The 2021 All-State Chorus Conductor will be Dr. Edith Copley, Regents’ Professor Emeritus, Northern Arizona University.

2021 Program These are the pieces included in the packet which will be part of the audition process in October.

Song of Triumph by Grotenhuis OCTB6215 SATB Divisi, A Cappella

Liebst du um Schönheit Schumann, arr. McCullough 1.3589 SATB, Piano

“Kyrie Eleison” Haydn, arr. Hirt W3543 from the Lord Nelson Mass SATB, Piano

Thixo Onothando arr. Barrett WW1705 SATB, with Three Solos

The Music Of Stillness Hagenberg OX.9780193537422 SATB Divisi, Piano

Rejoice! Ames SBMP728 SATB, Piano, electric bass, trap-set

In addition to these selections there will be a secret piece that is the 75th Iowa All-State Chorus Commissioned choral work. We are also blessed to have new custom arrangements of both America the Beautiful and The Battle Hymn of the Republic specifically arranged for the 75th Anniversary festival. The patriotic works are included in this packet and directors will need to duplicate them for the students auditioning. Directors may NOT duplicate additional copies NOR perform either of the patriotic works. Our custom arrangement permissions only allow for one performance of these arrangement at this year's All-State Festival including permission to be utilized in the audition process.

There will be soloists needed for this year’s All-State Festival Chorus. Students accepted into the All-State Chorus that are interested in auditioning for one of the solos should submit a video recording in the form of a google drive or dropbox link of the entire solo part to alan@ihsma.org by Thursday, November 4th. Semifinalists will be notified by Thursday, November 11 and will be asked to audition for Dr. Copley on Thursday, Nov. 18th in Ames.

Rejoice solos: ● mm. 34-50, mezzo soprano/alto● mm. 50-64, tenor

The All-State Chorus will also need a bass player and trap-set player for the entire song Rejoice. Anyone interested in auditioning for the bass guitar part should contact the IHSMA office to secure a copy of the instrumental part and submit their audition video. Trap set players are asked to improvise their own drum part in a gospel style which supports the choir. Both Bass Guitar and Trap-Set auditions should be recorded while playing along with the following choir/piano recording of the song Rejoice: https://www.youtube.com/watch?v=2ikoKSlPhQ0

An example recording of the song that includes bass and drumset can be viewed here: https://www.youtube.com/watch?v=7QqTB9_ptkg (This link is for informational use only and should NOT be used when creating

audition recordings.)

Thixo Onothando solos: A total of three tenor soloists will be utilized mm. 5-30

Please let me know if you have any questions about the 2021 Iowa All-State Chorus. Feel free to email me at jheitland@clearlakeschools.org or call/text at 641-355-3660.

Jason Heitland

2021 Iowa All-State Chorus Preparation Notes Edith A. Copley, guest conductor

Best wishes as you prepare the music for the 2021 Iowa All-State Chorus. I sang in the allstate choir many years ago and conducted the all-state chorus back in 2007. I'm so honored to be a part of the 75th anniversary celebration of the festival this fall. I have chosen a diverse program that features historic choral works by Franz Josef Haydn and Clara Schumann, a multicultural work from South Africa, music by two Iowa composers, Elaine Hagenberg and Dale Grotenhuis, a great gospel piece by Jeffery Ames, plus a world premiere written just for you and this year's all-state celebration by Minnesota composer, Jake Runestad. I look forward to working with many of you in November and good luck to everyone with your October auditions!

Dr. Edith Copley, regents' professor emeritus Northern Arizona University Graduate of North Scott High School and Luther College

Song of Triumph Dale Grotenhuis (1931-2012) This is an uplifting choral work by Dale Grotenhuis who taught at Dordt College in Sioux City, IA for 35 years. Dale composed this song of praise to God soon after his son was tragically killed in a motorcycle accident in 1983. It has always been one of my favorite choral works by Dale and a wonderful way to begin the all-state chorus program.

• Tempo I Quarter note = 110 (slower than marked given the size of the choir) • Tempo rubato is applied to many phrases • At "Slower" (at m. 29) Quarter note = 90 • Add a quarter rest at breath marks (mm. 1-28 and mm. 50-end) • Add an eighth rest at breath marks (mm. 29-49) • Additional breath marks:

Quarter rest m. 6 after "Lord" (S/T) or "Almighty" (A/B) Quarter rest m. 19 after "Lord" Quarter rest m. 21 after "glory" Quarter rest m. 25 after "glory" or "name" Eighth rest m. 29 after "name" T /B

Eighth rest m. 30 after "holy" T /B only Eighth rest m. 36 after "alleluia" SATB Eighth rest m. 42 after "holy" SATB Eighth rest m. 56 after "deeds" Eighth rest m. 59 after "God"

• Prepare the subito piano at m. 7 and m. 21 • Pronounce final unvoiced consonants in great, just, not, mighty • Pronounce final voiced consonants in God, and, King, Lord, Name, deeds (z) • Add a fermata on last half note of m. 38 and m. 58 • m. 17 change alto part pitches on beats 6 and 7 to A (matching sop. pitches/rhythm) • Soprano I modify [u] vowel on high A at m. 33 and 43 to open vowel (uh or oh) • Careful of descending pitches: basses in mm. 45-46 and sopranos in mm. 48-49 • Listen when modulating to Db major at mm . 46 and 47 • Underline stressed syllable in each word; sing unstressed syllables less

Liebst du um Schonheit, Op. 12, No.4 (1841) Clara Wieck Schumann (1819-1896) arranged by James McCullough

Clara Schumann was an incredible pianist and composer in the 19th century. She was married to the more historically famous Robert Schumann, however, her music is now becoming more and more recognized and celebrated.

This arrangement of one of her famous songs is filled with tempo rubato. Please observe all ritardandos and a tempo markings in the score. Also, observe the tenuto markings and various accents over the notes-giving them emphasis and time. In almost every case the music moves to these markings and then dynamically releases.

**German IPA p ronunciation and translation can be found on the last three pages of this document.

"Kyrie eleison" from the Lord Nelson Mass Franz Josef Haydn (1732-1809) arranged by Charles C. Hirt

This is one of the selections that I sang in the Iowa All-State Chorus when I was a sophomore in high school! Charles Hirt from USC, who arranged this setting, was the guest conductor. It was during that all-state festival that I decided to become a choral director!

• Please number all your measures; 100 total. • Since this piece is by Haydn, we will use German Latin pronunciation: Kürié éléizon • When singing descending octaves, sing the lower note as if you are still singing

The higher pitch; in other words, don't change the placement and add Heaviness.

• Sing clear shadow vowels on the final"n" of eleison. Add a [I] (ih) vowel to the voiced, final "n," so it will have presence in the hall.

• Dotted quarter notes at the beginning of each phrase should slightly fade in dynamic, rather than crescendo. Crescendo the back half of the measure across the barline to the stressed syllable of e-lei-son. The final syllable in the word should also have sense of release.

• Place slight lift (vowel re-articulation) between Kyrie and eleison • When a voice part has the second and third syllable of "e-le-i-son" as a quarter

note, please sing two equal 8th notes for this diphthong. • On long notes such as a dotted half note (or longer) on the second and third

syllables of "e-Ie-i-son," please sing the vanishing [ee] vowel as late as Possible

• Please lift on all the commas; exceptions: m. 35 and m. 81 • Sopranos put in a slight lift on the tied note in m. 17 and 69 and energize the 16th notes • Avoid carrying weight up into your upper register-keep it buoyant.

Thixo Onothando arr. by Michael Barrett (b. 1983) A wonderful South African religious hymn transcribed for chorus by Michael Barrett, the conductor of the Tuks Camerata in Pretoria, South Africa. The three featured tenor soloists will be chosen at the All-State festival prior to the first rehearsal. Please read pronunciation notes on page 2 of the score for instructions on how to do the "click" (x) sounds that is characteristic in the isiXhosa language.

Additional pronunciation notes: th = t ph = P i = ee 0 = aw a = ah h is always silent, except in Hosanna e = ay, except in "pheh-zu-Iu" (m. 21) and "ehn-ya-ngwe-ni" (m. 22)

YouTube Recording of Tuks Camerata performance: https:!fwww.youtube.com!watch?v=VBR8wPcujmQ

The Music of Stillness Elaine Hagenberg (b. 1979) An expressive setting by Des Moines composer Elaine Hagenberg based on the famous poem entitled "There will be rest" by Sara Teasdale. The piece will feature the allstate accompanist

• Sing second/final syllables of all words less (with a sense of release) • Pronounce "the" with a schwa [a] ("thuh," rather than "thah") • "divising" (pg. 6-7) pronounced "dih-vahzing," rather than "dee-vah-ee-zing" • "stillness" is pronounced still-nuhs (schwa) [a], rather than still-nehs

• Clearly enunciate final and internal consonants to communicate the expressive text • The "rule of punctuation" for phrasing:

Add 8th rests after commas (or in some cases a slight lift) Exceptions: m. 38 A/B-no breath into m. 39

m. 54-no breath after "find" S/A/T • m. 41, add 8th rest on the and of beat 4 in A/T/B • m. 55, add 8th rest on the and of beat 4 in S/A/T/B • We may need to balance the TBB divisi at the festival (?)

Rejoice Jeffery L. Ames (b. 1969) Here is an uplifting gospel piece to close the program. Jeffery L. Ames is the director of choral activities at Belmont University in Nashville, TN. This selection will also feature the accompanist as well as an electric bass player and trap-set player.

• Opening section is very rhythmic and non legato • No breath in m. 2 • "Battle" pronounced with a D, rather a hard T • No hard T word endings, i.e. "out" (implode the t) • Mix some "ih" vowel into the "ee" vowel in liRe-joice," so it is more rounded than

Horizontal • In m. 12, add a quarter rest on beat 3 • Add slight lifts before each accented note when the rhythm is syncopated

Examples: mm. 16, 17,21,23,27, etc. • There will be an 8 measure CUT from the middle ofm. 107 to the middle of m. 115.

The mezzo soloist (pp. 8-9) and tenor soloist (pp. 10-11) will be chosen at the all-state festival. They also will sing brief improvisations on pp. 18-19.

Have a great time preparing and singing the 2021 Iowa All-State Chorus repertoire!

Kindest regards, Dr. Copley

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AMERICA THE BEAUTIFULMusic by Samuel A. Ward

Text by Katherine Lee Bates

(for the 75th IOWA ALL-STATE MUSIC FESTIVAL)

Originally arranged for choir by Alice JordanOrchestral parts originally arranged by William L. Ballenger

Adapted for orchestra, choir, & band for the 75th All-State Festival by Peter A. Eklund

(admin. by Music Services) All Rights Reserved. ASCAP Used by Permission.©1984 Lorenz Corporation/Roger Dean Publishing Company

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90 ..œœ œœ ..˙̇mer i ca!

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AMERICA THE BEAUTIFUL, page 5 of 5

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14 ..œœ< Jœœ..œœ̄ Jœœ

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- - - -

BATTLE HYMN OF THE REPUBLICWilliam Steffe

Originally arranged by Peter J. Wilhousky

for the 75th IOWA ALL-STATE MUSIC FESTIVAL

Adapted for the 75th All-State Festival by Peter A. Eklund

©1944, 1945, 2017 by Carl Fischer, LLC; this arrangement ©2021 by Carl Fischer, LLC. All rights reserved.

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26 ∑˙̇ ˙̇

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34 ∑..œœ Jœœ ..œœ Jœœ

Glo ry! Hal le

..œœ jœœ ..œœ jœœœœ. œ. œœ. œ.

poco a poco

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38 ∑..œœ Jœœ

..œœ JœœGlo ry! Hal le

..œœ jœœ ..œœjœœ

œœ. œ. œœ. œ.

poco a poco

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42 ˙̇ ˙̇march ing˙̇ ˙̇

˙march ing

˙̇̇ ˙˙˙œœ œœ œœ œœ

ƒwwon!wwon!

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54

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BATTLE HYMN OF THE REPUBLIC, page 3 of 7

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64˙̇ œœ Œlu jah!˙̇ œœ Œœœœœ ‰ œœœœ ‰ œœœœ ‰ œœœœ ‰œœ ‰ œœ ‰ œœ ‰ œœ ‰

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66 ˙̇ œœ Œlu jah!˙̇ œœ Œœœœœ ‰ œœœœ ‰ œœœœ ‰ œœœœ ‰œœ ‰ œœ ‰ œœ ‰ œœ ‰

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70 ..˙̇ Œon!..˙̇ Œ˙̇̇ jœœœ ‰ œœœœœnnnn#œœ ‰ œœ

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BATTLE HYMN OF THE REPUBLIC, page 4 of 7

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BATTLE HYMN OF THE REPUBLIC, page 5 of 7

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94

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98 ..œœjœœ œœ œœ œœ œœ

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œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œƒ

ƒ˙̇ œ Œlu jah!˙̇ œœ Œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

100 ..œœjœœ œœ œœ œœ œœ

Glo ry! Glo ry! Hal le..œœ Jœœœœ œœ œœ œœ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

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˙̇ œœ Œlu jah!˙̇ œœ Œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

102 ..œœ jœœ œœ œœ œœ œœGlo ry Glo ry! Hal le..œœ J

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jœœœœ œœœœ œœœœœœ œœœ

..œœjœœ

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˙ jœœ ‰ œœlu jah! His

œ# œ œœ œ Jœœ ‰ œœœ œn œ#

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f- - - - - - - -

BATTLE HYMN OF THE REPUBLIC, page 6 of 7

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(orchestra)

108 ∑∑

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BATTLE HYMN OF THE REPUBLIC, page 7 of 7