Associate Professor of Music
Director of the Choral and Vocal Studies Program for Haverford and Bryn Mawr Colleges since July 1996
- Haverford/Bryn Mawr Chorale (150-voice oratorio society)
- Haverford/Bryn Mawr Chamber Singers (35-voice touring concert choir)
- coordinating the applied voice program
- teaching conducting, art song literature, and music history
Artistic Director, Bucks County Choral Society, Doylestown, PA beginning May 2000
Director of Music, Philadelphia Episcopal Cathedral, Philadelphia, PA, beginning October 2010.
University of Illinois, Doctor of Musical Arts (choral conducting and literature), 1994
Yale School of Music, Master of Music (voice), 1979
Yale Divinity School, Master of Arts in Religion, 1978
Oberlin College Conservatory of Music, Bachelor of Music (bassoon), 1974
Compositions (for links to scores and recordings, click here):
As Well for the Poore as the Peere! Christmas suite for children’s choir, adult choir, brass quintet, and hurdy-gurdy,
for the December 2013 Christmas concerts of the Bucks County Choral Society with the Bel Canto Children’s Choir and the Fairmount Brass Quintet.
Life Time for choir and solo flute, text by William Saroyan, commissioned for the inauguration of Dan Weiss as President of Haverford College and premiered by the Chamber Singers of Haverford and Bryn Mawr Colleges
on October 26, 2013.
Eternity's Disclosure - texts by Emily Dickinson, for soprano solo, choir, and piano; commissioned for the 40th Anniversary of the Bucks County Choral Society, premiered on June 1, 2013.
Bonhoeffer, concert-length choral-theater work for men's chamber choir, solo trio (SSA), two dancers, and four players (violin, cello, piano/organ, vibraphone/tom-toms); first performance by The Crossing, Donald Nally conducting, and dancers Tim Early and Carrie Ellmore-Tallitsch Sunday, March 10, 2013 at the Philadelphia Episcopal Cathedral and rebroadcast April 14, 2013
on WRTI classical FM, Philadelphia; called “an important work” and “a breakthrough for all concerned” by David Patrick Stearns, Philadelphia Inquirer, March 12, 2013. [Click here for complete video and libretto.]
Ben Unleashed, for five soloists (SSATB) and piano; commissioned by Lyric Fest of Philadelphia and first performed at the Academy of Vocal Arts, Philadelphia, October 14, 2012.
Fatherly Reflections(Karl Kirchwey) for solo voice and piano; commissioned by Lyric Fest of Philadelphia and first performed by Richard Troxell, tenor and Laura Ward, piano, First Presbyterian Church in Philadelphia, November 21, 2010.
Fellowship of Miracles (Henri Nouwen) for SATB choir and organ; commissioned for the installation of Rev. Judith Sullivan as fourth Dean of the Philadelphia Cathedral, on October 17, 2010, performed by the Church of the Redeemer Choir, Michael Diorio, director.
Camp Meeting ("Down in the River to Pray"/"Shout all over God's Heaven") - for SSATTBB choir; first performed at the ACDA Eastern Region Urban Initiative Concert at the African Episcopal Church of St. Thomas in Philadelphia, on November 21, 2009.
Pied Beautyfor SATB choir, text by Gerard Manley Hopkins; first performed October 4, 2008 at the inauguration of Jane McAuliffe as President of Bryn Mawr College.
Sojourn for SATB choir and four violins, text by Albert Einstein from The World as I see it;
first performed October 6, 2007 at the inauguration of Stephen Emerson as President of Haverford College.
for SATB choir and organ; composed for the 2007 Eastern European tour
of the Bucks County Choral Society; premiered June 3, 2007 at Trinity
Lutheran Church, Lansdale, PA, with Eric Plutz, organ.
Stan’ Still Jordan – Egbe Nukopowo – arrangement of an African-American spiritual juxtaposed with a traditional Ewe melody from Ghana, for SATB choir and traditional percussion. First performed by the Chamber Singers of Haverford and Bryn Mawr Colleges in Fall 2006 as part of their Ghana tour program; also performed by the PMEA District 12 High School Festival Choir in January 2007; scheduled for publication in 2008 by Alliance Music Publishers.
traditional, arr. Paul Simon and Art Garfunkel, Scarborough Fair / Canticle, arranged for SATB and guitars (with permission); first performed by the Chamber Singers of Haverford and Bryn Mawr, May 2006.
Lee S. Roberts, Smiles, arranged for SAB senior choir, for the first annual Singing for Seniors Choir Festival, of the Bucks County Choral Society, April 20, 2006.
The spirit moves in marvelous ways - Ode to Ellington, for SATB choir and jazz quartet; first performances with the Chamber Choir of the Bucks County Choral Society and the Eric Mintel Quartet on October 29 and 30, 2005 at
St. Paul's Lutheran Church, Doylestown, PA.
The World is Too Much with Us, (Wordsworth) for SATB choir, horn, and piano; commissioned by Unionville (PA) High School, Jason Throne, director and first performed there May 2005.
Of the Father's Love Begotten / I Heard the Bells on Christmas Day, for SATB choir, harp, string quintet; first performances with the Bucks County Choral Society, December 2004, Yardley and Doylestown, PA.
Henri Busser, Le Sommeil de l'Enfant Jesus, for solo voice, harp, violin: solo part re-arranged for SATB choir; first performances with the Bucks County Choral Society, December 2004, Yardley and Doylestown, PA.
Leaves of Grass / Ode to America, (Whitman) for SSAATTBB choir unaccompanied; first performances by the Bucks County Choral Society June 2004, in Doylestown, PA, St. Petersburg, Russia, and Tallinn, Estonia.
Immensity Cloistered in Thy Dear Womb (Donne) for SSAATTBB choir and brass quintet; first performed by the Bucks County Choral Society, December 2003 in Doylestown, PA.
O Come, O Come Emmanuel processional arrangement for SATB choir unaccompanied; first performed by the Bucks County Choral Society, December 2001 in Doylestown, PA; performed by the Philadelphia Singers, David Hayes, director, December 2004 in Philadelphia, PA.
“The Vocal Chamber Music of Hans Gál,” The American Choral Review, Volume 52, No. 1, Winter/Spring 2010.
“The Revival of an early “Crossover” masterwork – Duke Ellington’s Sacred Concerts,”in the May 2009 issue of the Choral Journal.
“Shout all over God’s heaven – The survival of the Spiritual through dramatically changing social and musical contexts, the Choral Journal August 2004; this article expanded into a web site on the history of the spiritual:
CD review: “Innovative new American sacred works: David Lang, the little match girl passion; Phil Kline, John the Revelator; Kile Smith, Vespers; Choral Journal (February 2010).
Book review: André Thomas, Way Over in Beulah Lan’ – Understanding and Performing the Negro Spiritual; for the Choral Journal, November, 2009, pp.71-74.
Review of the 8th World Symposium, in the October 2008 issue of Troubador, the Newsletter of the ACDA Eastern Division.
Book review: Chorus and Community, edited by Karen Ahlquist, for the Choral Journal (February 2008).
Dissertation: A Comparative Analysis of 18 Settings of Petrarch's "Tutto 'l dì piango; e poi la notte, quando," - 1994, University of Illinois.
Guest lecturer: Yale University School of Music graduate conducting seminar – leading a discussion of
performance practice issues in Bach’s St. Matthew Passion, April 2011.
Invited panelist: "Choirs Transforming our World" - Yale International Choral Festival Symposium sponsored by the International Federation of Choral Music (IFCM) and Yale University, June 22, 2012; selected for a panel of four choral conductors (Philip Brunelle (IFCM board VP), John Warren from Syracuse University (representing the ACDA International Conductors Exchange Program), and Joy Hill of the Royal College of Music, London to discuss the challenges and rewards of arranging collaborations between international choirs (invited because of Haverford's unique cultural exchange program involving the Chamber Singers).
Article: “Bringing Transformative Collaborations to Life” (relating primarily to tour collaborations with international choirs), Troubador (Newsletter of the ACDA Eastern Division, April 2011) and ChorTeach (Summer 2011):
ACDA Invited Panel Discussion convener: “Do you hear what I hear? – R&S chairs present what they hear
as ‘quality’ in their genres” – Eastern Division Conference, Philadelphia, February 2010.
Invited article: “My Encounter with Estill Voice Training” in Troubadour - the online journal of the ACDA Eastern Division, December 2009, pp. 14-17.
ACDA Invited Interest Session presenter, with the Chamber Singers of Haverford and Bryn Mawr Colleges, 2008 Eastern Division Convention: Being true to the music and true to yourself: singing a variety of music with authenticity without pretending to sound like a different of choir; click here for transcript with sound files.
ACDA Panel Discussion convener – "Approaches to Teaching Sacred Music in Secular Contexts" – Eastern Division Convention, February 2006, New York City; transcript published in the Choral Journal, March 2007.
Essay: “Hope in the Unifying Language of Music: Teaching Sacred Music in a Secular Setting,” published in the online journal Constellation Spring 2005, of the Center for Progressive Christianity; revised version published in Choral Journal, March 2007:
Article: “Alternative Images for Helping Singers Connect to Their Breath Support in Warmups: "Drawing-in the Tone" and "Breathless Breaths,"” Choral Journal 43:9 April 2003.
Extended Letter to the Editor on choice of repertoire following 9/11, Choral Journal 43:2, September 2002.
Article: "When the Orchestra Arrives," in the Choral Journal, December 1999.
I being followed? - Finding the Elusive Connection between Conductor
and Ensemble," published in the Choral Journal, February
1996; revised and reprinted in the Journal of the Conductor's GuildWinter/Spring
ACDA: Repertoire and Standards Chair for Community Choirs, Eastern Division (2008-2010).
ACDA: Coordinator/Convener: first Community Choir Festival: Eastern Division Conference, Philadelphia, February 2010 (as R&S Chair for Community Choirs, Eastern Division); Article “New Community Choir Festival Yields Great Benefits,” Troubador, April 2010, pp. 28-29;
NCCO Panel Discussion convener: Unique Challenges and Opportunities: Choral Programs at Liberal Arts Colleges, National Collegiate Choral Association Conference, Yale University, New Haven, CT, November 2009.
ACDA Eastern Region Urban Initiative Concert at the African Episcopal Church of St. Thomas in Philadelphia, on November 21, 2009. Directed the Chamber Singers of Haverford and Bryn Mawr in a program shared with the Penn State University Essence of Joy choir (Tony Leach, Director), the St. Thomas Chancel Choir (Jay Fluellen, Director), the Bright Hope Baptist Church Celestial Singers (Donald Dumpson, Director), and the Clayton White Singers (Clayton White, Director), including a performance my arrangement “Camp Meeting” with choreography by Bryn Mawr Senior Lecturer in Dance Madeline Cantor.
Extended letter to the editor concerning the legacy of African-American congregations and the sung Spiritual in Episcopal liturgy in response to the 2012 Association of Anglican Musicians national conference in Philadelphia, in the Journal of the Association of Anglican Musicians, Vol. 21, Number 10, December 2012.
Lyric Fest, Philadelphia (professional song recital series) – Board of Directors (2008-2014).
International Federation of Choral Musicians (IFCM) - Conductors without Borders program: co-chair, pilot mentorship program in Ghana, 2008-2009.
- selection as a “Creative Connector” by Leadership Philadelphia (a project of the Knight Foundation and WHYY) – one of seventy-six arts leaders in theater, music, dance, and fine arts (the only choral musician honored) from over 3,000 nominations received for achievements in creating collaborations between arts groups across a broad spectrum; see also video interview related to this award (as noted above):
- Annette John-Hall, “Amen for Racial Harmony,” Philadelphia Inquirer, June 8, 2010.
Chamber Singers Touring Program
Highlights of some of the major tours in recent years are listed below. Click here for full narrative accounts of each of the tours.
- 2010: Turkey – concerts in Ankara, Eskiseher, Istanbul, shared with the university choirs of Middle East Technical University, Anadolu University, and Bogazici University.
- 2007: Ghana – trip to Ghana involving several faculty (from Music, Biology, History, and Religion), one dean, one program director (OMA) and 35 bi-college students (27 in Chamber Singers and 8 others (in biology and Africana Studies)) after a semester of directed study in the history of the Atlantic slave trade, the cultural integration of African music in Africa and the African diaspora, and politics of modern Africa. Activities (readings, written assignments, and public presentations) spanned two semesters; funding support obtained from nine different sources at both colleges; activities in Ghana included three collaborative concerts with 5 local choirs, radio interviews and national television coverage, audience with regional chiefs and the US Ambassador, as well as numerous informal and spontaneous performances at village schools, hospitals, and plantations.
- 2006: Puerto Rico – collaborative concerts in San Juan and Ponce with Coro Universidad Interamericana de Puerto Rico, Angel Mattos, Director and the Coro Pontificia Universidad Católica de Puerto Rico Rubén Colón-Tarrats, Director; local coordination through student singer Tommy Bryan HC ’07, his family in Puerto Rico, and Puerto Rican alumni.
- 2005: Poland – concerts in Poznan and Warsaw, including a major collaborative concert at Philharmonic Hall in Poznan with the Adam Mickiewicz University Academic Choir directed by Jacek Sykulski; (this choir just made a return visit to Haverford in November 2007); Asst. Prof. Suava Salameh of the sociology department made local arrangements and co-led the trip. She arranged for numerous visits and discussions with government officials, academic leaders, and students about political and cultural issues in the post-Soviet era.
- 2003: Costa Rica –concerts in San Jose, St. Helena, and Arenal, including two concerts in collaboration with the Choir of the Municipal Youth Symphony of Cartago and the Chamber Choir of Alajuelita, both choirs conducted by Patricia Valverde.
- 2002: Nashville, TN, shared concert with the Fisk Jubilee Singers directed by Paul Kwami, including campus tours, student discussions; return visit by the Fisk Jubilee Singers to Haverford in March 2005.
- November 2001: Haverford, shared concert with the Howard University Choir, J. Weldon Norris, Director.
- 1998: Venezuela - concerts in Caracas shared with the Orféon Universitario Simón Bolívar under the direction of Maria Guinand and Alberto Grau.
Also, tours to Brazil, Russia, Estonia, Hungary, Slovenia, and Romania with the Bucks County Choral Society.
Major grants and awards:
Leadership Philadelphia (Knight Foundation/WHYY) – selected as a “Creative Connector” – one of seventy-six arts leaders in theater, music, dance, and fine arts (the only choral musician honored) from over 3,000 nominations received
Philadelphia Music Project - $30,000 grant to the Bucks County Choral
Society for a 30th anniversary commission project (BCCS only first-time
winner in 2002): Rachel and her Children – Small
Hands, Relinquish All; music by Robert Maggio; libretto compiled
by Thomas Lloyd.
First Prize Winner: Graduate Division, 1993 Student Conducting Awards, American Choral Directors Association National Convention, San Antonio, Texas.
Abington (PA) Symphony Orchestra: Interim Director, 1998-1999
Hamilton College (Clinton, NY) 7/94 to 7/96: Acting Director of Choirs and Orchestra and Visiting Assistant Professor of Music
Assistant Conductor: Illinois Opera Theater, 1993-1994 season, including conducting performances of Hansel and Gretel and The Aspern Papers (Argento)
Assistant Conductor: University of Illinois Graduate Chorale, Oratorio Society 1992-1994 and Director, Madrigal Singers, 1992
Founding Music Director: The Cornerstone Chorale and Chamber Orchestra of New York City (1990-1991)
Vice President, Information Systems, Prudential Securities, NY, NY (1983-1991)
Teaching Music at Haverford and Bryn Mawr
The bi-college community is a very special environment for music making. For an academic community of this size, the number of students involved in singing in such a wide variety of faculty-led and independent ensembles is truly remarkable. While each of these different groups has its own distinct identity and purpose, they share in common a love forgetting together with other people to sing, play, and listen. This combination of unity and diversity is most visible in our annual combined concerts at Family Weekend at Haverford and Parents' Day Bryn Mawr. This musical atmosphere, going back almost sixty years under the leadership of such teachers as Alfred Swan, John Davison, and William Reese has even inspired a number of local alums to continue as members of the Chorale - one recently said "most of what I did in college I have either forgotten or can recall only with some specific effort ...much of the music I learned or performed then lies just below the surface of conscious recollection, and it has an extraordinary power to recall itself."
It has been rewarding working with the students with
the variety of music interests and aspirations who come to Haverford
and Bryn Mawr, from students approaching music making for the first
time to those who could be in a conservatory if they chose, but prefer
to get a more rounded education while continuing their music making
at a high level. I have especially enjoyed collaborations with
Heidi Jacob and the orchestral program in making it possible for the
Chorale to perform major works with orchestra not just on rare occasions,
but every semester. This collaboration has brought about an opportunity
for our leading instrumentalists to play alongside students from the
Curtis Institute and Temple's Esther Boyer College of Music who are
brought in for these performances.
Haverford and Bryn Mawr are also great places to come for students interested in seriously pursuing solo singing or conducting. Both of these disciplines benefit from the kind of breadth and maturity that a liberal arts education can bring. At the same time, students can study singing or conducting intensively and gain valuable experience as soloist or conductor with our departmental ensembles beyond what would be available at a school with a larger number of music majors.
In short, Haverford and Bryn Mawr are great places to be for student musicians at any level of skill who want to experience music as something vitally connected to life outside the practice room.
Please contact me by phone (610-896-1006) or email email@example.com if you have any questions.
Follow this link for more information on Choral Music at Haverford and Bryn Mawr