy, an island in the Seine on the outskirts of Paris, frequented by artists and their models, and celebrated in paintings by Monet, Manet, and Renoir. “The Froggery” was a restaurant on the island. The overall images of happy days that cannot be relived can be seen in Pierre Auguste Renoir’s paintings Les Déjeuner des canotiers (The Boatman’s Luncheon), or La Grenouillère. In this lament for boating parties on the Seine, vocal phrases are sustained and languid, floating over a slowly rocking piano accompaniment. The lazy piano figures mirror the empty tethered boats rocking on the water, bumping against each other, and give expression to the sweet melancholy of the poet’s words. Montparnasse (1945) poem by Guillaume Apollinaire (1880-1918) Apollinaire’s poem is dated 1912. Poulenc writes in his journal of songs that it took him four years to complete “Montparnasse,” almost phrase by phrase, and that he had no regrets about the length of time it took because “it is one of my best songs.” 2 It is a sentimental and heartfelt tribute to Paris. Both Apollinaire and Poulenc loved the city and it played a continuing role in their work. “Montparnasse” is about the idyllic artistic existence lived at the edge of Paris. Poulenc wrote in his diary: “Let us imagine this Montparnasse all at once discovered by Picasso, Braque, Modigliani, Apollinaire.” 3 The mélodie has a carefree nonchalance about it; it is not sad, but thoughtful– a beautiful blend of poetic and musical lyricism. Poulenc’s vocal and harmonic textures are full of surprising harmonic details that bind this song–which he composed in fragments–together into a touching and expressive picture of Paris in the early years of the twentieth century. Bleuet (1939) poem by Guillaume Apollinaire (1880-1918) Guillaume Apollinaire was one of Poulenc’s preferred poets. This is a wartime poem that Apollinaire penned in 1917 in Paris in convalescence after a head injury; both Apollinaire and Poulenc served in World War II. There are several word plays at work here. “Bleuet” was the nickname for French soldiers in World War I, because their uniforms were blue, like the color of a little cornflower, which is a “bleuet.” Also, “Un bleu” was the term used for a raw recruit. “Bleuet” is one of Poulenc’s most moving songs– agonizing in its emotional content yet noble in its message. It is a quiet and private moment in which a twenty-year-old boy who does not yet know all that life can be, is characterized–and addressed–by the poet in a sweetly serious speech. Poulenc wrote that for him, the key to the poem were the words, “It is five o’clock and you would know how to die.” 4 This song is simple, intimate, and poignant. Les Chemins de l’amour (1940) poem by Jean Anouilh (1910-1987) Poulenc composed this valse chantée as incidental music for Léocadia, a play by Jean Anouilh. Within the play, the song was described as a pseudo Viennese waltz, and functioned as a leitmotiv in the plot. Sung by Yvonne Printemps, one of France’s most celebrated musical theatre stars, “Les Chemins de l’amour” became a popular success. It embodies the relaxed elegance of a self-styled Viennese waltz style, encased in one of Poulenc’s haunting melodies. Banalités (1940) poems by Guillaume Apollinaire (1880-1918) Banalités is not a cycle, but a group of five songs. The poems have no connection with each other; however, their order provides a well-constructed recital group. They may be performed separately. The work is one of Poulenc’s most popular vocal works, and deservedly so. Poulenc chose contrasting poems, placing them so that the collection begins briskly and ends with lyrical gravity. “Chanson d’Orkenise” is Poulenc’s title for the poem contained in the strange mixture of prose and poetry that Apollinaire called Onirocritique. Orkenise is a road in Autun leading to the Roman gate of the same name. The musical setting has the feeling of a popular folk song. The narrator sings of a tramp leaving the city and a carter who is entering it - one leaving his heart there, one bringing his heart to be married. There is a word in the poem with a double meaning: “grise” can be translated as “gray” or “tipsy.” The merry quality of the song opens the set with gaiety, but both Apollinaire and Poulenc offer a little food for thought. “Hôtel” is a poem that immediately represented for Poulenc a hotel room in Montparnassse, where the idle poet wants only to bask in the sun’s warmth and smoke. Pierre Bernac referred to it as “the laziest song ever written.” 5 The piano figures are fashioned of Poulenc’s luxuriant chromatic harmonies, stacked as if to cushion the lethargy of the singer. “Fagnes de Wallonie” is set in the gloomy, desolate uplands of the Ardennes with a terrain of vast heaths, twisted trees, and peat bogs, swept by winds of considerable force. Its gloomy setting complements the melancholy mood of the poet. Poulenc’s spiky musical setting is a whirlwind that sweeps from beginning to end in a turbulent texture that demands precise articulation from singer and pianist. Sandwiched between Songs 3 and 5 is a tiny bonbon, “Voyage à Paris.” It resembles a little commercial jingle about Paris–“which one day love must have created”–an invitation to the pleasures of that beautiful city, away from “the dreary countryside.” Poulenc sprinkles his quicksilver setting–a valse-musette–with indications of “amiable” and “avec charme.” The composer referred to it as having “deliciously stupid lines...Anything that concerns Paris I approach with tears in my eyes and my head full of music.” 6 The cycle concludes with “Sanglots”, one of Apollinaire’s finest poems about the universality of lost love, a theme that Poulenc matches with exquisite modulations in a setting that embodies the essence of the words. The vocal lines are eloquently lyrical. The poem is difficult to understand because of the juxtaposition of the main narrative and the interior “asides,” that in effect form a poem within a poem. 7 The song has an elegant serenity that culminates in a stunning climactic point at the words: “Est mort d’amour ou c’est tout comme/ Est mort d’amour et le voici.” The ending lines of the song sustain the profoundly calm mood, bringing Banalités to its close. La Courte Paille (1960) poems by Maurice Carême (1899-1978) The last song cycle Poulenc composed was La Courte paille, on seven poems of Belgian poet Maurice Carême. Poulenc composed the songs for soprano Denise Duval, creator of leading roles in his three operas, hoping that she would sing them to her young son. Poulenc considered the mélodies very poetic and whimsical; unfortunately, Duval disliked the music and never did sing the cycle. Poulenc asked Carême to provide an overall title for the work and requested permission to change the titles of several selected poems: the original title of “Quelle aventure!” is “Une puce et l’éléphant”; “Le Reine de cœur” is “Vitres de lune”; “Le carafon” is “La carafe et le carafon.” For the cycle’s title, Carême chose La Courte Paille (The Short Straw), referring to drawing lots by the method of a short straw. Poulenc was delighted, saying the title symbolized his little musical game exactly. He also wrote in his diary, “They must be sung tenderly; that is the surest way to touch the heart of a child.” 8 The cycle is full of child-like innocence, whimsy and imagination, with a few shadowy undertones. The first song, “Le Sommeil,” is a beautiful lullaby to a restless child who cannot go to sleep, tossing and turning in his small bed. He seems ill, crying and perspiring, but hopefully will finally surrender to slumber. In “Quelle aventure!” the child describes an absurd happening: he saw a flea driving a carriage with a small elephant in it. The story grows more bizarre but the rhythmic pace never wavers, careening to the end of the song when the child wonders how on earth he’ll ever be able to persuade “Mama” that it really happened. The verses are witty, yet the shrieks of “Mon Dieu!” are laced with a feeling of childish terror. “La Reine du cœur” is a beautiful, languid melody that paints a picture of the mysterious Queen of Hearts, beckoning to visitors from her frosty castle, where she reigns over a court of lovers, including the young dead. In “Ba, Be, Bi, Bo, Bu...,” the child is chided “on all sides” about studying. The title of the song presents the French vowels, and the text contains words that make their plural with an “x” (“pou, chou, genou, hibou”). The formidable cat of the poem’s opening lines is none other than that tricky feline Puss-in-Boots! The entire song is a little tongue-twister, an exercise in diction and accuracy. “Les anges musiciens” are none other than the school children staying home on Thursday, the half-day school holiday in France in Poulenc’s time, practicing Mozart on their harps, just like good little angel musicians should do. “Le carafon” is a crazy little story of a carafe that longs for a baby carafe (carafon) just like the giraffe at the zoo, who has a girafon. This is a ridiculous rhyming game like those that children love to play. The text is full of whimsical characters: the carafe, a giraffe, a sorcerer astride a phonograph, Merlin, and finally, a carafon. “Lune d’Avril” is another lullaby, very slow and otherworldly, which serves as an epilogue. Bound together in a musical texture that features a syncopated pedal point, it is filled with enchanted images the child wishes to dream about: a land of joy, light, and flowers where all guns are silent. The ending leaves the listener suspended in a mood of unfinished magic. La Courte Paille is the last vocal music Poulenc composed. NOTES: Quoted in Pierre Bernac, Francis Poulenc: The Man and his Songs (New York: W.W. Norton Co., 1977), 125. Francis Poulenc, Journal de mes mélodies, trans. Winifred Radford (London: Victor Gollancz, 1985), 75. Ibid., 75. Ibid., 57. Bernac, 72. Poulenc, 67. The English translation of “Sanglots” has parentheses that delineate the “asides” so that both “poems” may be seen. These may be found in Pierre Bernac’s books Francis Poulenc: The Man and his Songs, page 75, or The Interpretation of French Song, pages 284-85 Poulenc, 109. BACK TO TOP MAURICE RAVEL (1875-1937) The songs of Maurice Ravel represent a transition between the mature mélodies of Debussy and the vocal literature that followed, notably the songs of Les Six. Debussy dominated the French musical scene from the turn of the century until his death in 1918. It was Ravel who was regarded as the leading musical spokesman for France following World War I. He was a skillful craftsman and his songs have a sense of evenness of rhythmic structure and flow that call for scrupulous execution. The fusion of music and text into a logical whole was of utmost importance to him. He composed elegant and subtle mélodies, using classical phrase structure. His melodic phrases often tend toward modality. His songs range from those with a folk-like style to more to those that are more speech-like, and those that encompass a melodic romanticism. He was precise in his thought and his scoring, and scrupulous in his musical execution. His music encompassed some of the fascinating influences of the post-Wagnerian era. Ravel’s musical contributions were of utmost importance to this exciting and new era in French cultural history. He made notable contributions to musical literature for the piano, the French art song, opera, chamber music, orchestral literature, and the ballet. Sur l’herbe (1907) poem by Paul Verlaine (1833-1896) This mélodie is Ravel’s only setting of Verlaine. It has often been suggested that this poem was probably inspired by Watteau’s painting L’île enchantée. There is also a reference to a famous eighteenth-century dancer, Marie-Anne Cuppi, known as (La) Camargo, who was immortalized on canvas by the painter Nicolas Lancret. The scene is an outside gathering, elegant and artificial. A number of people are there, chief among them, a licentious abbé, slightly tipsy from a bit too much Cyprian wine. He exchanges a few disconnected gallantries with the ladies–innocent conversations on the surface, but sensuous in undertone. The conversation is disconnected; we do not know exactly who is speaking. Ravel shapes very flexible vocal phrases, in keeping with the abbé’s intoxicated state, underscored with graceful piano figures that evoke an eighteenth-century dance. In a letter to Jean-Aubrey, Ravel commented on “Sur l’herbe”: “In this piece, as in the Histoires naturelles, the impression must be given that one is almost not singing. A bit of preciosity is found there which is indicated moreover by the text and the music.” 1 Noël des jouets (1905) poem by the composer This is the only solo song for which Ravel wrote the text. It describes a Christmas manger scene, replete with the Virgin and Christ-child, animals, and angels. It embodies Ravel’s delight with tiny mechanical toys and figures, and his fascination with the unspoiled world of child-like experience. His genius for text painting is displayed in the delightful mélodie. The mechanical toys come to life in the piano figures. Ravel’s charming text creates the images around and over the crèche, with not a word wasted. Ravel commented that the music is “clear and plain, like the mechanical toys of the poem.” 2 This little song foreshadows other Ravel settings of make-believe, beginning with the song cycle Histoires naturelles and culminating with his opera L’Enfant et les sortilèges. The music of menacing dog Belzébuth foreshadows the music of the Beast in the Mother Goose Suite (Ma Mère lOye). Rêves (1927) poem by Léon-Paul Fargue (1876-1947) The poetry of Léon-Paul Fargue has been described as reflecting the union of dream and memory. This mélodie has a tender lyricism within a sparse musical texture. The text is fashioned of a series of miniature images that pass by rather quickly, unrelated, like the images found in dreams. For all their differences, they have a simplicity about them that seems timeless, existing together, as the poet says, “in a vague countryside.” When the dreamer finally awakens, the little fleeting pictures “die quietly.” The piano postlude perpetuates the dream state, creating an ethereal little microcosm that continues to draw the dreamer to it. Ronsard à son âme (1924) poem by Pierre de Ronsard (1524-1585) In his Abrégé de l’art poétique français (1565) Pierre de Ronsard advocated the union of poetry and music, and Renaissance composers frequently set his poems. 3 In this strikingly simple mélodie, Ronsard speaks to his soul, calling it by a series of diminutives: little soul, dainty little one, sweet little one. Ravel uses a series of parallel fifths in the piano figures to invoke a Renaissance mood. This is Ronsard’s last poem, and Ravel’s last adaptation of Renaissance poetry. Ravel’s setting recalls the elegance of his early mélodie, “D’Anne qui me jecta de la neige,” to a poem of Clément Marot. Manteau de fleurs (1903) poem by Paul Barthélemy Jeulin (1863-1936) The poem notes everything in the garden that is pink–all the flowers that will become a beautiful cloak to complement the beauty of the lady of the poem. Ravel usually had very sophisticated taste in choosing texts; this particular poem is an unusual choice. It is a simple text, somewhat banal, but Ravel’s shimmering musical texture imparts a dramatic character for each flower in the poem. The overall piano texture suggests orchestral colors. The last section of the mélodie changes course slightly, with the piano harmonies creating a slightly wistful mood. Clearly, Ravel lavished a beautiful musical setting on a rather ordinary set of words. Don Quichotte à Dulcinée (1932-33) [Medium/Low Voice edition only] poems by Paul Morand (1888-1976) This miniature cycle was Ravel’s last vocal work. His musical portrait of the noble Spanish knight, Don Quixote, is embodied in three mélodies, all based on characteristic Spanish or Basque dance rhythms: (1) the guajira, alternating 6/8 and 3/4 meter; (2) the zorzica, a Basque dance in quintuple meter; and (3) the jota, a lively triple-metered Spanish dance. “Chanson Romanesque” presents the chivalrous idealist Don Quixote, confidently promising to rearrange everything in nature to his lady Dulcinea’s liking in order to win her favor. Dulcinea is in reality a poor farm girl, but the Don’s illusion will not be shaken. He remains authoritative and focused in his quest for her love. “Chanson épique” is Quixote’s reverent prayer to Saint Michael and Saint George, beseeching them to bless his sword and his Lady. Ravel creates a beautifully sustained and prayerful vocal line over a simple accompaniment. “Chanson à boire” is a exuberant drinking song. Although the Don’s tippling has made him overly boisterous, he never oversteps the bounds of his noble bearing. His robust laughter is heard in the piano figures and even a hiccup intrudes between “lorsque j’ai” and “lorsque j’ai bu.” NOTES: Maurice Ravel, in a letter to Jean-Aubrey written in September, 1907. Quoted in Arbie Orenstein, Ravel: Man and Musician (New York: Dover Publications, 1991), 165-66. Quoted in Orenstein, 161. Orenstein, 192. BACK TO TOP ALBERT ROUSSEL (1869-1937) In 1894 Albert Roussel left a highly successful career as a naval officer to pursue music. After completing his studies, he became professor of counterpoint at the Schola Cantorum in Paris. Satie and Varèse were among his students. Roussel was one of the most prominent French composers of the interwar period. He composed almost forty mélodies as well as chamber music, ballets, and operas. His style is eclectic but highly individual. Early works show the influence of Vincent d’Indy, works dating from 1910 to 1920 exhibit influences of Debussy and Ravel, but he turned to neoclassicism in his later compositions. His love for the sea was almost a spiritual attraction and continued to influence his music throughout his career. He had a fascination for distant places; his extended tour of Southeast Asia in 1909 had a tremendous influence on his composition. “Sarabande” and “Cœur en peril” are mélodies to texts of René Chalupt, a close friend. They are found in op. 20 and 50, respectively. Roussel’s overall musical catalogue is not extensive, but its quality is of an extremely high level, and his vocal writing in particular contains some mélodies of great delicacy and style, squarely in the French tradition. For Roussel, the word held primacy in his mélodies, being both transformed by its musical setting and merging with it to create a perfect union. Commenting on the quality of Roussel’s songs, composer Charles Koechlin is quoted as saying: “The sense of austerity pervading them, stemming simply from the composer’s natural reserve, heightens their expressiveness and further embellishes them; in language and content they are absolutely personal. This collection of songs is one which will last because its essence is undying sensitivity.” 1 Sarabande (1919) from Deux mélodies, Op. 20, No. 2 poem by René Chalupt This is surely one of Roussel’s most delicate and magical creations. His writing for the piano is particularly outstanding, placing Chalupt’s poem in an overall texture of elegance and veiled sensuality. There is an Oriental delicacy in Roussel’s musical evocation of the fluttering doves, feathers drifting into a pool, and the gentle drift of chestnut blossoms onto bare flesh. Cœur en péril (1933-34) from Deux mélodies, Op. 50, No. 1 poem by René Chalupt This mélodie is much different in mood–witty and flirtatious. It is the narrative of a young man eager to convince his ladylove of his fidelity. Vocal phrases are tuneful, with a spirited piano texture of Iberian flavor. NOTES: Liner notes, Dom Angelico Surchamp, trans. Elisabeth Carroll, Roussel Mélodies, Colette Alliot-Lugaz, Mady Mesplé, Kurt Ollmann, José Van Dam; Dalton Baldwin, Patrick Gallois. EMI Digital. CDS 7492712, 1987 BACK TO TOP ERIK SATIE (1866-1925) Erik Satie wrote very few songs and most of them date from late in his life. The eccentric father figure of the French avant-garde of the twentieth century had a wildly independent spirit that found its way into his musical compositions. Throughout his life, he kept a great deal of childlike inquisitiveness and innocence. He was a curious personality of unconventional habits whose sense of the absurd and whimsy permeated both his life and his music. Quintessential Satie compositions are laconic and witty. It was Satie who named Les Nouveaux Jeunes, soon known as Les Six, and influenced the early development of the group. La Statue de bronze (1916) from Trois Mélodies poem by Léon-Paul Fargue (1876-1947) This is Satie’s first setting of the poetry of Léon-Paul Fargue, the “Bohemian poet of Paris.” Satie used Fargue’s witty verses again for Ludions. The scene is a garden game–the jeu de tonneau. A bronze frog, perched atop a cabinet with numbered chambers, grows impatient of being the target of the game where metal disks are tossed into her mouth. She dreams of being freed from her pedestal and being able to use her wide-open mouth to utter “LE MOT.” 1 She wants to be free to join the other frogs gathered near the rust-colored washhouse “blowing musical bubbles from the soapy moonlight.” But the game continues, the disks rattle through her mouth into numbered compartments and at night, insects sleep in her mouth. This mélodie can be linked musically to “La Grenouille américaine,” found in Ludions. Both songs share piano figures derived from the café-concert chanson. Ludions (1923) poems by Léon-Paul Fargue (1876-1947) Ludions is the last of Satie’s purely vocal works, composed two years before his death, and is perhaps his finest set of songs. It epitomizes his lifelong quest for musical simplicity and his irreverence for the intricate compositional techniques and overactive emotions of the Impressionists. Ludions is translated as “bottle imps” (a ludion is a little figure suspended in a hollow ball, which descends or rises in a vase filled with water when one presses down on the elastic membrane covering the mouth of the vase). The cycle is a kaleidoscopic set of musical miniatures, riddled with puns and illogical phrases. Fargue’s nonsensical verse complements Satie’s musical aesthetic, and the two friends’ personalities closely matched one another. All the mélodies in Ludions are short, like tiny cameos. They are colorful, saucy, fantastic, and defy translation. “Air du rat,” “La Grenouille américaine,” and “Chanson du chat” are right out of the music hall, and Satie uses with a mock-serious “tongue-in-cheek” treatment for “Spleen” and “Air du poète.” Je te veux (1902) poem by Henry Pacory (1873-?) The valse chantée, or sung waltz was a favorite of the café concerts, for which Satie composed a number of works. Café concerts were a form of Parisian popular entertainment in the late nineteenth and early twentieth century. The all-musical programs were held outside; French popular singers presented repertoire that catered to lower and middle-class audiences who came to talk, eat, drink, and observe the long informal programs, for which there was no admission charge. “Je te veux” was composed for Paulette Darty, dubbed “the Queen of the slow waltz.” It was one of her signature musical presentations for the caf’conc (café concerts), and one that Darty remained associated with throughout her career. A statuesque blonde with an ample figure, Darty was a commanding performer who kept the most boisterous of the Saturday night audiences enthralled. Lyricist Henry Pacory’s rather explicit poem was watered down at Satie’s request before the song was published. La Diva de l’Empire (1904) poem by Charles Bessat, named Numa Blès (1871-1917) The “Diva de l’Empire,” 2 one of Satie’s café-concert songs, was another work written for and performed by Paulette Darty. It was composed for a Bonnaud-Blès music-hall revue called Dévidons la Bobine (Let’s Unwind the Bobbin) that toured several seaside resort towns. The British “diva” is a femme fatale performer who enchants all who see her. The song is a syncopated cakewalk describing her seductive beauty as she struts her stuff “showing the wiggling of her legs and some pretty frilly underwear.” Interspersed at points along the way with English words: Greenaway, baby, little girl, etc. The piano provides a jaunty ragtime rhythm throughout that melds perfectly with the suggestive text. NOTES: ”Le mot” has a double meaning. It was the title of a broadsheet published by Jean Cocteau between 1914-15 and is short for “le mot de Cambronne,” a polite way of saying “merde.” Cambronne was a famous French general who replied “Merde!” when asked to surrender. In Steven Moore Whiting, Satie the Bohemian: From Cabaret to Concert Hall. (New York: Oxford University Press, 1999), 43. Empire refers to the Empire Theatre of Varieties, Leicester Square, London. BACK TO TOP DÉODAT DE SÉVERAC (1872-1921) Déodat de Séverac, of aristocratic lineage, was born in the Languedoc region of southwest France in Saint-Félix-Caraman (now Saint-Félix Lauragais), near Toulouse. After studies in Paris with Vincent d’Indy at the Schola Cantorum, he returned home and remained there. He was a contemporary of Fauré, Debussy and Ravel, but was considered a petit maître in their company, possibly because of his return to Languedoc at the completion of his musical studies. Séverac composed piano and orchestral music, operas and songs. The culture of his native Languedoc figured prominently in his music, which is highly descriptive. He often wrote parts for regional folk music in his scores. Many considered him provincial and unsophisticated, but his music displays his skill in integrating folk elements–and often, regional folk instruments–of his native Languedoc into his works. He often referred to himself as “the peasant musician.” Influences of Debussy, Mussorgsky, and Bizet may be found in his mélodies. Although his music is rather conservative in style, Séverac fused folk elements with the musical styles of the day in a unique and individual manner. Ma poupée chérie (1914) poem by the composer Composed in 1914 (and published in 1916) for his daughter Magali and dedicated to her, this little cradlesong is probably de Séverac’s best loved and most performed mélodie. Séverac’s fresh musical setting contains just the right combination of simplicity and delightful childlike honesty. Despite the subject matter, the composer’s heartfelt poem avoids an overly cloying atmosphere. BACK TO TOP OTHER SOURCES CONSULTED: Jane Bathori, On the Interpretation of the Mélodies of Claude Debussy, transl. and with an introduction by Linda Laurent (Stuyvesant, NY: Pendragon Press, 1998). Pierre Bernac, Francis Poulenc: The Man and his Songs, transl. by Winifred Radford (New York: W.W. Norton, 1977). Pierre Bernac, The Interpretation of French Song, transl. by Winifred Radford(New York: W.W. Norton, 1978). Elaine Brody, Paris: The Musical Kaleidoscope 1870-1925 (New York: George Braziller, 1987). Mary Dibbern, Carol Kimball, and Patrick Choukroun, Interpreting the Songs of Jacques Leguerney (Hillsdale, NY: Pendragon Press, 2001) Alan M. Gillmor, Erik Satie (New York: W.W. Norton Co., 1992). James Harding, The Ox on the Roof: Scenes from musical life in Paris in the Twenties (New York: Da Capo Press, 1986). Peter Hill, ed., The Messiaen Companion (Portland, OR: Amadeus Press, 1995). Graham Johnson, Gabriel Fauré: The Songs and their Poets (London: Ashgate Publishing Ltd. and the Guildhall School of Music and Drama, 2009) Graham Johnson and Richard Stokes, A French Song Companion (Oxford: Oxford University Press, 2000). Carol Kimball, Song: A Guide to Art Song Style and Literature (Milwaukee, WI: Hal Leonard Corp., 2005). Carol Kimball and Richard Walters, eds., The French Song Anthology (Milwaukee, WI: Hal Leonard Corp., 2001). Timothy LeVan, Masters of the French Art Song (Metuchen, NJ: Scarecrow Press, 1991). Barbara Meister, Nineteenth-Century French Song (Bloomington, IN: Indiana University Press, 1980). Wilfrid Mellers, Francis Poulenc (Oxford: Oxford University Press, 1993). Arbie Orenstein, Ravel: Man and Musician (New York: Columbia University Press, 1975). Nancy Perloff, Art and the Everyday: Popular Entertainment in the Circle of Erik Satie(Oxford: Clarendon Press, 1991) Caroline Potter, Henri Dutilleux: His Life and Works (Brookfield, VT: Ashgate Publishing Co., 1997). Francis Poulenc, Moi et mes amis: Confidences recueilles par Stéphane Audel (Paris: La Palatine, 1963). Francis Poulenc, Diary of my Songs [Journal de mes mélodies] transl. by Winifred Radford (London: Victor Gollancz, Ltd., 1985) Marie-Claire Rohinsky, ed., The Singer’s Debussy (New York: Pelion Press, 1987) Roger Shattuck, The Banquet Years (New York: Vintage Books, 1968).
Hal Leonard Announces Free Virtual Music Education Summit

MILWAUKEE--5/6/21--Hal Leonard has announced a free Virtual Music Education Summit on July 29-30, 2021, to support music educators returning to the classroom in the fall. With the theme of "Looking FORWARD to 2021-2022," this event will focus on meeting the needs of all students (and teachers!) for a safe, effective, and energetic return to schools after one of the most challenging years they've known.

This summit brings together a powerhouse lineup of experts in the field who are working collaboratively to provide sequential presentations that focus on meeting the needs of all students this fall. Topics include: social-emotional learning; equity, diversity, and inclusion; special needs; trauma-informed pedagogy; teacher health and wellness; student safety; CDC guidelines; advocacy; and more.

"This fall, students and teachers will be returning to their classrooms after what will have been 16 months of disruptions and challenges, but also innovations and growth," says John Mlynczak, Vice President of Music Education & Technology for Hal Leonard. "We want to provide a program that empowers and celebrates music educators while focusing on meeting the needs of all students this fall."

This event will also feature musical performances and special guests to help celebrate music educators. Hal Leonard will continue to work closely with all presenters and guests throughout the summer to craft a meaningful and inspirational event for music educators. Teachers will also be able to earn professional development certificates for attending.

Learn more and register for free at: www.halleonard.com/edusummit

Eric Whitacre: Composer, Conductor, Speaker - Hal Leonard Online "Whitacre is that rare thing, a modern composer who is both popular and original"– The Daily Telegraph, London Grammy Award-winning composer and conductor, Eric Whitacre, is among today’s most popular musicians. His works are programmed worldwide and his ground-breaking Virtual Choirs have united singers from more than 145 countries over more than a decade. A graduate of Juilliard School of Music, Eric completed his second term as Artist in Residence with the Los Angeles Master Chorale in 2020 having served five years as Composer in Residence at the University of Cambridge. Eric is proud to be a Yamaha Artist. His long-form work The Sacred Veil, a profound meditation on love, life and loss, was premiered by the Los Angeles Master Chorale, and released on Signum Records in 2020. His recent collaboration with Spitfire Audio resulted in a trail-blazing vocal sample library, became an instant best-seller and is used by composers the world-over. Now Available! The Beautiful Mess takes a deep dive into the practical and artistic elements of composition and creativity, drawing on Eric Whitacre’s thirty years of experience writing music and lyrics. This comprehensive course provides video content, lesson plans, reference sheets, perusal scores and a personalized certificate upon completion. Materials are customized at three levels so can be used from middle school through college and are ideal for both individual and classroom instruction. The strategies and creative solutions discovered in this course can also be applied to many aspects of life, so are suitable for general music education, composers, performing ensembles, or individual music-lovers. Educators, please email hledu@halleonard.com to place your classroom order! Music Chorals Alleluia Eric Whitacre SATB divisi a cappella $3.25 (US) #HL 08754807 Animal Crackers Ogden Nash & Eric Whitacre SATB $3.25 (US) #HL 08746973 Animal Crackers II Ogden Nash & Eric Whitacre SATB $3.25 (US) #HL 08751016 As Is the Sea Marvelous No. 4 from The City and the Sea e.e. cummings & Eric Whitacre SATB $2.75 (US) #HL 08753350 A Boy and a Girl Octavio Paz & Eric Whitacre SATB $2.50 (US) #HL 08744627 The Boy Who Laughed at Santa Claus Octavio Paz & Eric Whitacre SATB Choir/Treble Choir $8.95 (US) #HL 00283852 Score/Audio Preview The Chelsea Carol Charles Anthony Silvestri & Eric Whitacre SATB, Organ $3.25 (US) #HL 00117714 Child of Wonder from The Sacred Veil Charles Anthony Silvestri & Eric Whitacre SATB $2.75 (US) #HL 00324745 Score/Audio Preview The City and the Sea e.e. cummings & Eric Whitacre SATB $8.95 (US) #HL 00292595 Enjoy the Silence Martin Gore & Eric Whitacre SATB divisi a cappella $3.25 (US) #HL 00155190 Score/Audio Preview Fly to Paradise Eric Whitacre SATB divisi $3.25 (US) #HL 00138730 Score/Audio Preview Glow Edward Esch & Eric Whitacre SATB $2.25 (US) #HL 00151666 Optional String Parts also available Glow Edward Esch & Eric Whitacre/adpt. Emily Crocker SSA, SAB, TTB $2.75 (US) #HL 00276548 Godzilla Eats Las Vegas! Eric Whitacre SATB $2.95 (US) #HL 00217741 Score & Parts also available Godzilla Eats Las Vegas! Eric Whitacre SATB Set of 40 Octavos $79.99 (US) #HL 00217742 Score & Parts also available Goodnight Moon Margaret Wise Brown & Eric Whitacre SATB $3.10 (US) #HL 00283875 Score & Parts also available Score/Audio Preview Her Sacred Spirit Soars Charles Anthony Silvestri & Eric Whitacre SATB Double Choir $3.50 (US) #HL 08745015 Home from The Sacred Veil Charles Anthony Silvestri & Eric Whitacre SATB, Piano, opt. Cello $2.75 (US) #HL 00324738 Score/Audio Preview Hurt Trent Reznor/arr. Eric Whitacre SATB $3.10 (US) #HL 00323127 Score/Audio Preview I Carry Your Heart e.e. cummings & Eric Whitacre SATB $2.95 (US) #HL 00269490 Score/Audio Preview I Walked the Boulevard No. 1 from The City and the Sea e.e. cummings & Eric Whitacre SATB $2.75 (US) #HL 08753347 Little Man in a Hurry No. 5 from The City and the Sea e.e. cummings & Eric Whitacre SATB $3.25 (US) #HL 08753351 Maggie and Milly and Molly and May No. 3 from The City and the Sea e.e. cummings & Eric Whitacre SATB $2.75 (US) #HL 08753349 The Moon Is Hiding In Her Hair No. 2 from The City and the Sea e.e. cummings & Eric Whitacre SATB $2.25 (US) #HL 08753348 Nox Aurumque Charles Anthony Silvestri & Eric Whitacre SATB a cappella $3.25 (US) #HL 08751018 Oculi Omnium Eric Whitacre SATB divisi a cappella $3.25 (US) #HL 08754805 The Sacred Veil Charles Anthony Silvestri & Eric Whitacre SATB $16.95 (US) #HL 00347410 CD also available Sainte-Chapelle Charles Anthony Silvestri & Eric Whitacre SSATB a cappella $3.25 (US) #HL 00137741 The Seal Lullaby Rudyard Kipling & Eric Whitacre/adpt. Emily Crocker SA, TB & SAB $2.75 (US) #HL 00276434 Score & Parts also available The Seal Lullaby Rudyard Kipling & Eric Whitacre SATB, SSA & TTBB $2.95 (US) Score & Parts also available Sing Gently Eric Whitacre SATB $2.75 (US) #HL 00354707 Score & Parts also available Virtual Choir Video Sing Gently Eric Whitacre SSA & TTB $2.75 (US) #HL 00368593 Score & Parts also available Sleep My Child David Noroña & Eric Whtiacre SATB a cappella $3.25 (US) #HL 08751020 Score & Parts also available The Star-Spangled Banner Francis Scott Key & John Stafford-Smith/arr. Eric Whitacre SATB divisi a cappella $2.95 (US) #HL 00198264 Score & Parts also available Score/Audio Preview Performance Video The Stolen Child William Butler Yeats & Eric Whitacre SATB a cappella $3.95 (US) #HL 08751017 This Marriage Jalal al-Din Rumi & Eric Whitacre SATB a cappella $2.50 (US) #HL 08745014 You Rise, I Fall from The Sacred Veil Charles Anthony Silvestri & Eric Whitacre SATB divisi $3.25 (US) #HL 00324737 Score/Audio Preview Vocal Glow Eric Whitacre Piano/Vocal/Guitar $4.99 (US) #HL 00299372 Goodnight Moon Margaret Wise Brown & Eric Whitacre Soprano & Piano $4.99 (US) #HL 00146391 Other Publications Eric Whitacre: Hurt & I Carry Your Heart Double A-Side 10-inch Vinyl Eric Whitacre $14.99 (US) #HL 00298649 Leonardo Dreams of His Flying Machine Charles Anthony Silvestri & Anne Horjus Illustrated Children's Book (Hardcover) $21.99 (US) #HL 00319889 Light & Gold CD Eric Whitacre $16.98 (US) #HL 08753329 Sing as One CD Eric Whitacre $19.95 (US) #HL 00362024 Sleep Charles Anthony Silvestri & Anne Horjus Illustrated Children’s Book (Hardcover) $17.99 (US) #HL 00121999 Solo Guitar Goodnight Moon Eric Whitacre/arr. Gerard Cousins Digital $4.99 (US) HL# 00385198 The Seal Lullaby Eric Whitacre/arr. Gerard Cousins Digital $4.99 (US) HL# 00385201 Sing Gently Eric Whitacre/arr. Gerard Cousins Digital $4.99 (US) HL# 00385200 This Marriage Eric Whitacre/arr. Gerard Cousins Digital $4.99 (US) HL# 00385199 Concert Band Cloudburst Eric Whitacre Score & Parts $195.00 (US) #HL 04002074 Cloudburst Eric Whitacre Score $50.00 (US) #HL 04002075 Audio Preview Equus Eric Whitacre Score & Parts $225.00 (US) #HL 04001886 Equus Eric Whitacre Score $60.00 (US) #HL 04001887 Optional Choral Part also available Audio Preview Ghost Train Movement 1 (from Ghost Train Trilogy) Eric Whitacre Score & Parts $175.00 (US) #HL 04001838 Audio Preview Ghost Train Trilogy Complete Set (Three Movements) Eric Whitacre Score & Parts $375.00 (US) #HL 04001840 Ghost Train Trilogy Complete Set (Three Movements) Eric Whitacre Score $60.00 (US) #HL 04001841 Godzilla Eats Las Vegas! Eric Whitacre Score & Parts $200.00 (US) #HL 04001836 Godzilla Eats Las Vegas! Eric Whitacre Score $60.00 (US) #HL 04001837 Optional Choral Part also available Goodnight Moon Margaret Wise Brown & Eric Whitacre/arr. Michael Markowski Score & Parts $125.00 (US) #HL 04006477 Goodnight Moon Margaret Wise Brown & Eric Whitacre/arr. Michael Markowski $35.00 (US) #HL 04006478 Choral & Wind Ensemble also available Lux Aurumque Eric Whitacre Score & Parts $125.00 (US) #HL 04002371 Lux Aurumque Eric Whitacre Score $35.00 (US) #HL 04002372 Orchestra & Marimba Quartet also available Audio Preview Noisy Wheels of Joy Eric Whitacre Score & Parts $125.00 (US) #HL 04001966 Noisy Wheels of Joy Eric Whitacre Score $35.00 (US) #HL 04001967 Audio Preview October Eric Whitacre Score & Parts $125.00 (US) #HL 04001888 October Eric Whitacre Score $35.00 (US) #HL 04001889 Orchestra & Marimba Quartet also available The Seal Lullaby Level 4 Concert Band Eric Whitacre Score & Parts $125.00 (US) #HL 04003047 The Seal Lullaby Level 4 Concert Band Eric Whitacre Score $35.00 (US) #HL 04003048 Choral Part also available Audio Preview The Seal Lullaby For Flex-Band Eric Whitacre/arr. Robert J. Ambrose Score & Parts $75.00 (US) #HL 04006898 The Seal Lullaby For Flex-Band Eric Whitacre/arr. Robert J. Ambrose Score $10.00 (US) #HL 04006899 Choral Part also available Score/Audio Preview Sing Gently for Flexible Wind Band Eric Whitacre/arr. Verena Mösenbichler-Bryant Score & Parts $75.00 (US) #HL 04007061 Sing Gently for Flexible Wind Band Eric Whitacre/arr. Verena Mösenbichler-Bryant Score $10.00 (US) #HL 04007062 Sleep Eric Whitacre Score & Parts $125.00 (US) #HL 04002139 Sleep Eric Whitacre Score $35.00 (US) #HL 04002140 Marimba Quartet also available Audio Preview Sleep, My Child (from Paradise Lost: Shadows and Wings) Eric Whitacre/arr. Jeffrey Gershman Score & Parts $125.00 (US) #HL 04003374 Sleep, My Child (from Paradise Lost: Shadows and Wings) Eric Whitacre Score $35.00 (US) #HL 04003375 Choral Part also available Audio Preview The Star-Spangled Banner John Stafford-Smith/arr. Eric Whitacre Score & Parts $75.00 (US) #HL 04005667 The Star-Spangled Banner John Stafford-Smith/arr. Eric Whitacre Score $25.00 (US) #HL 04005668 Choral Part also available Orchestra A Boy and a Girl Octavio Paz & Eric Whitacre Score & Parts $70.00 (US) #HL 04492511 A Boy and a Girl Octavio Paz & Eric Whitacre Study Score $8.95 (US) #HL 14042176 Marimba Quartet also available Deep Field For Full Orchestra, Choir and Smartphone App Eric Whitacre Score & Parts $525.00 (US) #HL 04492514 Deep Field For Full Orchestra, Choir and Smartphone App Eric Whitacre Score $75.00 (US) #HL 04492515 Performance Video Lux Aurumque For Full Orchestra Eric Whitacre Score & Parts $125.00 (US) #HL 04004983 Lux Aurumque For Full Orchestra Eric Whitacre Score $35.00 (US) #HL 04004984 Concert Band & Marimba Quartet also available October – String Orchestra Eric Whitacre/arr. Paul Lavender Score & Parts $85.00 (US) #HL 04490700 October – String Orchestra Eric Whitacre/arr. Paul Lavender Score $15.00 (US) #HL 04490701 Concert Band & Marimba Quartet also available Audio Preview Chamber Music Deep Field For Wind Ensemble Eric Whitacre Score & Parts $525.00 (US) #HL 04005896 Performance Video Deep Field For Wind Ensemble Eric Whitacre Score $275.00 (US) #HL 04005897 Goodnight Moon For Wind Ensemble and Soloist Margaret Wise Brown & Eric Whitacre/arr. Verena Mösenbichler-Bryant Score & Parts $150.00 (US) #HL 04005423 Goodnight Moon For Wind Ensemble and Soloist Margaret Wise Brown & Eric Whitacre/arr. Verena Mösenbichler-Bryant Score $150.00 (US) #HL 04005424 Choral & Concert Band also available Sing Gently Piano Quintet Eric Whitacre Score & Parts $14.99 (US) #HL 00357027 Choral & Concert Band also available Marimba Quartet A Boy And A Girl Octavio Paz & Eric Whitacre/arr. Joby Burgess $16.95 (US) #HL 00295957 Orchestra also available Performance Video Lux Aurumque Eric Whitacre/arr. Joby Burgess $16.95 (US) #HL 00295958 Concert Band & Orchestra also available Performance Video October Eric Whitacre/arr. Joby Burgess $16.95 (US) #HL 00295955 Concert Band & Orchestra also available Performance Video Sleep Eric Whitacre/arr. Joby Burgess $16.95 (US) #HL 00295961 Concert Band also available Performance Video
Kim André Arnesen Arnesen's music is lovely and worth hearing… Sacred and secular, there is much to admire.– American Record Guide Kim André Arnesen Born in 1980, Kim André Arnesen is one of the most frequently performed composers from Norway today. He grew up in Trondheim where he was a chorister in the Nidaros Cathedral Boys’ Choir, later being educated at the Music Conservatory in Trondheim. With an interest in baroque music, contemporary classical music, and popular music, Kim could have taken many roads, but choral music became his greatest passion. As a composer, he had his first performance at the age of 18 with the boys’ choir. Since then he has written music that has been performed and recorded by choirs all over the world. In 2015–16, Kim was Composer-in-residence for the Denver-based choral ensemble Kantorei and Artistic Director Joel Rinsema. The residency concluded with the recording of Kim’s second CD album released in early 2018 on Naxos Records. He continues to enjoy a busy international schedule of commissions. Kim André Arnesen Born in 1980, Kim André Arnesen is one of the most frequently performed composers from Norway today. He grew up in Trondheim where he was a chorister in the Nidaros Cathedral Boys’ Choir, later being educated at the Music Conservatory in Trondheim. With an interest in baroque music, contemporary classical music, and popular music, Kim could have taken many roads, but choral music became his greatest passion. As a composer, he had his first performance at the age of 18 with the boys’ choir. Since then he has written music that has been performed and recorded by choirs all over the world. In 2015–16, Kim was Composer-in-residence for the Denver-based choral ensemble Kantorei and Artistic Director Joel Rinsema. The residency concluded with the recording of Kim’s second CD album released in early 2018 on Naxos Records. He continues to enjoy a busy international schedule of commissions. I denna ljuva sommartid (In this sweet summertime) SSAA (with divisi) a cappella Duration: c5 minutes 48024604 $2.50 More Info Commissioned by Kvindelige Studenters Sangforening, Oslo, Norway, and Marit Tøndel Bodsberg Weyde, conductor Commissioned by Kvindelige Studenters Sangforening, Oslo, Norway, and Marit Tøndel Bodsberg Weyde, conductor I denna ljuva sommartid (In this sweet summertime) is a well-known traditional summer psalm in Sweden. The text is of German origin, written in 1653 by Paul Gerhardt (1607-76) with the title Geh aus, mein Herz, und suche Freud and also called Sommerlied. The Swedish version is sung with different melodies, including one that is part of the Swedish Hymnal Songbook and sung in schools before the summer holidays. In this arrangement, I’ve used a traditional melody from Malung in Sweden and three of the eight verses of the psalm, which describe summer as a gift from God. As a composer, arranging songs that can be regarded as a national treasure in another country is something that is done with great respect. But also, working with another country’s traditional music, music that is not in one’s own blood, can hopefully result in a fresh and new take on the original. Arranger's note Arranger's note I denna ljuva sommartid (In this sweet summertime) is a well-known traditional summer psalm in Sweden. The text is of German origin, written in 1653 by Paul Gerhardt (1607-76) with the title Geh aus, mein Herz, und suche Freud and also called Sommerlied. The Swedish version is sung with different melodies, including one that is part of the Swedish Hymnal Songbook and sung in schools before the summer holidays. In this arrangement, I’ve used a traditional melody from Malung in Sweden and three of the eight verses of the psalm, which describe summer as a gift from God. As a composer, arranging songs that can be regarded as a national treasure in another country is something that is done with great respect. But also, working with another country’s traditional music, music that is not in one’s own blood, can hopefully result in a fresh and new take on the original. Falling into Mercy SATB (with divisi) & optional piano (maximum divisi SSAATTBB) Text by Euan Tait Duration: 4 minutes 48024608 $2.50 More Info Commissioned by the Stangeland Family Youth Choral Academy of the Oregon Bach Festival, in honor of the Academy’s 20th Anniversary; and St. Olaf College and Anton Armstrong, Professor of Music and Conductor of the St. Olaf Choir Commissioned by the Stangeland Family Youth Choral Academy of the Oregon Bach Festival, in honor of the Academy’s 20th Anniversary; and St. Olaf College and Anton Armstrong, Professor of Music and Conductor of the St. Olaf Choir This work comes from amazement – that the encounter with divine love, our relationship with the sacred, is to be constantly astonished by the endlessness of the depths of love. Love's persistence, again and again, whatever our failures to be people of love, is our reassurance of our precious and limitless value in the eyes of our Creator. And this mercy, this depthless mercy, frees us to become ourselves most fully, uncertain, but tenacious pilgrims. The music should be driven forward with particular attention to phrases and the detailed dynamics. For a piece like this, the various possible dynamic choices are endless and, as long as they substantiate the text and the performance remains fervent, the dynamics may be altered at the discretion of the conductor. As a composer, I always try to give each work its own identity, and this piece is characterized by first inversion chords. It is fascinating how nothing is really changed, and yet everything has changed. If one tries to move the bass to the root note it is a completely different work; the first inversion chords give a feeling of something endless, and from a musical image echoing the text, “to keep falling, endlessly.” Notes from the Poet and Composer Notes from the Poet and Composer This work comes from amazement – that the encounter with divine love, our relationship with the sacred, is to be constantly astonished by the endlessness of the depths of love. Love's persistence, again and again, whatever our failures to be people of love, is our reassurance of our precious and limitless value in the eyes of our Creator. And this mercy, this depthless mercy, frees us to become ourselves most fully, uncertain, but tenacious pilgrims. The music should be driven forward with particular attention to phrases and the detailed dynamics. For a piece like this, the various possible dynamic choices are endless and, as long as they substantiate the text and the performance remains fervent, the dynamics may be altered at the discretion of the conductor. As a composer, I always try to give each work its own identity, and this piece is characterized by first inversion chords. It is fascinating how nothing is really changed, and yet everything has changed. If one tries to move the bass to the root note it is a completely different work; the first inversion chords give a feeling of something endless, and from a musical image echoing the text, “to keep falling, endlessly.” The Gift to Sing SATB (with divisi) & piano (maximum divisi SSAATBB) Text by James Weldon Johnson Duration: 4:30 48024607 $2.50 More Info Commissioned in honor of Dr. H. Morris Stevens Jr., music educator, conductor, church musician and founder of the St. Edward’s University Masterworks Singers Commissioned in honor of Dr. H. Morris Stevens Jr., music educator, conductor, church musician and founder of the St. Edward’s University Masterworks Singers If there is one thing anyone who has sung in a choir (or other context) knows, it is how singing can “turn the gloom to a cheerful day,” as James Weldon Johnson writes in his poem. We know it from our own experience, but it is even scientifically proven. There are many reasons to sing, and one of them is to bring light into our surroundings powered by our very own voices. And if someone does not think of themselves as a singer, I feel quite confident that Johnson’s poem will make them want to sing at the top of their voice! Composer’s note Composer’s note If there is one thing anyone who has sung in a choir (or other context) knows, it is how singing can “turn the gloom to a cheerful day,” as James Weldon Johnson writes in his poem. We know it from our own experience, but it is even scientifically proven. There are many reasons to sing, and one of them is to bring light into our surroundings powered by our very own voices. And if someone does not think of themselves as a singer, I feel quite confident that Johnson’s poem will make them want to sing at the top of their voice! The Holy Spirit Mass Mixed Voices with Organ or Strings and Piano Vocal Score 48024610 $19.95 Release date in the US: May 2019 Composed to commemorate the 500th anniversary of the Reformation, The Holy Spirit Mass interweaves the familiar Mass texts with English translations of the 9th-century Veni Creator Spiritus (‘Come Creator Spirit’) and Martin Luther’s hymn Come Holy Ghost, God and Lord. This major new choral work encourages unity and reconciliation in the world and celebrates hope for its future. Arnesen’s characteristic rich harmonies and memorable melodic lines combine to create an inspirational and uplifting work suitable for concert performance. This vocal score, which includes accompaniment for organ, can also be used for performing the versions of The Holy Spirit Mass with orchestral accompaniment available on rental from Boosey & Hawkes. Composed to commemorate the 500th anniversary of the Reformation, The Holy Spirit Mass interweaves the familiar Mass texts with English translations of the 9th-century Veni Creator Spiritus (‘Come Creator Spirit’) and Martin Luther’s hymn Come Holy Ghost, God and Lord. This major new choral work encourages unity and reconciliation in the world and celebrates hope for its future. Arnesen’s characteristic rich harmonies and memorable melodic lines combine to create an inspirational and uplifting work suitable for concert performance. This vocal score, which includes accompaniment for organ, can also be used for performing the versions of The Holy Spirit Mass with orchestral accompaniment available on rental from Boosey & Hawkes.   I will light candles this Christmas SATB (with divisi) & piano (maximum divisi SSAATTBB) Text by Howard Thurman Duration: c4 minutes 48024571 $2.95 More Info Commissioned by Celia Ellington through LutheranArts in honor of Gary Aamodt’s 80th birthday, and dedicated to the annual St. Olaf Christmas Festival. Commissioned by Celia Ellington through LutheranArts in honor of Gary Aamodt’s 80th birthday, and dedicated to the annual St. Olaf Christmas Festival. Advent and Christmas are times of excitement and celebration. However, it is difficult not to see the darkness of the world. Where the treetops glisten and behind the toys and goodies it can be cold and unsafe. And it is in darkness that we need light. The candle can light our hope and remind us that we are much more than what is darkest in our lives. Therefore this time of the year can be one of light over darkness. I hope the message in this carol can guide us to become carriers of a light that brings joy, hope, courage, peace, grace, and love, now and when the star dims. “Let your light shine before others.” (The Sermon on the Mount) Composer’s note Composer’s note Advent and Christmas are times of excitement and celebration. However, it is difficult not to see the darkness of the world. Where the treetops glisten and behind the toys and goodies it can be cold and unsafe. And it is in darkness that we need light. The candle can light our hope and remind us that we are much more than what is darkest in our lives. Therefore this time of the year can be one of light over darkness. I hope the message in this carol can guide us to become carriers of a light that brings joy, hope, courage, peace, grace, and love, now and when the star dims. “Let your light shine before others.” (The Sermon on the Mount) My flame the song SATB (with divisi) & piano (maximum divisi SSATBB) Text by Euan Tait Duration: 5 minutes 48024605 $2.95 More Info Commissioned in honor of Dr. H. Morris Stevens Jr., music educator, conductor, church musician and founder of the St. Edward’s University Masterworks Singers Commissioned in honor of Dr. H. Morris Stevens Jr., music educator, conductor, church musician and founder of the St. Edward’s University Masterworks Singers We share a fierce, impassioned singing of the life of love. We sing in the lives we lead, by the way we respond to the cry in the human heart. Our lives unfold the powerful potential of love that lives in each one of us, as friends, parents, siblings, partners, colleagues. In making music, singing together lights an extraordinary process in us: we connect from the depths of our beings with each other, with this shared spiritual flame within us, we connect to those we have lost, to those who have sung the same music, we connect to the eternal singing of that vast eternal chord of being human. In performing this work, you will pass on the flame to others. You become its music, its words: your spirit cries out, here. Composer’s note Composer’s note We share a fierce, impassioned singing of the life of love. We sing in the lives we lead, by the way we respond to the cry in the human heart. Our lives unfold the powerful potential of love that lives in each one of us, as friends, parents, siblings, partners, colleagues. In making music, singing together lights an extraordinary process in us: we connect from the depths of our beings with each other, with this shared spiritual flame within us, we connect to those we have lost, to those who have sung the same music, we connect to the eternal singing of that vast eternal chord of being human. In performing this work, you will pass on the flame to others. You become its music, its words: your spirit cries out, here. Ubi caritas et amor Duration: 4 minutes Release date in the US: March 2019 SATB (divisi) a cappella (maximum divisi SSAATTBB) 48024606 $2.50 More Info SSAA a cappella 48024609 $2.50 More Info Commissioned by the Athens Master Chorale, Athens, Georgia, for Joseph S. Napoli, founder and conductor, in honor of his 50 years of loving devotion to the art of choral music. Commissioned by the Athens Master Chorale, Athens, Georgia, for Joseph S. Napoli, founder and conductor, in honor of his 50 years of loving devotion to the art of choral music. The actual origin of the text Ubi caritas et amor is unknown, but it has been dated to some point between 300 and 1100 AD. The text is typically sung during the Washing of the Feet at the Mass of the Last Supper on Maundy Thursday (Holy Thursday). The word “caritas” has many shades of meaning, and there are some nuances that seem to be lost in its translation. While the word “charity” is mostly used about voluntarily giving, the word “caritas” also means honesty, heartfeltness, dearness and tolerance. In a world with a lot of tension and disunity I wanted to write a piece that sings about the commandments to love one another. As ever, choirs performing this work should aim for a good balance between the voice parts, and the music should always be flowing but never hurried. Composer’s note Composer’s note The actual origin of the text Ubi caritas et amor is unknown, but it has been dated to some point between 300 and 1100 AD. The text is typically sung during the Washing of the Feet at the Mass of the Last Supper on Maundy Thursday (Holy Thursday). The word “caritas” has many shades of meaning, and there are some nuances that seem to be lost in its translation. While the word “charity” is mostly used about voluntarily giving, the word “caritas” also means honesty, heartfeltness, dearness and tolerance. In a world with a lot of tension and disunity I wanted to write a piece that sings about the commandments to love one another. As ever, choirs performing this work should aim for a good balance between the voice parts, and the music should always be flowing but never hurried.
Licensing Publishers Hal Leonard proudly represents the following catalogs in print and digital media. For specific publishing names and artists, skip to the Alphabetical Listing. ASSOCIATED PUBLISHERS Acuff-Rose Addax Adria K Almo Amerita Arc Atlantic Atlas Barton Bicycle Big Deal Black Bull Black River Blue Mountain BMG BMG Blue BMG Bumblebee BMG Firefly BMG Gold BMG Monarch BMG Platinum BMG Rights Management BMG Ruby BMG Sapphire Bruin Bug Can't Stop Careers Chariscourt Cherio Cherry Lane Chrysalis Colgems EMI Combine Concord Conrad Creeping Death Criterion Cross Keys Dixie Stars Downtown Dwarf E.B. Marks (educational titles) E.H. Morris E.O. Smith Eastman Emerald Forest EMI April EMI Blackwood Ensign Entertainment Co. Evergreen Experience Hendrix Famous Fantasy Fox Film Frank Music Corp. Gear Publishing Co. Gene Autry Music Group Genevieve Gibb Brothers Gimbel Gladys Glocca Morra Golden West Melodies Gone Gator Goodman Group Grey Dog Haapala Harrisongs Harwin HoriPro Ice Nine Imagem Irving Jewel Jobete Jondora Jowcol Kobalt Larry Spier Lee Mendelson Film Lehsem Leiber & Stoller Lenono Llee Magic Dog Malaco MCA Melody Ranch Memory Lane MGB Milene MJQ Moebetoblame Mood Morley Mosaic Mowgli MPCA MPL Communications Music & Media International Music Sales New Hidden Valley Northridge Notable Ole Media Ole Red Cape Orpheum Painted Desert Paramount Pastorius Peer International Peermusic Penny Farthing Pic Pixar PolyGram Prestige Primary Wave Princess PSO Limited Pulse Pure Songs Quartet Raleigh Ray Vaughan Music Razor & Tie Really Useful Group Regatta Regent Reservoir Media Ridgeway Rilting Rondor Rytvoc S.A. Music Sailor Scarsdale Screen Gems EMI Seven Summits Shapiro, Bernstein & Co. Shawnee Press Silva Sixteen Stars Skidmore Songs Songs of Universal Sony/ATV Harmony Sony/ATV Melody Sony/ATV Music Publishing Sony/ATV Songs Sony/ATV Tunes Southern Music Special Rider Spirit Stage Three Stevie Ray Songs Straitjacket Sudgee 2 Sunflower Sy Vy Tauripin Tunes TCF Thelonious Music Corp. Touchstone Tree Trio Ultra Unison Universal Music - Careers Universal Music - MGB Songs Universal Music - Z Songs Universal Music - Z Tunes Universal Music Corp. Vector Velvet Apple Volta Walt Disney Warock Western Williamson Willis Windswept Wonderland Words West Zomba WRITERS / ARTISTS / SHOWS Addams Family Adler, Richard / Ross, Jerry Arlen, Harold Autry, Gene Bacharach, Burt Band's Visit, The Beatles Bee Gees Berlin, Irving Bock, Jerry/ Harnick, Sheldon Boston Boublil, Alain Brown, Jason Robert Cash, Johnny Clapton, Eric Coleman, Cy Coltrane, John Damn Yankees David, Hal Dear Evan Hansen Dirty Rotten Scoundrels Dylan, Bob Fain, Sammy Full Monty, The Gershwin, George Grateful Dead Greatest Showman, The Guaraldi, Vince Hairspray Harrison, George Hendrix, Jimi Johnson, Eric Kenny G King's Singers, The Knopfler, Mark Lennon, John Les Miserables Lloyd Webber, Andrew Mancini, Henry Marley, Bob Matthews, Dave McCartney, Paul McDonald, Michael Metallica Miller, Steve Miss Saigon Modern Jazz Quartet Monk, Thelonious Motown Records Mraz, Jason Orbison, Roy Parton, Dolly Pastorius, Jaco Songs from "Peanuts" Petty, Tom Phish Presley, Elvis Red Hot Chili Peppers Rodgers, Richard / Hammerstein II, Oscar Schonberg, Claude-Michel Schwartz, Stephen Seger, Bob Simon, Paul Sondheim, Stephen Starr, Ringo Stills, Stephen Sting / Police, The Vai, Steve Vaughan, Stevie Ray Village People, The Weezer Wicked Willson, Meredith Wonder, Stevie Yazbek, David Young, Neil
Eugene Butler Eugene Butler Eugene Butler has established a solid and respected position in the music world as a composer, conductor, educator and church musician. He received a Bachelor of Music Education from Oklahoma University, a Master of Sacred Music from Union Theological Seminary in New York and a Doctor of Musical Arts (Composition) from the University of Missouri-Kansas City. As a composer, Dr. Butler has received various honors such as Kansas "Composer of the Year" and the coveted ASCAP Standard Music Panel Award every year since 1972. In 1983 he was selected outstanding alumnus by the University of Missouri-Kansas City. In 1986 Dr. Butler was honored with the prestigious Burlington-Northern Railroad recognition for Excellence In Teaching and received the distinguished Service Award from Johnson County Community College. In 1989 he received a National Teaching Excellence Award from the University of Texas-Austin. In 1991-92, Dr. Butler designed a study course and guide for Mozart's Don Giovanni under the auspices of the National Endowment for the Humanities. To date, Dr. Butler has over 700 published compositions with 46 publishing houses, as well as numerous unpublished manuscripts. He is frequently busy on commissioned new works and in any given week of the year the music of Eugene Butler be heard in thousands of performances throughout the English-speaking world. Dr. Butler served as Director of Choral Activities and Music Theory at Johnson County Community College in Overland Park, Kansas. He simultaneously Director of Music and the Arts at Valley View United Methodist Church in Overland Park, where he served for 28 years. Dr. Butler conducted the Johnson County Chorus, a civic choral group that sings throughout the Kansas City area. From 1960-1970 he served as Director of Music at First United Methodist Church in Wichita, Kansas. He has served as adjunct professor at the University of Missouri-Kansas City. On June 1, 1998, Dr. Butler resigned all teaching and conducting positions to compose full-time. In honor of his years of service to the music community, a scholarship fund was established at the Conservatory of Music at the University of Missouri-Kansas City, to be awarded yearly to an outstanding student in choral conducting. He continues to accept choral commissions for school and professional choruses and for special church celebrations. Eugene Butler is a busy adjudicator and workshop leader of composition seminars, choral and church music clinics and new music repertory sessions. He has conducted and taught in 39 states, three Canadian provinces and in England. His most recent composition, A Rhapsody of Praise, is a commission from the National Federation of Music Clubs and will premier in May 1999 at their national convention in St. Louis.
Diane Downs Diane Downs Diane Downs is the founder and artistic director of the Louisville Leopard Percussionists. After playing music at home from a very early age, she participated in band throughout school.  After taking a year off to teach music in Jamaica, she attended Morehead State University (KY) on a music scholarship. Diane earned her bachelor’s and master’s degrees in elementary education from Morehead State, and a Rank 1 status from the University of Louisville in the areas of gifted education and jazz pedagogy. Diane was a teacher in the Jefferson County Public School System for 28 years. From 1989-2003 she taught 2nd and 3rd grade at ML King Elementary, and from 2003-2018 she taught music at Norton Elementary. She founded the Fabulous Leopard Percussionists in 1993, directed that group for ten years and then created the Louisville Leopard Percussionists, a non-profit, community-based group. She also assists the “We Got the Beat” percussion ensemble in Fresno, CA and serves as a consultant to numerous elementary percussion ensemble programs around the U.S.  In recognition of her work, Diane received the 1996 WHAS TV/PNC Bank ExCel Award, the 2001 Governor’s Award for Excellence in Arts Education, the 2004 Louisville Arts Council Community Arts Award in Music, the 2005 Today’s Woman Magazine Most Admired Woman in Louisville in Education Award, the 2008 National Cable Leaders in Learning Award, the 2015 Dr. Martin Luther King, Jr Living the Vision Award, and the 2018 John LaPorta Jazz Educator of the Year Award through the Jazz Education Network and Berklee College of Music.  She is a member of the Percussive Arts Society, The Jazz Education Network and the National Association for Music Education, and is active with Hit Like A Girl.  
Cheryl Lavender Cheryl Lavender Cheryl Lavender, Doctor of Music Education (honoris causa), is internationally recognized as a master music educator, composer, clinician and keynote speaker. Having taught music for 37 years from elementary through university levels, Cheryl maintains an active writing/speaking schedule through Hal Leonard.  Cheryl’s 50+ music resources include games, songs, and teaching strategies. Popular titles: ROUND the World, World Partners, Beautiful Music - Beautiful Children posters, The Ultimate Music Assessment and Evaluation Kit, Making Each Minute Count, Songs of the Rainbow Children, Rhythm/Melody Flash Cards, and the popular Bingo series.  In 2016, Cheryl was awarded a DMusEd (h.c.) degree from VanderCook College of Music. She is a contributing composer for MacMillan/McGraw-Hill textbook Spotlight On Music and John Jacobson's Music Express magazine. In 2005, Cheryl received the WMEA Distinguished Service Award and the Central Michigan University Distinguished Alumni Award. In 2004, she was awarded the NEA Arts@Work $5000 grant funding the school's piano lab. In 1996, she taught in South Africa for Eisenhower Citizen Ambassadors. In 1993, Cheryl received Elmbrook School’s Outstanding Teacher Award.  Cheryl's enthusiasm for teaching music and her love for children make her one of the most sought-after clinicians in music education. Cheryl's academic background includes a music education degree from Central Michigan University and graduate work at Michigan State University, University of Wisconsin, and VanderCook College of Music. Cheryl and her husband, Paul, reside in Brookfield, WI. Publications by Cheryl Lavender
Paul Lavender Paul Lavender As Vice President of Instrumental Publications for Hal Leonard Corporation, Paul Lavender directs the product development and marketing of Hal Leonard’s extensive catalog of performance publications for orchestra, concert band, marching band, and jazz ensemble, as well as instrumental books, collections and methods. Paul supervises the creative work of many of the industry’s most respected composers and arrangers, publishing over 600 new instrumental publications each year. His longtime association with renowned film composer John Williams has produced the prestigious John Williams Signature Series, featuring Williams’ authentic film scores and concert music for professional orchestras. In addition, Paul has served as music supervisor and arranger for several of Williams’ concerts and special events, including the 2003 and 2008 Marine Band Anniversary Concerts, the 2004 Rose Bowl, and the 2004 Kennedy Center Honors program (televised on CBS). Also a prolific writer, Paul has contributed more than 1,200 arrangements and compositions to the educational and concert repertoire, and he continues to be one of the most widely played writers today. Most recently, he has received international acclaim with two notable transcriptions for symphonic band: Leonard Bernstein's Symphonic Dances from West Side Story, and Pictures at an Exhibition by Modest Mussorgsky and Maurice Ravel. Both works were written for and recorded by the world-renowned United States Marine Band, and performed on national tours under the direction of Colonel Michael J. Colburn. Paul is also co-author and managing editor of Essential Elements, the leading method for beginning bands and orchestras. Under his direction, Hal Leonard recently released Essential Elements Interactive, the first-ever, cloud-based resource that features online learning for school band and orchestra programs. His expertise in music notation and preparation, recording production, and computer system design contributes to Hal Leonard's continuing success as the leading print and digital music publisher, recognized throughout the world. In 2005, Paul received the Distinguished Alumni Award from Central Michigan University, where he did both his undergraduate and graduate work in Music Theory and Composition. After serving as a graduate assistant teaching music theory at CMU, he furthered his music studies at the University of Michigan. Paul and his wife Cheryl, an internationally recognized music educator and author of classroom resources, live in Brookfield, Wisconsin. They are the parents of three adult children, Eric, Brandon and Krista. Publications by Paul Lavender
Mike Tomaro Mike Tomaro Mike Tomaro is the Director of Jazz Studies at Duquesne University in Pittsburgh, PA. This saxophonist, flutist, clarinetist, composer, arranger and educator earned his B.S. degree in Music Education from Duquesne University and his M.A. degree in Saxophone Performance from George Mason University in Fairfax, VA. Mike is a Yamaha Performing Artist and former member of the Army Blues jazz ensemble. While a member of this group, he served as its Enlisted Musical Director and performed for Presidents Reagan, Bush and Clinton, as well as heads of state from around the world. He also composed and/or arranged much of the Army Blues repertoire, and was featured as a soloist on several of the group's albums and CDs. Mike has four nationally released recordings under his own name that showcase his talents as both performer and writer: Nightowl Suite, Forgotten Dreams, Dancing Eyes (all on Seabreeze Jazz), and Home Again (Positive Music). His latest CD, Nightowl Suite, is Mike's first release under his own name in nine years and features his compositions and arrangements as performed by the Three Rivers Jazz Orchestra, a group that he co-founded. Music that Mike has composed or arranged has been performed by the likes of jazz greats Nancy Wilson, Claudio Roditi, New York Voices, Randy Brecker, Mike Stern, Ernie Watts, Bobby Shew, Al Vizzutti and many others, as well as high school, college, university and professional bands around the world. More than 80 of his compositions and arrangements are published by Doug Beach Music, Hal Leonard Corporation and Walrus Music. As a performer, Mike has worked with such diverse artists and groups as Nancy Wilson (most recently on her Grammy award winning CD RSVP on the MCG Jazz label), Rosemary Clooney, Ray Charles, Michael Feinstein, Linda Ronstadt, Johnny Mathis, Terence Blanchard, Dizzy Gillespie Tribute Big Band, New York Voices and the Woody Herman Orchestra. In his hometown, he has performed with the Pittsburgh Symphony, Pittsburgh Ballet and Pittsburgh New Music Ensemble, in addition to leading his own small groups. He is a long-time associate of the International Association for Jazz Education, where he is a member of its prestigious resource team in the area of arranging and composition. He is also affiliated with the American Society of Composers, Authors and Publishers where he has received an ASCAP Plus award for the past four years, the National Academy of Recording Arts and Sciences, and the Pittsburgh Jazz Society, where he is a member of its board of directors. Mike is in great demand both nationally and internationally as a guest soloist, adjudicator and clinician. For more information on his activities, visit Mike's website at www.miketomaro.com. Publications by Mike Tomaro
Joan Tower Joan Tower p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Times} p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Times; min-height: 14.0px} Joan Tower is widely regarded as one of the most important American composers living today. During a career spanning more than fifty years, she has made lasting contributions to musical life in the United States as composer, performer, conductor, and educator. Her works have been commissioned by major ensembles, soloists, and orchestras, including the Emerson, Tokyo, and Muir quartets; soloists Evelyn Glennie, Carol Wincenc, David Shifrin, Paul Neubauer, and John Browning; and the orchestras of Chicago, New York, St. Louis, Pittsburgh, Baltimore, Nashville, Albany, and Washington D.C. among others. In 2019 the League of American Orchestras awarded her its highest honor, the Gold Baton, at the League's 74th national conference. Tower is the first composer chosen for a Ford Made in America consortium commission of sixty-five orchestras.    Leonard Slatkin and the Nashville Symphony recorded Made in America in 2008 (along with Tambor and Concerto for Orchestra). The album collected three Grammy awards: Best Contemporary Classical Composition, Best Classical Album, and Best Orchestral Performance. Nashville’s latest all-Tower recording includes Stroke, which received a 2016 Grammy nomination for Best Contemporary Classical Composition. In 1990 she became the first woman to win the prestigious Grawemeyer Award for Silver Ladders, a piece she wrote for the St. Louis Symphony where she was Composer-in-Residence from 1985-88. Other residencies with orchestras include a 10-year residency with the Orchestra of St. Luke's (1997-2007) and the Pittsburgh Symphony (2010-11). She was the Albany Symphony’s Mentor Composer partner in the 2013-14 season. Tower was cofounder and pianist for the Naumburg Award-winning Da Capo Chamber Players from 1970-85. She has received honorary doctorates from Smith College, the New England Conservatory, and Illinois State University. She is Asher Edelman Professor of Music at Bard College, where she has taught since 1972.
Rules - 2022 Hal Leonard Vocal Competition The 2022 HAL LEONARD VOCAL COMPETITION THE NORTH AMERICAN COMPETITION FOR SINGERS, SPONSORED BY THE WORLD LEADER IN VOCAL MUSIC $10,000 IN PRIZES FOR YOUNG SINGERS, CHILDREN THROUGH COLLEGE UNDERGRADUATES Home Previous Winners Rules Art Song Musical Theatre 2022 will be the twelfth year of the Hal Leonard Vocal Competition, the innovative online competition for singers. This is the only vocal competition for all of North America aimed at young singers, ages 23 and under, and one of the first legitimate competitions for music students held entirely online on YouTube. In keeping with our founding values for the competition, there is no entry fee, making it accessible to any qualifying singer, from any location in North America (and U.S. territories), who records a video comprised of songs from the required repertoire, and then posts it on the internet in the prescribed manner by the deadline. This eliminates the commonly encountered expenses of travel to a designated destination on a specific date, as is the case in conventional music competitions. Cash prizes are awarded to first place winners in each category, and valuable gift certificates are awarded to those singers placing second and third. Gift certificates are also possible for those named Honorable Mention. All these prizes are in the spirit of supporting further music study among talented singers. We also very much value the sense of shared community that singers and teachers may find in watching video entries of others from all over North America. We give an inadequate salute to all the thousands of music teachers in North America. You inspire us by keeping our musical heritage alive, passing it on to one student at a time. Best of luck to all! We congratulate our past prize winners! Click on the year to see the video entries of past prize winners: View the Winning Videos Choose a Previous Year 2021 2020 2019 2018 2017 2016 2015 2014 2013 2012 2011 Official Rules Common Problems with Rules and Other Topics Judging OFFICIAL RULES In the spirit of fairness to all entries, these rules must be followed explicitly, without exception. It simply would not be fair to all other entrants if we allow an entry that does not follow all the rules. The rules and guidelines apply to both categories, Art Song and Musical Theatre. Official Entry Forms may be accessed at the end of the Required Repertoire for each age division within a category. Entrants must be legal residents of the United States and its territories, or legal residents of Canada. Video entries must be submitted by 1:59 am Central time on February 2, 2022. Any entries after that strict deadline will be disqualified. To be absolutely clear when your video is due, please consult the list of time zones below: Atlantic Time Zone: February 2, 3:59 am Eastern Time Zone: February 2, 2:59 am Central Time Zone: February 2, 1:59 am Mountain Time Zone: February 2, 12:59 am Pacific Time Zone: February 1, 11:59 pm Alaskan Time Zone: February 1, 10:59 pm Hawaiian Time Zone: February 1, 8:59 pm Designated winners may be asked to provide proof of age before the dispensation of prizes. US first place winners will be required to report their Social Security Number for dispensation of cash prizes. Canadian first place winners are subject to a tax withholding as is consistent with the Canadian Revenue Agency. Results will be announced to entrants via email and on www.halleonard.com/vocalcomp by May 1, 2022. We have added an optional field for teacher's email address to the official entry form; if the teacher's email address is entered, the teacher will also receive notification of results. An entrant may only win a first place cash prize once per age division within a category (art song or musical theatre). For instance, if you win first place in the Early Teen Voices Art Song category at age 14, you cannot enter again in that category the next year at age 15. Second Place, Third Place and Honorable Mentions are free to re-enter in the same age division. In the interest of fairness, employees of Hal Leonard, Hal Leonard published composers, editors, arrangers or authors, or members of their immediate families, or their students, are not allowed to enter the Hal Leonard Vocal Competition. You must follow the repertoire guidelines. Music competitions generally have required repertoire, and the Hal Leonard Vocal Competition is no different in this regard. The publications in the required repertoire list for each category and age division have been carefully considered, and generally offer a variety of material from which to choose. In fairness, we must insist that all entrants abide by these prescribed rules. Make certain that you have chosen songs from the required repertoire publications for your age division. It is not acceptable to sing repertoire from another age division, even a higher age division. Doing so will require us to disqualify your entry. You may sing a song traditionally sung by another gender provided the repertoire requirements for your age category are met. For the Children's Voices and Early Teens Voices categories only, we will allow transposition if the voice teacher feels this solves a vocal problem for the singer. If you wish to transpose a song, it is required that you seek permission for each song that you wish to transpose. Permissions must be sought via email to vocal@halleonard.com. Transpositions are allowed only to address vocal issues common to children and voices going through puberty. Transpositions will not be allowed for the high school and college categories. Two contrasting songs are required. Do not sing two slow songs or two fast songs or two songs of similar character. Choose songs that show a broad diversity of your abilities: range, expression, technique, musicality, etc. Accompanists are forbidden to use photocopies. Pianists accompanying singers must play from original publications in printed or ebook form. Entries with visible photocopies or visible loose pages of any kind will be automatically disqualified. Photocopying music is illegal. The purchase of a publication does not grant the right to photocopy for rehearsal or performance with a pianist. Singers are responsible for the accompanist's compliance with this strict rule. We cannot make any exceptions. Pianists must play from original publications, whether this is their preference or not. There is no other choice for this competition. We urge the use of page turners as necessary. If the pianist is playing from a digital version of the music, you may be asked by the judging panel to provide a receipt or other proof of purchase. The performance recorded for the video entry must be acoustic and not amplified. The only microphone(s) involved should be for recording, and your voice must not be amplified. No mixing or sound enhancement is allowed through any kind of soundboard, including at a recording studio. No reverb can be added to the recording. The recording must be honest and acoustic. As closely as possible, it needs to be as if the judges were in the room listening to you perform live. You must sing live on the video. No audio dubbing over your video is allowed. Be aware that if your video entry sounds as if you have added reverb or enhanced the sound in any way, even if this is not the case, the judges will question and possibly disqualify your entry. If you are recording your video in a professional recording studio (which is completely unnecessary and possibly unwise for this competition), the sound engineer must not add reverb, sound enhancement or sound mixing in any way. Complete introductions, interludes, etc., must be performed. All repeats must be performed. If a singer is uncomfortable with a song which has a long introduction or interlude, choose a different song! If using a Hal Leonard companion audio, you may follow the form of the recording. Tasteful, stylistic ornamentation is allowed for Baroque selections in the art song category. Note any specific repertory requirements for each category. For musical theatre selections, a few interpretive liberties are allowed, but these should be deliberately chosen stylistic choices, not musical inaccuracies. The style of singing remains musical theatre, and should not venture into pop/rock/jazz improvisation. The taste and interpretive choices a singer makes will be part of what is judged. If the judges believe the singer has strayed too far away from the song as written, or from the way it is traditionally performed, it could impact the judging. Some teachers seem to think that if a singer does not sing exactly the notes and rhythms that are on the page, that the student audition should not be judged positively. It's up to the judges to decide what is acceptable within the style, and what is not. This applies to the piano accompaniment. Appropriate stylistic deviation is acceptable, however reharmonization and widely varying distractions will not be accepted. For the Art Song competition, in any age category, your video must be titled as follows: HL Art Song 2022 [Your Name] For instance: HL Art Song 2022 Mary Smith To be explicit: HL(one space)Art(one space)Song(one space)2022(one space)Mary(one space)Smith Note that HL is capitalized with no space between the H and L, and the first letter of Art and Song are capitalized. Also note that Art and Song are two separate words, with one space between them. For the Musical Theatre competition, in any age category, your video must be titled as follows: HL Theatre 2022 [Your Name] For instance: HL Theatre 2022 Mary Smith To be explicit: HL(one space)Theatre(one space)2022(one space)Mary(one space)Smith Note that HL is capitalized with no space between the H and L, and the first letter of theatre is capitalized. Note the spelling of Theatre (We have chosen Theatre as the spelling, not Theater, which is another acceptable spelling.) The judges will not spend time searching for your video if it is incorrectly labeled. In the official entry form, you will be providing the link with the web address of your video posting. Hal Leonard will also be copying your posting into the Hal Leonard Vocal Channel. Please double check the link provided. Make sure that your video is set to "public" or "unlisted" and not "private." The video must clearly show your face. A stationary camera position throughout, showing your face and most of your body, is perfectly acceptable, even preferable. Singers are required to sing their selections from memory. If a singer's performance is not memorized, the entry will be disqualified. You may sing with a live pianist in your video entry, or you may sing with official Hal Leonard recorded accompaniments which are packaged with or are companion to the required publications. When using the Hal Leonard recorded accompaniments, you may adjust the tempo as needed using any of several different softwares as long as the pitch does not change, unless as allowed for the Early Teens or Children's categories. Orchestrated accompaniments and MIDI generated backing tracks are not allowed. We will not accept unaccompanied entries. You may not accompany yourself. The video should be in the spirit of a recital or audition. It may be shot in a home, school, church, synagogue, recital hall, or some other appropriate location, with or without an audience. Please take into account the acoustics of the room. A small room with dead acoustics will not flatter a voice. We encourage you to dress appropriately, as you would for a recital or an audition. You are required to introduce yourself and your selections in the video, either verbally before your selection or with a title card before the songs. This is a simple introduction in the spirit of an audition. This introductory portion of the video entry must be limited to the following: FOR THE ART SONG COMPETITION Your name The composer and title of your selection (prior to each song) FOR THE MUSICAL THEATRE COMPETITION Your name The title of the song The show the song is from Do not say or write anything more in your video entry to the Hal Leonard Vocal Competition. Those departing from this stated direction may be disqualified. For the Art Song Competition, a typical model of spoken introduction before the first selection is: I am __________________. I will sing "The Silver Swan" by Orlando Gibbons (Or after your name you could simply state the selection without saying 'I will sing') Before the second selection, simply state the song title and the composer. For example: "Per la gloria d'adorarvi" by Giovanni Bononcini Take very special care to pronounce the title of your song and the composer's name correctly. For the Musical Theatre Competition, a typical model of spoken introduction before the first selection is: I am __________________. I will sing "Part of Your World" from The Little Mermaid. (Or after your name you could simply state the selection without saying 'I will sing') Before the second selection, simply introduce the song by stating the song title and the show the song is from: "Where Is Love" from Oliver! Video editing during a song is not allowed under any circumstances. This will be automatic grounds for disqualification. Each song should be filmed in one continuous take. The only editing allowed in the audition video is the insertion of an introduction, if necessary, and the editing together of two required songs. Do not change camera angles within the performance of a song. Each singer should submit both required songs within one video entry for a category. A singer is allowed to enter both the Art Song and Musical Theatre Competitions. There is no fee required for entry in the Hal Leonard Vocal Competition. We have attempted to thoroughly address all issues in these rules and guidelines. We repeat that, in fairness to all entrants, the official rules must be followed explicitly, without exception. The repertoire requirements must be strictly followed. If you write to us asking us to make an exception for you regarding required repertoire, or asking to submit a video entry to the competition after the stated deadline, we will simply write back stating that we must enforce the rules. We believe questions about topics beyond those covered should be very rare. If they arise, they may be directed to vocal@halleonard.com. COMMON PROBLEMS WITH RULES AND OTHER TOPICS THE USE OF VISIBLE PHOTOCOPIES IS PROHIBITED We have had to disqualify some video entries because of use of photocopies by accompanists, a clear violation of the rules. Most music competitions ban photocopies. Because we are, after all, a music publisher, we must take this rule very seriously. We have also added to this rule a ban of playing from any visible loose pages of music of any kind, whether they are photocopies or pages cut from a book, or any visible loose pages placed in any kind of binder, because the judges cannot tell that loose pages such as these are not photocopies. Singers are responsible for the accompanist's compliance with this strict rule. Pianists must play from original publications, whether this is their preference or not. The purchase of a publication does not grant the right to photocopy for rehearsal or performance with a pianist. We urge the use of page turners as necessary. SONGS MUST BE FROM THE REQUIRED REPERTOIRE LIST Each year we are forced to disqualify a few entries because the singer sings songs that are not from the list of specified required repertoire publications for a category. This has particularly been a problem in the children's categories. Singers must sing songs from the publications listed in the required repertoire list for the category of entry. Music competitions generally have required repertoire, and the Hal Leonard Vocal Competition is no different in this regard. The publications in the required repertoire list for each category and age division have been carefully considered, and generally offer a wide array of material from which to choose. In fairness, we must insist that all entrants abide by these prescribed rules. Each year we receive inquiries that essentially ask, "May I sing a song from a book not on the required repertoire list?" Or, "I have this book not on your repertoire list. May I sing a song from this instead? The answer to these questions will always be no. In fairness to all entrants we must insist that the repertoire rules be followed. If you sing a song not from one of the publications in the required repertoire list, you will be disqualified. Also, many singer entries make mistakes in listing which publication a song is from. Please accurately list in your entry form the title of the book in which your song is published. ENTER THE APPROPRIATE AGE DIVISION AND CATEGORY Age is defined as the entering singer's age on the deadline of February 1, 2022. Make certain that you enter the correct age division of the competition. Each year we have entries in the wrong age division or wrong category, Art Song or Musical Theatre. THE DEADLINE FOR ENTRY MUST BE RESPECTED Video entries must be submitted by 1:59 am Central time on February 2, 2022. Any entries after that strict deadline will be disqualified. To be absolutely clear when your video is due please consult the list of time zones below: Atlantic Time Zone: February 2, 3:59 am Eastern Time Zone: February 2, 2:59 am Central Time Zone: February 2, 1:59 am Mountain Time Zone: February 2, 12:59 am Pacific Time Zone: February 1, 11:59 pm Alaskan Time Zone: February 1, 10:59 pm Hawaiian Time Zone: February 1, 8:59 pm TRANSPOSITIONS For High School and College/Young Adult age divisions, the video entries in the Hal Leonard Vocal Competition, songs must be sung in a published key that is in a publication on the required repertoire list for a category. Note that some of the publications on the required repertoire list come in more than one key (such as High Voice or Low Voice). As long as it is a published key from one of the publications on the required repertoire list, the entry is acceptable. For the Hal Leonard Vocal Competition we will not accept entries of transposed keys that are not in the required repertoire list of publications. We have decided to allow transpositions for the Children's Voices and Early Teen Voices categories, but you must follow the specific instructions stated in the Official Rules and Guidelines. VIDEO AND AUDIO QUALITY While we do not expect professional quality video and audio, after hearing thousands of video auditions for the competition, we have observed that those videos with notably poor video and audio quality make a less than good impression. On some entries the audio is so distorted that it is impossible to get a good impression of the singer's voice. We urge you to do the best you can. Take acoustics and the placement of microphones into account. Please test the recording set up before recording your video. A video audition sung in a small room with dead acoustics will generally make a less flattering vocal impression than a video audition recorded in a room with more sympathetic acoustics. When using a smartphone to make a recording, a better result can be achieved by holding the phone horizontally rather than vertically. YOUTUBE PUBLIC SETTING Each entry must be via video posted at www.youtube.com, with the link provided on the entry form. For information on posting videos we recommend exploring the Help section found on the YouTube homepage. Please note that you must select "Public" in the Privacy settings found under the broadcasting and Sharing Options section when uploading your video file to YouTube. AMPLIFICATION AND SOUND ENHANCEMENT There must be no amplification of the voice, no added reverb, or any sound enhancement added to the voice. Carefully read rules 15 and 16. Each year we have to disqualify singers who violate this rule. This must be an acoustic audition. If you choose to record in a recording studio (which is completely unnecessary), the sound engineer must not mix the sound, balance the voice and piano, multi-track record the voice and piano, add reverb, or alter in any way the acoustic sound of the voice. There should just be microphones for recording set up in the live room in the recording studio. Please do not make the mistake of overproducing this video audition regarding sound engineering. Also, a live performance with a microphone that is amplified through speakers is not allowed. JUDGING Art Song Judging will be by a qualified panel selected by Hal Leonard. Decisions made will be final. Criteria for judging will be most importantly voice quality and overall vocal talent. Additionally, judges will consider clarity of voice, diction, musicianship, musicality and expression, the singer's choice of repertoire, communication, presentation, and the performing personality of the singer. Musical Theatre We remind you that this is a singing competition. We urge performers to refrain from choreography in the musical video entries; however, we want lively, theatrical singing. Classical singers with good voices singing theatre repertoire need to sing in an appropriate theatre style, with persuasive acting and expression. Bland classical performances of theatre songs will not likely get a good judging result. Judging will be by a qualified panel selected by Hal Leonard. Decisions made will be final. Criteria for judging singing actors will be voice quality and overall vocal talent combined with theatrically persuasive ability to communicate. Additionally, judges will consider acting ability, clarity of voice, diction, musicianship, musicality, and expression, the singer's choice of repertoire, communication and presentation, and the performing personality of the singer. Competition Age Divisions with Required Repertoire See required repertoire details for each category and age division below. To find out more about any of the required repertoire publications listed, including viewing complete contents, enter the 8-digit publication number in the Search field at www.halleonard.com. Official 2022 Art Song Entry Form Children's Voices Ages 12 & Under Early Teen Voices Ages 13-15 High School Voices Ages 16-18 College/University Voices Ages 18-23 CHILDREN'S VOICES, AGE 12 AND UNDER - ART SONG Repertoire Requirements and Prizes For the purposes of this competition, age is defined as the age of the entrant on the deadline date of February 1, 2022. Entrants must be legal residents of the United States and its territories, or legal residents of Canada. Entries which include songs which are not from the publications listed in the repertoire requirements for this age group and category below will be disqualified. Photocopies are illegal, and are not allowed. Pianists accompanying singers must play from original publications, not loose pages of any kind or loose pages in a binder. (A page turner may be needed.) Entries with visible photocopies or loose pages, or loose pages in a binder will be automatically disqualified. Singers are responsible for the accompanist's compliance with this rule. Please be aware of contrast. Do not sing two slow songs, or two fast songs, or two songs of similar character. First Place $250 cash Second Place $100 gift certificate for music publications of the designee's choice available from Hal Leonard Third Place $50 gift certificate for music publications of the designee's choice available from Hal Leonard Further gift certificates for Honorable Mentions are possible for one Book with a retail value of up to $30.00. At the judges' discretion, further entries may be cited as Finalists and or Semi-Finalist for a category. It is entirely up to the judges when judging a specific category as to whether Finalists and Semi-Finalists will be cited. These distinctions are not necessarily cited for all categories. The Finalists are those who achieved a level of consideration in the round of judging which determined the place winners and Honorable Mentions. Semi-Finalists are those who were cited as meriting further consideration after the first round of judging. There are no prizes for these distinctions of Finalist and Semi-Finalist. Required repertoire for the Children's Voices category The purpose of having a children's art song category is to hear natural, lyrical singing with a "classical" approach, as opposed to a child's natural belting sound appropriate to musical theatre. To be explicit, we are not looking for the child's belting style of singing in this category. If that is the child's natural singing voice, please enter in the Musical Theatre category only. There is a limited amount of "classical" repertoire suitable to children. Two contrasting songs are required. No other repertoire is acceptable for this category. Entries with songs not from one of the publications below will be disqualified. You must sing repertoire as stated below. No substitutions of other repertoire is allowed. We inexplicably get questions every year from quite a few people asking if they can sing songs not on the required repertoire list. The answer will always be no. Please do not ask us for allowances or exceptions to the required repertoire list for this category. If you sing songs outside of the publications listed below on the required list, your entry will be disqualified. Note to teachers and parents: We have more disqualifications in the children's categories than any other category because repertoire rules are not followed. Fairness must prevail, and we cannot have a publicly declared winner with songs not on the required repertoire list. Be absolutely certain that the contestant is singing songs from the required repertoire only. Do not sing songs from a higher category. Art Songs for Children Book/Audio The Boy's Changing Voice (for a boy's voice in transition; not recommended for a boy's voice not yet in transition as the range will be too low) Hal Leonard Book/Audio Daffodils, Violets & Snowflakes compiled by Joan Frey Boytim High Voice, Book/Audio Low Voice, Book/Audio 36 Solos for Young Singers compiled by Joan Frey Boytim; Hal Leonard Book/Audio DO NOT SING THE FOLLOWING from 36 Solos for Young Singers: Sit Down, Sister The Desperado Git Along, Little Dogies He's Got the Whole World in His Hand Macnamara's Band 36 More Solos for Young Singers compiled by Joan Frey Boytim; Hal Leonard Book/Audio DO NOT SING THE FOLLOWING from 36 More Solos for Young Singers: Ja-Da 25 Folksong Solos for Children Book/Audio EARLY TEEN VOICES, AGES 13-15 - ART SONG Repertoire Requirements and Prizes For the purposes of this competition, age is defined as the age of the entrant on the deadline date of February 1, 2022. Entrants must be legal residents of the United States and its territories, or legal residents of Canada. Entries which include songs which are not from the publications listed in the repertoire requirements for this age group and category below will be disqualified. Photocopies are illegal, and are not allowed. Pianists accompanying singers must play from original publications, not loose pages of any kind or loose pages in a binder. (A page turner may be needed.) Entries with visible photocopies or loose pages, or loose pages in a binder will be automatically disqualified. Singers are responsible for the accompanist's compliance with this rule. Please be aware of contrast. Do not sing two slow songs, or two fast songs, or two songs of similar character. First Place $500 cash Second Place $100 gift certificate for music publications of the designee's choice available from Hal Leonard Third Place $50 gift certificate for music publications of the designee's choice available from Hal Leonard Further gift certificates for Honorable Mentions are possible for one Book with a retail value of up to $30.00. At the judges' discretion, further entries may be cited as Finalists and or Semi-Finalist for a category. It is entirely up to the judges when judging a specific category as to whether Finalists and Semi-Finalists will be cited. These distinctions are not necessarily cited for all categories. The Finalists are those who achieved a level of consideration in the round of judging which determined the place winners and Honorable Mentions. Semi-Finalists are those who were cited as meriting further consideration after the first round of judging. There are no prizes for these distinctions of Finalist and Semi-Finalist. Required repertoire for the Early Teen Voices category Any two contrasting songs from the following publications. Your entry may be two songs in English, or one song in English and one song in Italian. Two songs in Italian are not allowed. The contrast between the songs should include differences in mood and tempo. Do not sing two fast songs, or two slow songs. Only editions of songs from these designated publications are allowed for entry. You must sing repertoire as stated below. No substitutions of other repertoire is allowed. We inexplicably get questions every year from quite a few people asking if they can sing songs from publications not on the required repertoire list. The answer will always be no. Please do not ask us for allowances or exceptions to the required repertoire list for this category. Entries with songs not from one of the publications below will be disqualified. Do not sing songs from a higher category. A helpful comment: You will not necessarily do better in the judging by choosing a more difficult and challenging song if you cannot master it well. It is better to sing something you do well. American Art Songs for the Progressing Singer compiled by Joan Frey Boytim; G. Schirmer/Hal Leonard Soprano Mezzo-Soprano Tenor Baritone/Bass The Boy's Changing Voice Hal Leonard Book/Audio The Developing Classical Singer Boosey & Hawkes Soprano Mezzo-Soprano Tenor Baritone/Bass Easy Songs for the Beginning Soprano Easy Songs for the Beginning Soprano - Part II compiled by Joan Frey Boytim; G. Schirmer/Hal Leonard Part I, Book/Audio Part II, Book/Audio Easy Songs for the Beginning Mezzo-Soprano/Alto Easy Songs for the Beginning Mezzo-Soprano/Alto - Part II compiled by Joan Frey Boytim; G. Schirmer/Hal Leonard Part I, Book/Audio Part II, Book/Audio Easy Songs for the Beginning Tenor Easy Songs for the Beginning Tenor - Part II compiled by Joan Frey Boytim; G. Schirmer/Hal Leonar Part I, Book/Audio Part II, Book/Audio Easy Songs for the Beginning Baritone/Bass Easy Songs for the Beginning Baritone/Bass - Part II compiled by Joan Frey Boytim; G. Schirmer/Hal Leonard Part I, Book/Audio Part II, Book/Audio English Songs: Renaissance to Baroque edited by Steven Stolen and Richard Walters; Hal Leonard High Voice | Book/Audio Low Voice | Book/Audio 15 American Art Songs G. Schirmer/Hal Leonard High Voice, Book/Audio Low Voice, Book/Audio 15 Easy Folksong Arrangements for the Progressing Singer edited by Richard Walters; Hal Leonard High Voice, Book/Audio Low Voice, Book/Audio 15 Easy Spiritual Arrangements for the Progessing Singer edited by Richard Walters; Hal Leonard High Voice, Book/Audio Low Voice, Book/Audio 15 More American Art Songs G. Schirmer/Hal Leonard High Voice, Book/Audio Low Voice, Book/Audio Harry T. Burleigh: 25 Spirituals Hal Leonard, The Vocal Library High Voice, Book/Audio Low Voice, Book/Audio Introduction to Art Song Compiled by Joan Boytim/G. Schirmer Soprano, Book/Audio Mezzo-Soprano/Alto, Book/Audio Tenor, Book/Audio Baritone/Bass, Book/Audio Lovers, Lasses & Spring compiled by Joan Frey Boytim; Hal Leonard Book/Audio Roses, Laughter & Lullabies compiled by Joan Frey Boytim; Hal Leonard Book/Audio The Student Singer Hal Leonard High Voice, Book/Audio Low Voice, Book/Audio 28 Italian Songs and Arias of the Seventeenth and Eighteenth Centuries edited by Richard Walters; G. Schirmer/Hal Leonard High Voice | Book/Audio Medium High Voice | Book/Audio Medium Voice | Book/Audio Medium Low Voice | Book/Audio Low Voice | Book/Audio NOTE: DO NOT SING TWO SONGS IN ITALIAN Young Ladies, Shipmates and Journeys Hal Leonard, Vocal Collection Tenor, Book/Audio Baritone/Bass, Book/Audio HIGH SCHOOL VOICES, AGES 16-18 - ART SONG Repertoire Requirements and Prizes For the purposes of this competition, age is defined as the age of the entrant on the deadline date of February 1, 2022. Entrants must be legal residents of the United States and its territories, or legal residents of Canada and attending a High School or its equivalent or studying with a teacher at the time of entry. Entries which include songs which are not from the publications listed in the repertoire requirements for this age group and category below will be disqualified. Photocopies are illegal, and are not allowed. Pianists accompanying singers must play from original publications, not loose pages of any kind or loose pages in a binder. See Rule 13. (A page turner may be needed.) Entries with visible photocopies or loose pages, or loose pages in a binder will be automatically disqualified. Singers are responsible for the accompanist's compliance with this rule. Please be aware of contrast. Do not sing two slow songs, or two fast songs, or two songs of similar character. First Place $750 cash Second Place $200 gift certificate for music publications of the designee's choice available from Hal Leonard Third Place $100 gift certificate for music publications of the designee's choice available from Hal Leonard Further gift certificates for Honorable Mentions are possible for one Book with a retail value of up to $30.00. At the judges' discretion, further entries may be cited as Finalists and or Semi-Finalist for a category. It is entirely up to the judges when judging a specific category as to whether Finalists and Semi-Finalists will be cited. These distinctions are not necessarily cited for all categories. The Finalists are those who achieved a level of consideration in the round of judging which determined the place winners and Honorable Mentions. Semi-Finalists are those who were cited as meriting further consideration after the first round of judging. There are no prizes for these distinctions of Finalist and Semi-Finalist. Required repertoire for the High School Voices category Any two contrasting songs in two different languages from the following publications. The contrast between the songs should include differences in language, mood and tempo. Do not sing two slow songs, or two fast songs. Only editions of songs from these designated publications are allowed for entry. No other repertoire is acceptable for this category. Entries with songs not from one of the publications below will be disqualified. Anthology of Art Songs by Black American Composers Edward B. Marks Music Company High Voice Aaron Copland: Old American Songs Complete Boosey & Hawkes/Hal Leonard High Voice | Book/Audio Medium Voice | Medium Voice Book/Audio Low Voice | Low Voice Book/Audio American Art Songs for the Progressing Singer G. Schirmer, Inc. Soprano Mezzo-Soprano Tenor Baritone Anthology of Spanish Song edited by Maria DiPalma and Richard Walters; Hal Leonard, The Vocal Library High Voice | High Voice Accompaniment CDs | Book/Audio Low Voice | Low Voice Accompaniment CDs | Book/Audio The Art Song Anthology edited by Richard Walters; Hal Leonard, The Vocal Library High Voice Book/Audio Low Voice Book/Audio Benjamin Britten: Complete Folksong Arrangements Boosey & Hawkes High Voice Medium/Low Voice Benjamin Britten: 12 Selected Folksong Arrangements Boosey & Hawkes/Hal Leonard High Voice Book/Audio Medium/Low Voice Book/Audio Charles Ives: Twelve Easy Songs Peermusic Classical High Voice Book/Audio Low Voice Book/Audio Classical Contest Solos Hal Leonard Soprano Book/Audio Mezzo-Soprano/Alto Book/Audio Tenor Book/Audio Baritone/Bass Book/Audio The Developing Classical Singer Boosey & Hawkes Soprano Mezzo-Soprano Tenor Baritone/Bass Dominick Argento: Six Elizabethan Songs Boosey & Hawkes High Voice Book/Audio Medium/Low Voice Book/Audio English Songs: Renaissance to Baroque edited by Steven Stolen and Richard Walters; Hal Leonard, The Vocal Library High Voice | Book/Audio Low Voice | Book/Audio Favorite French Art Songs (Volume 1 or 2) Hal Leonard, The Vocal Library High Voice Vol. 1 Book/Audio High Voice Vol. 2 Book/Audio Low Voice Vol. 1 Book/Audio Low Voice Vol. 2 Book/Audio Favorite German Art Songs (Volume 1 or 2) Hal Leonard, The Vocal Library High Voice Vol. 1 Book/Audio High Voice Vol. 2 Book/Audio Low Voice Vol. 1 Book/Audio Low Voice Vol. 2 Book/Audio Favorite Spanish Art Songs Hal Leonard, The Vocal Library High Voice Book/Audio Low Voice Book/Audio 15 American Art Songs G. Schirmer/Hal Leonard High Voice, Book/Audio Low Voice, Book/Audio 15 More American Art Songs G. Schirmer/Hal Leonard High Voice, Book/Audio Low Voice, Book/Audio 15 Art Songs by American Composers Boosey & Hawkes/Hal Leonard High Voice, Book/Audio Low Voice, Book/Audio 15 Art Songs by British Composers Boosey & Hawkes/Hal Leonard High Voice, Book/Audio Low Voice, Book/Audio 15 Recital Songs in English Boosey & Hawkes/Hal Leonard High Voice, Book/Audio Low Voice, Book/Audio The First Book of Soprano Solos Compiled by Joan Boytim/G. Schirmer Book Book/Audio Note: Any opera, operetta or oratorio arias in The First Book of Solos books are not eligible repertory. The First Book of Soprano Solos Part II Compiled by Joan Boytim/G. Schirmer Book Book/Audio Note: Any opera, operetta or oratorio arias in The First Book of Solos books are not eligible repertory. The First Book of Soprano Solos Part III Compiled by Joan Boytim/G. Schirmer Book Book/Audio Note: Any opera, operetta or oratorio arias in The First Book of Solos books are not eligible repertory. The First Book of Mezzo-Soprano/Alto Solos Compiled by Joan Boytim/G. Schirmer Book Book/Audio Note: Any opera, operetta or oratorio arias in The First Book of Solos books are not eligible repertory. The First Book of Mezzo-Soprano/Alto Solos Part II Compiled by Joan Boytim/G. Schirmer Book Book/Audio Note: Any opera, operetta or oratorio arias in The First Book of Solos books are not eligible repertory. The First Book of Mezzo-Soprano/Alto Solos Part III Compiled by Joan Boytim/G. Schirmer Book Book/Audio Note: Any opera, operetta or oratorio arias in The First Book of Solos books are not eligible repertory. The First Book of Tenor Solos Compiled by Joan Boytim/G. Schirmer Book Book/Audio Note: Any opera, operetta or oratorio arias in The First Book of Solos books are not eligible repertory. The First Book of Tenor Solos Part II Compiled by Joan Boytim/G. Schirmer Book Book/Audio Note: Any opera, operetta or oratorio arias in The First Book of Solos books are not eligible repertory. The First Book of Tenor Solos Part III Compiled by Joan Boytim/G. Schirmer Book Book/Audio Note: Any opera, operetta or oratorio arias in The First Book of Solos books are not eligible repertory. The First Book of Baritone/Bass Solos Compiled by Joan Boytim/G. Schirmer Book Book/Audio Note: Any opera, operetta or oratorio arias in The First Book of Solos books are not eligible repertory. The First Book of Baritone/Bass Solos Part II Compiled by Joan Boytim/G. Schirmer Book Book/Audio Note: Any opera, operetta or oratorio arias in The First Book of Solos books are not eligible repertory. The First Book of Baritone/Bass Solos Part III Compiled by Joan Boytim/G. Schirmer Book Book/Audio Note: Any opera, operetta or oratorio arias in The First Book of Solos books are not eligible repertory. Franz Schubert: 15 Selected Songs edited by Richard Walters; Hal Leonard, The Vocal Library High Voice Book/Audio Low Voice Book/Audio The French Song Anthology edited by Carol Kimball and Richard Walters; Hal Leonard, The Vocal Library High Voice | High Voice Accompaniment CDs Low Voice | Low Voice Accompaniment CDs Pronunciation Guide Book/Audio High Voice Complete Package (with Accomp CDs and Pronunciation Guide CDs) Low Voice Complete Package (with Accomp CDs and Pronunciation Guide CDs) Gabriel Fauré: 15 Selected Songs edited by Richard Walters; Hal Leonard, The Vocal Library High Voice Book/Audio Low Voice Book/Audio Harry T. Burleigh: 25 Spirituals Hal Leonard, The Vocal Library High Voice Book/Audio Low Voice Book/Audio Henry Purcell: 12 Selected Songs realizations by Benjamin Britten Boosey & Hawkes/Hal Leonard High Voice Book/Audio Medium/Low Voice Book/Audio Introduction to Art Song Compiled by Joan Boytim/G. Schirmer Soprano, Book/Audio Mezzo-Soprano/Alto, Book/Audio Tenor, Book/Audio Baritone/Bass, Book/Audio Johannes Brahms: 15 Selected Songs edited by Richard Walters; Hal Leonard, The Vocal Library High Voice Book/Audio Low Voice Book/Audio Leonard Bernstein: I Hate Music! Boosey & Hawkes/Hal Leonard High Voice Medium/Low Voice The Lieder Anthology edited by Virginia Saya and Richard Walters; Hal Leonard, The Vocal Library High Voice | High Voice Accompaniment CDs Low Voice | Low Voice Accompaniment CDs Pronunciation Guide Book/Audio High Voice Complete Package (with Accomp CDs and Pronunciation Guide CDs) Low Voice Complete Package (with Accomp CDs and Pronunciation Guide CDs) Ned Rorem: 10 Selected Songs Boosey & Hawkes/Hal Leonard High Voice Book/Audio Low Voice Book/Audio Ralph Vaughan Williams: Songs of Travel edited by Richard Walters; Hal Leonard, The Vocal Library High Voice Book/Audio Low Voice Book/Audio Roger Quilter: Collected Songs Boosey & Hawkes High Voice Low Voice Roger Quilter: 55 Songs edited by Richard Walters; Hal Leonard, The Vocal Library High Voice Low Voice Samuel Barber: 65 Songs G. Schirmer High Voice Book/Audio Low Voice Book/Audio Samuel Barber: 10 Selected Songs G. Schirmer/Hal Leonard High Voice Book/Audio Low Voice Book/Audio The Second Book of Soprano Solos Compiled by Joan Boytim/G. Schirmer Book Book/Audio Note: Any opera, operetta or oratorio arias in The Second Book of Solos books are not eligible repertory. The Second Book of Mezzo-Soprano Solos Compiled by Joan Boytim/G. Schirmer Book Book/Audio Note: Any opera, operetta or oratorio arias in The Second Book of Solos books are not eligible repertory. The Second Book of Tenor Solos Compiled by Joan Boytim/G. Schirmer Book Book/Audio Note: Any opera, operetta or oratorio arias in The Second Book of Solos books are not eligible repertory. The Second Book of Baritone/Bass Solos Compiled by Joan Boytim/G. Schirmer Book Book/Audio Note: Any opera, operetta or oratorio arias in The Second Book of Solos books are not eligible repertory. Songs of John Jacob Niles G. Schirmer, Inc. High Voice Low Voice Standard Vocal Literature edited by Richard Walters/The Vocal Library Soprano, Book/Audio Mezzo-Soprano, Book/Audio Tenor, Book/Audio Baritone, Book/Audio Bass, Book/Audio Note: Opera, oratorio or operetta arias from Standard Vocal Literature are not allowed. Art Songs only. 28 American Art Songs G. Schirmer High Voice, Book/Audio Low Voice, Book/Audio 28 Italian Songs and Arias of the Seventeenth and Eighteenth Centuries edited by Richard Walters; G. Schirmer/Hal Leonard High Voice | Book/Audio Medium High Voice | Book/Audio Medium Voice | Book/Audio Medium Low Voice | Book/Audio Low Voice | Book/Audio COLLEGE/UNIVERSITY ADULT VOICES (UNDERGRADUATES), AGES 18-23 - ART SONG Repertoire Requirements and Prizes For the purposes of this competition, age is defined as the age of the entrant on the deadline date of February 1, 2022. Entrants must be legal residents of the United States and its territories, or legal residents of Canada and enrolled as an undergraduate at a college, university or conservatory or studying with a private teacher at time of entry. Entries which include songs which are not from the publications listed in the repertoire requirements for this age group and category below will be disqualified. Photocopies are illegal, and are not allowed. Pianists accompanying singers must play from original publications, not loose pages of any kind or loose pages in a binder. (A page turner may be needed.) Entries with visible photocopies or loose pages, or loose pages in a binder will be automatically disqualified. Singers are responsible for the accompanist's compliance with this rule. Please be aware of contrast. Do not sing two slow songs, or two fast songs, or two songs of similar character. First Place $1000 cash Second Place $200 gift certificate for music publications of the designee's choice available from Hal Leonard Third Place $100 gift certificate for music publications of the designee's choice available from Hal Leonard Further gift certificates for Honorable Mentions are possible for one Book with a retail value of up to $50.00. At the judges' discretion, further entries may be cited as Finalists and or Semi-Finalist for a category. It is entirely up to the judges when judging a specific category as to whether Finalists and Semi-Finalists will be cited. These distinctions are not necessarily cited for all categories. The Finalists are those who achieved a level of consideration in the round of judging which determined the place winners and Honorable Mentions. Semi-Finalists are those who were cited as meriting further consideration after the first round of judging. There are no prizes for these distinctions of Finalist and Semi-Finalist. Required repertoire for the College/University Voices category Choose any two contrasting songs in two different languages only from the following publications. The contrast between the songs should include differences in language, mood and tempo. We advise you to choose songs that show your vocal and expressive capabilities, revealing a true feeling for art song and some degree of sophistication as a recitalist. The judges like to hear singers explore art song repertoire beyond the most famous and often sung songs. Only editions of songs from these designated publications are allowed for entry. No other repertoire is acceptable for this category. Entries with songs not from one of the publications below will be disqualified. Anthology of Art Songs by Black American Composers Edward B. Marks Music Company High Voice Aaron Copland: Art Songs and Arias (art songs only) Boosey & Hawkes High Voice Medium/Low Voice Aaron Copland: Old American Songs Complete Boosey & Hawkes/Hal Leonard High Voice | High Voice Book/Audio Medium Voice | Medium Voice Book/Audio Low Voice | Low Voice Book/Audio Alexander Borodin: Collection of Romances Forberg Musikverlag High Voice Medium/Low Voice Anthology of Spanish Song edited by Maria DiPalma and Richard Walters; Hal Leonard, The Vocal Library High Voice | High Voice Accompaniment CDs | Book/Audio Low Voice | Low Voice Accompaniment CDs | Book/Audio The Art Song Anthology edited by Richard Walters; Hal Leonard, The Vocal Library High Voice Book/Audio Low Voice Book/Audio Art Song in English Boosey & Hawkes/Hal Leonard High Voice Low Voice Benjamin Britten: Collected Songs Boosey & Hawkes High Voice Medium/Low Voice Benjamin Britten: Complete Folksong Arrangements Boosey & Hawkes High Voice Medium/Low Voice Charles Ives: 114 Songs Peermusic Classical Book Dominick Argento: Collected Song Cycles Boosey & Hawkes High Voice Medium Voice Dominick Argento: Six Elizabethan Songs Boosey & Hawkes High Voice Medium Voice Erik Satie: 22 Songs Salabert High Voice Medium-Low Voice Folksongs in Recital concert arrangements by Richard Walters; Hal Leonard, The Vocal Library High Voice Book/Audio Low Voice Book/Audio Franz Schubert: 100 Songs edited by Steven Stolen and Richard Walters; Hal Leonard, The Vocal Library High Voice Low Voice The French Song Anthology edited by Carol Kimball and Richard Walters; Hal Leonard, The Vocal Library High Voice | High Voice Accompaniment CDs Low Voice | Low Voice Accompaniment CDs Pronunciation Guide Book/Audio High Voice Complete Package (with Accomp CDs and Pronunciation Guide CDs) Low Voice Complete Package (with Accomp CDs and Pronunciation Guide CDs) Gabriel Fauré: 50 Songs edited by Laura Ward and Richard Walters; Hal Leonard, The Vocal Library High Voice Medium/Low Voice Gerald Finzi: Collected Songs Boosey & Hawkes/Hal Leonard High Voice Medium/Low Voice Gioachino Rossini: Arie de Camera High/Medium High Voice G. Schirmer Collection of American Art Song G. Schirmer/Hal Leonard High Voice Medium/Low Voice Italian Art Songs Ricordi High Voice Medium Voice Italian Art Songs of the 20th Century Ricordi High Voice Medium Voice Jake Heggie: The Faces of Love Complete Associated Music Publishers Book Johannes Brahms: 75 Songs edited by Richard Walters, Laura Ward and Elaine Schmidt; Hal Leonard, The Vocal Library High Voice Low Voice John Musto: Collected Songs Peermusic Classical High Voice Vol. 1 High Voice Vol. 2 High Voice Vol. 3 High Voice Vol. 4 High Voice Vol. 5 High Voice Vol. 6 Medium Voice Vol. 1 Medium Voice Vol. 2 Medium Voice Vol. 3 Medium Voice Vol. 4 Medium Voice Vol. 5 Medium Voice Vol. 6 Joseph Marx: 30 Songs Hal Leonard, The Vocal Library High Voice/Medium Voice Leonard Bernstein: Art Songs and Arias (art songs only) Boosey & Hawkes High Voice Medium/Low Voice The Lieder Anthology edited by Virginia Saya and Richard Walters; Hal Leonard, The Vocal Library High Voice | High Voice Accompaniment CDs Low Voice | Low Voice Accompaniment CDs Pronunciation Guide Book/Audio High Voice Complete Package (with Accomp CDs and Pronunciation Guide CDs) Low Voice Complete Package (with Accomp CDs and Pronunciation Guide CDs) Maurice Ravel: 46 Melodies Editions Durand High Voice Medium/Low Voice Ned Rorem: 50 Collected Songs Boosey & Hawkes/Hal Leonard High Voice Medium/Low Voice The Opera America SongBook (46 Art Songs) Schott Book Poulenc: 50 Mélodies High Voice Medium/Low Voice The Purcell Collection: Realizations by Benjamin Britten Boosey & Hawkes/Hal Leonard High Voice Medium/Low Voice (Note: Selections from Dido and Aeneas are not acceptable because they are opera arias and not art songs.) Richard Strauss: 57 Lieder Boosey & Hawkes High Voice Richard Strauss: 52 Lieder Boosey & Hawkes Medium/Low Voice Richard Strauss: 40 Songs edited by Laura Ward and Richard Walters; Hal Leonard, The Vocal Library High Voice Medium/Low Voice Roger Quilter: Collected Songs Boosey & Hawkes High Voice Low Voice Roger Quilter: 55 Songs Hal Leonard, The Vocal Library High Voice Low Voice Samuel Barber: 65 Songs edited by Richard Walters; G. Schirmer High Voice Medium/Low Voice Songs of Claude Debussy edited by James Briscoe; Hal Leonard, The Vocal Library High Voice Medium Voice The Songs of John Jacob Niles G. Schirmer High Voice Low Voice 20th Century French Art Song Compiled and Edited by Carol Kimball/Editions Durand High Voice Medium/Low Voice Vincenzo Bellini: 15 Composizioni da Camera Ricordi High Voice Low Voice William Bolcom: Concert Songs Volume 1 1975-2000 Edward B. Marks Music High Voice Medium/Low Voice William Bolcom: Concert Songs Volume 2 2001-2012 Edward B. Marks Music High Voice Medium/Low Voice Women Composers edited by Carol Kimball; Hal Leonard, The Vocal Library High Voice Low Voice Official 2022 Art Song Entry Form Competition Age Divisions with Required Repertoire See required repertoire details for each category and age division below. To find out more about any of the required repertoire publications listed, including viewing complete contents, enter the 8-digit publication number in the Search field at www.halleonard.com. Official 2022 Musical Theatre Entry Form Children's Voices Ages 12 & Under Early Teen Voices Ages 13-15 High School Voices Ages 16-18 Young Adult Voices Ages 18-23 CHILDREN'S VOICES, AGE 12 AND UNDER - MUSICAL THEATRE Repertoire Requirements and Prizes For the purposes of this competition, age is defined as the age of the entrant on the deadline date of February 1, 2022. Entrants must be legal residents of the United States and its territories, or legal residents of Canada. Entries which include songs which are not from the publications listed in the repertoire requirements for this age group and category below will be disqualified. Photocopies are illegal, and are not allowed. Pianists accompanying singers must play from original publications, not loose pages of any kind or loose pages in a binder. (A page turner may be needed.) Entries with visible photocopies or loose pages, or loose pages in a binder will be automatically disqualified. Singers are responsible for the accompanist's compliance with this rule. Please be aware of contrast. Do not sing two slow songs, or two fast songs, or two songs of similar character. First Place $250 cash Second Place $100 gift certificate for music publications of the designee's choice available from Hal Leonard Third Place $50 gift certificate for music publications of the designee's choice available from Hal Leonard Further gift certificates for Honorable Mentions are possible for one Book with a retail value of up to $30.00. At the judges' discretion, further entries may be cited as Finalists and or Semi-Finalist for a category. It is entirely up to the judges when judging a specific category as to whether Finalists and Semi-Finalists will be cited. These distinctions are not necessarily cited for all categories. The Finalists are those who achieved a level of consideration in the round of judging which determined the place winners and Honorable Mentions. Semi-Finalists are those who were cited as meriting further consideration after the first round of judging. There are no prizes for these distinctions of Finalist and Semi-Finalist. Required repertoire for the Children's Voices category Any two contrasting songs from the following publications. The contrast between the songs should include differences in mood and tempo. Do not sing two fast songs or two slow songs. Only editions of songs from these designated publications are allowed for entry. No other repertoire is acceptable for this category. Entries with songs not from one of the publications below will be disqualified. You must sing repertoire as stated below. No substitutions of other repertoire is allowed. There are plenty of choices of songs in the publications listed below. We inexplicably get questions every year from quite a few people asking if they can sing songs not on the required repertoire list. The answer will always be no. Please do not ask us for allowances or exceptions to the required repertoire list for this category. If you sing songs outside of the publications listed below on the required list, your entry will be disqualified. Note to Teachers and Parents: We have more disqualifications in the children's categories than any other category because repertoire rules are not followed. Fairness must prevail, and we cannot have a publicly declared winner with songs not on the required repertoire list. Be absolutely certain that the contestant is singing songs from the required repertoire publications only. Boys' Songs from Musicals Hal Leonard Book/Audio Broadway Presents! Kids' Musical Theatre Anthology Alfred, distributed by Hal Leonard Book/Audio Broadway Songs 4 Kids Hal Leonard Book/Audio Disney Collected Kids' Solos Hal Leonard Book/Audio Disney Solos for Kids Hal Leonard Book/Audio Girls' Songs from Musicals Hal Leonard Book/Audio Girls' Songs from 21st Century Musicals Hal Leonard Book/Audio Kids' Broadway SongBook Hal Leonard Book/Audio Book Only Accompaniment CD The Kid's Musical Theatre Audition Hal Leonard Girl's Edition Book/Audio Boy's Edition Book/Audio Kids' Musical Theatre Collection Volume 1 Hal Leonard Book/Audio Kids' Musical Theatre Collection Volume 2 Hal Leonard Book/Audio Kids' Musical Theatre Collection Volumes 1 and 2 Combined Hal Leonard Book Kids' Songs from Contemporary Musicals Hal Leonard Book/Audio Kids' Stage & Screen Songs Hal Leonard Book/Audio Kid's Vocal Solo Collection Hal Leonard Book/Audio More Disney Solos for Kids Hal Leonard Book/Audio Rodgers & Hammerstein Solos for Kids Hal Leonard Book/Audio The Singer's Musical Theatre Anthology - Children's Edition Hal Leonard Book Only Book/Audio Solos from Musicals for Kids Hal Leonard Book/Audio Still More Disney Solos for Kids Hal Leonard Book/Audio EARLY TEEN VOICES, AGES 13-15 - MUSICAL THEATRE Repertoire Requirements and Prizes For the purposes of this competition, age is defined as the age of the entrant on the deadline date of February 1, 2022. Entrants must be legal residents of the United States and its territories, or legal residents of Canada. Entries which include songs which are not from the publications listed in the repertoire requirements for this age group and category below will be disqualified. Photocopies are illegal, and are not allowed. Pianists accompanying singers must play from original publications, not loose pages of any kind or loose pages in a binder. (A page turner may be needed.) Entries with visible photocopies or loose pages, or loose pages in a binder will be automatically disqualified. Singers are responsible for the accompanist's compliance with this rule. Please be aware of contrast. Do not sing two slow songs, or two fast songs, or two songs of similar character. First Place $500 cash Second Place $100 gift certificate for music publications of the designee's choice available from Hal Leonard Third Place $50 gift certificate for music publications of the designee's choice available from Hal Leonard Further gift certificates for Honorable Mentions are possible for one Book with a retail value of up to $30.00. At the judges' discretion, further entries may be cited as Finalists and or Semi-Finalist for a category. It is entirely up to the judges when judging a specific category as to whether Finalists and Semi-Finalists will be cited. These distinctions are not necessarily cited for all categories. The Finalists are those who achieved a level of consideration in the round of judging which determined the place winners and Honorable Mentions. Semi-Finalists are those who were cited as meriting further consideration after the first round of judging. There are no prizes for these distinctions of Finalist and Semi-Finalist. Required repertoire for the Early Teen Voices category Any two contrasting songs from the following publications. The contrast between the songs should include differences in mood and tempo. Do not sing two fast songs, or two slow songs. Only editions of songs from these designated publications are allowed for entry. No other repertoire is acceptable for this category. Entries with songs not from one of the publications below will be disqualified. Belter's Book of Comedy Songs - Third Edition Book Broadway for Teens Hal Leonard Young Women's Edition Book/Audio Young Men's Edition Book/Audio The Broadway Ingénue Hal Leonard Book Book/Audio Broadway Presents! Teens' Musical Theatre Anthology Alfred, distributed by Hal Leonard Female Edition Male Edition Character Songs from Musical Theatre Women's Edition Men's Edition Disney For Teen Singers Young Women's Edition Young Men's Edition Disney Ingenue Songbook Book Disney Songs for Singers High Voice Low Voice Disney Songs of the 2010s Soprano/Belter Tenor/Baritone The First Book of Broadway Solos Hal Leonard Soprano | Book/Audio Mezzo-Soprano | Book/Audio Tenor | Book/Audio Baritone/Bass | Book/Audio The First Book of Broadway Solos Part II Hal Leonard Soprano Book/Audio Mezzo-Soprano Book/Audio Tenor Book/Audio Baritone/Bass Book/Audio The Giant Book of Songs for Teens from Musicals Young Women's Edition Young Men's Edition Great Songs from Musicals for Teens Hal Leonard Young Women's Edition- Book/Audio Young Men's Edition- Book/Audio Musical Theatre Anthology for Teens Hal Leonard Young Women's Edition | Book/Audio Young Men's Edition | Book/Audio The Singer's Anthology of Gershwin Songs Soprano Mezzo-Soprano/Belter Tenor Baritone NOTE: Do not sing the operatic selections from Porgy and Bess The Singer's Musical Theatre Anthology Teen's Edition edited by Richard Walters Soprano | Book/Audio Mezzo-Soprano/Belter | Book/Audio Tenor | Book/Audio Baritone/Bass | Book/Audio Songs from 21st Century Musicals for Teens Young Women's Edition Young Men's Edition The Songs of Rodgers & Hammerstein Hal Leonard Soprano Book/Audio Mezzo-Soprano/Belter Book/Audio Tenor Book/Audio Baritone/Bass Book/Audio Teen Broadway Songs of the 2010s Young Women's Edition, Book/Audio Young Men's Edition, Book/Audio Teen Pop Broadway Collection Cherry Lane, distributed by Hal Leonard Book Teen Theatre Songs Young Women's Edition, Book/Audio Young Men's Edition, Book/Audio The Teen's Musical Theatre Collection Hal Leonard Young Women's Edition | Book/Audio Young Men's Edition | Book/Audio Theatre and Cabaret Comedy Songs Women's Edition Men's Edition Tunes for Teens from Musicals Hal Leonard Young Women's Edition - Book/Audio Young Men's Edition- Book/Audio HIGH SCHOOL VOICES, AGES 16-18 - MUSICAL THEATRE Repertoire Requirements and Prizes For the purposes of this competition, age is defined as the age of the entrant on the deadline date of February 1, 2022. Entrants must be legal residents of the United States and its territories, or legal residents of Canada and attending a High School or its equivalent or studying with a teacher at the time of entry. Entries which include songs which are not from the publications listed in the repertoire requirements for this age group and category below will be disqualified. Photocopies are illegal, and are not allowed. Pianists accompanying singers must play from original publications, not loose pages of any kind or loose pages in a binder. (A page turner may be needed.) Entries with visible photocopies or loose pages, or loose pages in a binder will be automatically disqualified. Singers are responsible for the accompanist's compliance with this rule. Please be aware of contrast. Do not sing two slow songs, or two fast songs, or two songs of similar character. First Place $750 cash Second Place $200 gift certificate for music publications of the designee's choice available from Hal Leonard Third Place $100 gift certificate for music publications of the designee's choice available from Hal Leonard Further gift certificates for Honorable Mentions are possible for one book with a retail value of up to $30.00. At the judges' discretion, further entries may be cited as Finalists and or Semi-Finalist for a category. It is entirely up to the judges when judging a specific category as to whether Finalists and Semi-Finalists will be cited. These distinctions are not necessarily cited for all categories. The Finalists are those who achieved a level of consideration in the round of judging which determined the place winners and Honorable Mentions. Semi-Finalists are those who were cited as meriting further consideration after the first round of judging. There are no prizes for these distinctions of Finalist and Semi-Finalist. Required repertoire for the High School Voices category Any two contrasting songs from the following publications. The contrast between the songs should include differences in mood and tempo. Only editions of songs from these designated publications are allowed for entry. No other repertoire is acceptable for this category. Entries with songs not from one of the publications below will be disqualified. The Actor's SongBook Hal Leonard Women's Edition Men's Edition Andrew Lloyd Webber for Singers Hal Leonard Women's Edition Men's Edition Andrew Lloyd Webber Theatre Songs Hal Leonard Women's Edition Men's Edition Belter's Book of Comedy Songs Hal Leonard Book Broadway Belter's SongBook Hal Leonard Book The Broadway Ingénue Hal Leonard Soprano | Book/Audio Broadway Presents! Teens' Musical Theatre Anthology Alfred, distributed by Hal Leonard Female Edition Male Edition Comedy Songs for Women Book/Audio Contemporary Musical Theatre for Teens Young Women's Edition Volume 1 Young Women's Edition Volume 2 Young Men's Edition Volume 1 Young Men's Edition Volume 2 The Contemporary Singing Actor Hal Leonard Women's Edition Volume 1 Women's Edition Volume 2 Men's Edition Volume 1 Men's Edition Volume 2 Contemporary Theatre Songs Soprano Belter/Mezzo-Soprano Tenor Baritone Disney For Singers High Voice Low Voice Disney For Teen Singers Young Women's Edition Young Men's Edition Disney Songs of the 2010s Soprano/Belter Tenor/Baritone The Giant Book of Songs for Teens from Musicals Young Women's Edition Young Men's Edition Jason Robert Brown Plays Jason Robert Brown Hal Leonard Women's Edition Book/Audio Men's Edition Book/Audio Musical Theatre Songs of the 2010s Women's Edition Book/Audio Men's Edition Book/Audio The Singer's Musical Theatre Anthology - Teen's Edition Hal Leonard Soprano | Book/Audio Mezzo-Soprano/Alto/Belter | Book/Audio Tenor | Book/Audio Baritone/Bass | Book/Audio The Singer's Musical Theatre Anthology - Volumes 1-7 Hal Leonard Soprano Volume 1 | Book Only | Accompaniment CDs | Book/Audio Soprano Volume 2 | Book Only | Accompaniment CDs | Book/Audio Soprano Volume 3 | Book Only | Accompaniment CDs | Book/Audio Soprano Volume 4 | Book Only | Accompaniment CDs | Book/Audio Soprano Volume 5 | Book Only | Accompaniment CDs | Book/Audio Soprano Volume 6 | Book Only | Accompaniment CDs | Book/Audio Soprano Volume 7 | Book Only | Accompaniment CDs | Book/Audio Mezzo-Soprano/Alto/Belter Volume 1 | Book Only | Accompaniment CDs | Book/Audio Mezzo-Soprano/Alto/Belter Volume 2 | Book Only | Accompaniment CDs | Book/Audio Mezzo-Soprano/Alto/Belter Volume 3 | Book Only | Accompaniment CDs | Book/Audio Mezzo-Soprano/Alto/Belter Volume 4 | Book Only | Accompaniment CDs | Book/Audio Mezzo-Soprano/Alto/Belter Volume 5 | Book Only | Accompaniment CDs | Book/Audio Mezzo-Soprano/Alto/Belter Volume 6 | Book Only | Accompaniment CDs | Book/Audio Mezzo-Soprano/Alto/Belter Volume 7 | Book Only | Accompaniment CDs | Book/Audio Tenor Volume 1 | Book Only | Accompaniment CDs | Book/Audio Tenor Volume 2 | Book Only | Accompaniment CDs | Book/Audio Tenor Volume 3 | Book Only | Accompaniment CDs | Book/Audio Tenor Volume 4 | Book Only | Accompaniment CDs | Book/Audio Tenor Volume 5 | Book Only | Accompaniment CDs | Book/Audio Tenor Volume 6 | Book Only | Accompaniment CDs | Book/Audio Tenor Volume 7 | Book Only | Accompaniment CDs | Book/Audio Baritone/Bass Volume 1 | Book Only | Accompaniment CDs | Book/Audio Baritone/Bass Volume 2 | Book Only | Accompaniment CDs | Book/Audio Baritone/Bass Volume 3 | Book Only | Accompaniment CDs | Book/Audio Baritone/Bass Volume 4 | Book Only | Accompaniment CDs | Book/Audio Baritone/Bass Volume 5 | Book Only | Accompaniment CDs | Book/Audio Baritone/Bass Volume 6 | Book Only | Accompaniment CDs | Book/Audio Baritone/Bass Volume 7 | Book Only | Accompaniment CDs | Book/Audio Sondheim for Singers Hal Leonard Soprano Belter/Mezzo-Soprano Tenor Baritone/Bass Songs from 21st Century Movie Musicals for Women Singers Hal Leonard Book/Audio Songs from 21st Century Musicals for Teens Young Women's Edition Young Men's Edition The Songs of Rodgers & Hammerstein Hal Leonard Soprano Book/Audio Mezzo-Soprano/Belter Book/Audio Tenor Book/Audio Baritone/Bass Book/Audio Teen Broadway Songs of the 2010s Young Women's Edition, Book/Audio Young Men's Edition, Book/Audio Teen Pop Broadway Collection Cherry Lane, distributed by Hal Leonard Book Teen Theatre Songs Young Women's Edition, Book/Audio Young Men's Edition, Book/Audio Theatre and Cabaret Comedy Songs Young Women's Edition Young Men's Edition 21st Century Musical Theatre Women's Edition Men's Edition YOUNG ADULT VOICES, AGES 18-23 - MUSICAL THEATRE Repertoire Requirements and Prizes Note: For this category, it is not necessary for a contestant to be enrolled in a school for entry. Working or aspiring young professionals may enter. For the purposes of this competition, age is defined as the age of the entrant on the deadline date of February 1, 2022. Entrants must be legal residents of the United States and its territories, or legal residents of Canada. Entries which include songs which are not from the publications listed in the repertoire requirements for this age group and category below will be disqualified. Photocopies are illegal, and are not allowed. Pianists accompanying singers must play from original publications, not loose pages of any kind or loose pages in a binder. (A page turner may be needed.) Entries with visible photocopies or loose pages, or loose pages in a binder will be automatically disqualified. Singers are responsible for the accompanist's compliance with this rule. Please be aware of contrast. Do not sing two slow songs, or two fast songs, or two songs of similar character. First Place $1000 cash Second Place $200 gift certificate for music publications of the designee's choice available from Hal Leonard Third Place $100 gift certificate for music publications of the designee's choice available from Hal Leonard Further gift certificates for Honorable Mentions are possible for one book with a retail value of up to $50.00. At the judges' discretion, further entries may be cited as Finalists and or Semi-Finalist for a category. It is entirely up to the judges when judging a specific category as to whether Finalists and Semi-Finalists will be cited. These distinctions are not necessarily cited for all categories. The Finalists are those who achieved a level of consideration in the round of judging which determined the place winners and Honorable Mentions. Semi-Finalists are those who were cited as meriting further consideration after the first round of judging. There are no prizes for these distinctions of Finalist and Semi-Finalist. Required repertoire for the College/University and Young Adult Voices category: Any two contrasting songs from the following publications. The contrast between the songs should include differences in mood and tempo. Only editions of songs from these designated publications are allowed for entry. No other repertoire is acceptable for this category. Entries with songs not from one of the publications below will be disqualified. The Actor's SongBook Hal Leonard Women's Edition Men's Edition The Ahrens & Flaherty Songbook Book The Almost Unknown Stephen Sondheim Book The Andrew Lippa Songbook Book Andrew Lloyd Webber Theatre Songs Hal Leonard Women's Edition Men's Edition Belter's Book of Comedy Songs Book Bernstein for Singers Boosey & Hawkes Soprano Belter/Mezzo-Soprano Tenor Baritone Bernstein Theatre Songs Boosey & Hawkes High Voice Medium/Low Voice Comedy Songs for Women Book/Audio Contemporary Broadway Audition Women's Edition - Book/Online Audio Men's Edition - Book/Online Audio NOTE: Sing the FULL versions of these songs ONLY; the 16-bar excerpt is not permitted for this competition. The Contemporary Singing Actor Hal Leonard Women's Edition Volume 1 Women's Edition Volume 2 Men's Edition Volume 1 Men's Edition Volume 2 Contemporary Theatre Songs Soprano Belter/Mezzo-Soprano Tenor Baritone The Jason Robert Brown Collection Book The Jason Robert Brown Collection, Volume 2 Book Jason Robert Brown Plays Jason Robert Brown Hal Leonard Women's Edition Book/Audio Men's Edition Book/Audio The Kerrigan-Lowdermilk Songbook Book Michael John LaChiusa Songbook Book Music + Lyrics by Ryan Scott Oliver Book Musical Theatre Songs of the 2010s Women's Edition Book/Audio Men's Edition Book/Audio The Singer's Anthology of Gershwin Songs Soprano Mezzo-Soprano/Belter Tenor Baritone NOTE: Do not sing the operatic selections from Porgy and Bess The Singer's Musical Theatre Anthology - Volumes 1-7 Hal Leonard Soprano Volume 1 | Book Only | Accompaniment CDs | Book/Audio Soprano Volume 2 | Book Only | Accompaniment CDs | Book/Audio Soprano Volume 3 | Book Only | Accompaniment CDs | Book/Audio Soprano Volume 4 | Book Only | Accompaniment CDs | Book/Audio Soprano Volume 5 | Book Only | Accompaniment CDs | Book/Audio Soprano Volume 6 | Book Only | Accompaniment CDs | Book/Audio Soprano Volume 7 | Book Only | Accompaniment CDs | Book/Audio Mezzo-Soprano/Alto/Belter Volume 1 | Book Only | Accompaniment CDs | Book/Audio Mezzo-Soprano/Alto/Belter Volume 2 | Book Only | Accompaniment CDs | Book/Audio Mezzo-Soprano/Alto/Belter Volume 3 | Book Only | Accompaniment CDs | Book/Audio Mezzo-Soprano/Alto/Belter Volume 4 | Book Only | Accompaniment CDs | Book/Audio Mezzo-Soprano/Alto/Belter Volume 5 | Book Only | Accompaniment CDs | Book/Audio Mezzo-Soprano/Alto/Belter Volume 6 | Book Only | Accompaniment CDs | Book/Audio Mezzo-Soprano/Alto/Belter Volume 7 | Book Only | Accompaniment CDs | Book/Audio Tenor Volume 1 | Book Only | Accompaniment CDs | Book/Audio Tenor Volume 2 | Book Only | Accompaniment CDs | Book/Audio Tenor Volume 3 | Book Only | Accompaniment CDs | Book/Audio Tenor Volume 4 | Book Only | Accompaniment CDs | Book/Audio Tenor Volume 5 | Book Only | Accompaniment CDs | Book/Audio Tenor Volume 6 | Book Only | Accompaniment CDs | Book/Audio Tenor Volume 7 | Book Only | Accompaniment CDs | Book/Audio Baritone/Bass Volume 1 | Book Only | Accompaniment CDs | Book/Audio Baritone/Bass Volume 2 | Book Only | Accompaniment CDs | Book/Audio Baritone/Bass Volume 3 | Book Only | Accompaniment CDs | Book/Audio Baritone/Bass Volume 4 | Book Only | Accompaniment CDs | Book/Audio Baritone/Bass Volume 5 | Book Only | Accompaniment CDs | Book/Audio Baritone/Bass Volume 6 | Book Only | Accompaniment CDs | Book/Audio Baritone/Bass Volume 7 | Book Only | Accompaniment CDs | Book/Audio Sondheim for Singers Hal Leonard Soprano Belter/Mezzo-Soprano Tenor Baritone/Bass The Songs of Goldrich and Heisler Book Teen Broadway Songs of the 2010s Young Women's Edition, Book/Audio Young Men's Edition, Book/Audio Theatre and Cabaret Comedy Songs Women's Edition Men's Edition 21st Century Musical Theatre Hal Leonard Women's Edition Men's Edition Note: The original, revised, or third edition are all acceptable repertoire for the competition The William Finn Songbook Book Official 2022 Musical Theatre Entry Form
Hal Leonard Vocal Competition - 2021 Winners THE 2021 HAL LEONARD VOCAL COMPETITION WINNERS Hal Leonard, the world's largest print music publisher and the world leader in vocal music, launched the exciting and innovative concept of a serious music competition for voice students comprised entirely of YouTube video entries. We believe this to be the first legitimate music competition for musicians of various ages, children through college, to be held entirely on the Internet. The required repertoire was largely drawn from art song and musical theatre literature. The deadline for entry was February 2, 2021. Judging has been concluded, and we are pleased to announce the art song and musical theatre results in the four age categories of competition. Congratulations to the prize winners! We were encouraged by the commitment and seriousness of purpose shown in the video entries. If these are a representative sampling, there are clearly many dedicated students and teachers at all levels who have embraced our heritage of music literature. We thank all those who entered for confirming that this experimental venture was more than worthwhile. And we also thank the teachers and parents who guided the voice students in this competition. Thank you also to all the accompanists for their key participation. Complete List of Winners View the Winning Videos Choose a Previous Year 2021 2020 2019 2018 2017 2016 2015 2014 2013 2012 2011 ART SONG WINNERS College/University Voices High School Voices Early Teen Voices Children's Voices MUSICAL THEATRE WINNERS Young Adult Voices High School Voices Early Teen Voices Children's Voices COLLEGE/UNIVERSITY VOICES, ART SONG - Undergraduates (AGES 18-23) First Place Sophie Naubert School: Conservatoire de musique de Montréal Location: Montreal, Quebec Pianist: Chloe Dumoulin Voice Teacher: Aline Kutan Second Place (tie) Adam Catangui School: Eastman School of Music Location: Rochester, NY Voice Teacher: Nicole Cabell Second Place (tie) Dalia Medovnikov School: Curtis Institute of Music Location: Philadelphia, PA Pianist: Emily Olin Voice Teacher: Emily Olin Third Place (tie) Colin Aikins School: Curtis Institute of Music Location: Philadelphia, PA Pianist: Lisa Keller Voice Teacher: Julia Faulkner Third Place (tie) Kaya Giroux School: Carnegie Mellon University Location: Pittsburg, PA Pianist: Rosie Irwin Voice Teacher: Maria Spacagna Honorable Mention (listed alphabetically) Morgan Mastrangelo School: Northwestern University Watch Video Madison Miller School: University of Michigan Watch Video Madelin Morales School: Eastman School of Music Watch Video Rachel Schlesinger School: Purchase Conservatory of Music Watch Video HIGH SCHOOL VOICES, ART SONG - AGES 16-18 First Place Joseph Murphy School: Edward R. Murrow High School Location: Brooklyn, NY Pianist: Dmitry Glivinskiy Voice Teacher: Christine Moore Vassallo Second Place (tie) Bradley Boatright School: Smithville High School Location: Smithville, TX Voice Teacher: Michelle Haché Second Place (tie) Katherine Ramirez School: New Trail Homeschool Academy Location: San Antonio, TX Pianist: Daniel Zamora Voice Teacher: Crystal Jarrell Johnson Third Place (tie) Eloise Fox School: Avon Grove High School Location: Landenberg, PA Pianists: Katelan Tran Terrell, Mathew Odell Voice Teachers: Lorraine Nubar, Cynthia Sanner Third Place (tie) Saman de Silva School: Henry M. Gunn High School Location: Los Altos Hills, CA Voice Teacher: Jace Wittig Honorable Mention (listed alphabetically) Avni Kamat Location: Lexington, MA Watch Video Alison Kessler Location: New Rochelle, NY Watch Video Ava Kuntz Location: Santa Ana, CA Watch Video Lizi Kvernadze Location: Brooklyn, NY Watch Video Audrey Michael Location: Traverse City, MI Watch Video Ella Rescigno Location: Columbia, SC Watch Video Aida Skaraite Location: Lemont, IL Watch Video EARLY TEEN VOICES, ART SONG - AGES 13-15 First Place Kennedy Percival Location: Upland, CA Pianist: Desireé Bryner Voice Teacher: Camille Waage Second Place Lia Zheng Location: San Diego, CA Voice Teacher: Zeping Cai Third Place (tie) Evelyn Hsu Location: San Jose, CA Pianist: Dmitriy Cogan Voice Teacher: Haruna Shiokawa Third Place (tie) Andrea Nalywajko Location: New York, NY Pianist: Mun Tzung Wong Voice Teacher: Catherine Mazzone Honorable Mention (listed alphabetically) Jude Frazier Location: Orlando, FL Watch Video Christine Kelly Location: Geneva, IL Watch Video Aurna Mukherjee Location: Austin, TX Watch Video Avery Nokes Location: Arlington, VA Watch Video Lukas Palys Location: Dallas, TX Watch Video Evan Shidler Location: Short Hills, NJ Watch Video CHILDREN'S VOICES, ART SONG - AGES 12 AND UNDER First Place Lily Yezdanian Location: Clifton, NJ Pianists: Liliana Sotirova, Glenn Gordon Voice Teachers: Amelia DeMayo, Liliana Sotirova Second Place (tie) Heidi Hager Location: Herndon, VA Voice Teacher: Ingrid Lestrud Second Place (tie) Maya Louise Joshi Location: Cresskill, NJ Pianist: Liliana Sortirova Voice Teachers: Amelia DeMayo, Glenn Gordon, Liliana Sotirova Third Place (tie) Katherine Berdovskiy Location: Davis, CA Voice Teacher: Irina Leykina Third Place (tie) Diya Koul Location: Lexington, MA Voice Teacher: Elizabeth Sterling Honorable Mention (listed alphabetically) Kayla Cochamiro Location: Short Hills, NJ Watch Video Baylee Horvath Location: Gilbert, AZ Watch Video Juliet Lee Location: Vienna, VA Watch Video Madison Miller Location: Ooltewah, TN Watch Video Luke Reimer Location: Coralville, IA Watch Video Chelsea Sun Location: University Park, TX Watch Video Gloria Wang Location: Johns Creek, GA Watch Video YOUNG ADULT VOICES, MUSICAL THEATRE - Undergraduates (AGES 18-23) First Place Morgan Mastrangelo School: Northwestern University Location: Ridgewood, NJ Voice Teacher: Pamela Hinchman Second Place (tie) Ashlyn Combs Location: Nashville, TN Second Place (tie) Sarah Juliano School: University of Michigan Location: Ann Arbor, MI Pianist: Eric Banitt Voice Teacher: George Shirley Third Place (tie) Benjamin Perkinson School: University of Mary Hardin – Baylor Location: Fort Worth, TX Voice Teacher: Michelle Haché Third Place (tie) Piero Regis School: Boston Conservatory at Berklee Location: Katy, TX Pianist: Lindsay Albert Voice Teacher: Victor Jannet Honorable Mention (listed alphabetically) Margot Frank School: Millikin University Watch Video Shavon Lloyd School: SUNY Potsdam Crane School of Music Watch Video Madison Mille School: University of Michigan Watch Video Sabrina Shah Watch Video HIGH SCHOOL VOICES, MUSICAL THEATRE - AGES 16-18 First Place Aliyah Douglas School: Ironwood Ridge High School Location: Oro Valley, AZ Voice Teacher: Stephanie Fox Second Place (tie) Matthew Danforth School: The Dwight Englewood School Location: Demarest, NJ Pianists: Glenn Gordon, Steve Marzullo Voice Teachers: Amelia DeMayo, Liliana Sotirova Second Place (tie) Alyssa Sunew School: Seven Lakes High School Location: Katy, TX Pianist: Jeannine Rowden Voice Teacher: Jeannine Rowden Third Place (tie) Ellie Brenner School: Interlochen Arts Academy Location: Durand, Wisconsin Voice Teacher: Elizabeth Gray Third Place (tie) Katrina Franco School: San Francisco University High School Location: San Francisco, CA Voice Teacher: Heidi Moss Honorable Mention (listed alphabetically) Serena Dailey Location: Brooklyn, NY Watch Video Amelia Gibbons Location: De Pere, WI Watch Video Rachel Ginn Location: Pewaukee, WI Watch Video Evelyn Hecht Location: Maple, Ontario Watch Video Ava Kuntz Location: Santa Ana, CA Watch Video Lauren Marchand Location: Jericho, NY Watch Video Kylie Merrill Location: Chandler, AZ Watch Video Janessa Minta Location: Corvallis, OR Watch Video Josh Pike Location: Peoria, AZ Watch Video Alexa Reeves Location: Cherry Hill, NJ Watch Video Ty’Ria Rounds Location: Alton, IL Watch Video Emma Wallace Location: Austin, TX Watch Video EARLY TEEN VOICES, MUSICAL THEATRE - AGES 13-15 First Place Lizzy Gill School: Dublin Hoffman High School Location: Dublin, OH Pianist: Amy Pottkotter Voice Teacher: Stephanie Henkle Second Place (tie) Christine Kelly School: Geneva High School Location: Geneva, IL Pianist: Clare Chenoweth Voice Teacher: JoEllyn Caulfield Second Place (tie) Rachel Parsons School: Thomas Jefferson High School Location: Clairton, PA Voice Teacher: Erin Kesser Third Place (tie) Emelia Aceto School: Highland High School Location: Hinckley, OH Voice Teacher: Denise Milner Howell Third Place (tie) Callie Chae Pyken School: Colburn School Location: Los Angeles, CA Pianist: Nick Wilders Voice Teachers: Julia Gregory, Cassie Okenka Honorable Mention (listed alphabetically) Sienna Gasparrelli Location: Escondido, CA Watch Video Morgan Greco Location: Camas, WA Watch Video Shayla He Location: Saratoga, CA Watch Video Clare Keman Location: Southlake, TX Watch Video Christopher Kranenburg Location: Central Point, OR Watch Video Camryn Malo Location: Barrie, Ontario Watch Video Aurna Mukherjee Location: Austin, TX Watch Video Amanda Swickle Location: Jericho, NY Watch Video Ananya Yadati Location: Beachwood, OH Watch Video CHILDREN'S VOICES, MUSICAL THEATRE - AGES 12 AND UNDER First Place Katherine Berdovskiy Location: Davis, CA Voice Teacher: Irina Leykina Second Place (tie) Ayla Collin Location: Alexandria, VA Voice Teacher: Aimee Barnes Second Place (tie) Charlie Russell Location: Alexandria, VA Voice Teacher: Aimee Barnes Third Place (tie) Agustya Harsh Location: Alexandria, VA Pianist: Glenn Gordon Voice Teachers: Amelia DeMayo, Liliana Sotirova, Glenn Gordon Third Place (tie) Caitlin Hayles Location: Brooklyn, NY Pianist: Shane Schag Voice Teacher: Jeanai La Vita Honorable Mention (listed alphabetically) Anna Burnham Location: Georgetown, IN Watch Video Ryan Coglianese Location: Western Springs, IL Watch Video Robbie Crandall Location: Tenafly, NJ Watch Video Amelie Cruz Location: Chicago, IL Watch Video Elsa Dees Location: Greenwich, CT Watch Video Baylee Horvath Location: Gilbert, AZ Watch Video Ashley Hua Location: Marietta, GA Watch Video Maya Louise Joshi Location: Cresskill, NJ Watch Video Anna Smith Location: Austin, TX Watch Video Addison Valentino Location: Buchanan, NY Watch Video Lily Yezdanian Location: Clifton, NY Watch Video Back To Top