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Music Publication: Valley of Bones

"A new year looms, and with it, I hope, the prospect of some fresh new literature to intrigue, delight, and move... I'll begin with 'intrigue.' The distinguished Los Angeles-based conductor, scholar, and composer Nick Strimple has created a piece fusing the narrative of the Valley of Dry Bones with a hymn of his own composition. The story, related by a reader with organ-clusters underpinning it, and dramatic choral sound effects for the rattling bones and the rush of breath, can be performed alone (perhaps in place of the reading of the story at the Great Vigil). Or the four-stanza hymn to which this leads can stand alone; its theme is resurrection, replete with hallelujahs, and it has a nice descant on the final stanza. Or the whole might be presented together, lasting just short of six minutes. (A congregational part for the hymn is included for free duplication.)" - Alan Lewis, Ph.D., The Journal of the Association of Anglican Musicians, December 2009

Book: Choral Music in the Nineteenth Century

"Choral Music in the Nineteenth Century by Nick Strimple, which follows the author's earlier volume on the twentieth century, meets the need -- surprisingly unmet before -- for a comprehensive single volume devoted to this field. It will spare the lover and animateur of choral music a great deal of dipping into the New Grove -- particularly anyone who wishes for horizons broader than Western Europe with its 'dead white males'. There is, in fact, scant evidence of this wish in plenty of large choirs' concert programmes, in part no doubt because of linguistic obstacles. Strimple, however, is a director of several ensembles, and 'minister of music' at Beverly Hills Presbyterian Church, as well as a member of the faculty at Thornton School of Music in the University of Southern California. He is, therefore, well placed to guide those whose main interest is practical music-making.

It is this -- as well as the decline of the generalist -- that gives his book its old-fashioned feel. He is not afraid to quote Donald Tovey or J.A. Fuller-Maitland; and it is a patriotic pleasure to find him praising the 'astute observations' of Stanford and Forsyth's A History of Music (1925), and quoting its relative estimations of Stanford's works and their long-term prospects. The author adds some homely touches of his own: 'Frankly, Missa solemnis and the Ninth Symphony would be much bigger surprises had Beethoven been some kind of saint; a monk or priest unblemished by any scandal, for instance, or a happily married gentleman with perfect kids and country cottage resembling something from a hideous Thomas Kinkade painting'.

There are other statements that sound odd to anyone schooled in the restrained, if not positivist, ethos of English musicology in the 1980's: 'This antiquated technique [the telescoping of text in Haydn's Missa in tempore belli] at the beginning of the Credo vividly portrays a sense of doubt and confusion that all must have felt at this critical time in the Napoleonic Wars, when French troops were already camped on Austrian soil'. But all this helps to enliven a survey that must inevitably make much use of secondary sources -- some comments on minor figures and their works are little more than an exercise in name-dropping -- as well as include the author's own reflections on works of which he presumably has performance experience. His enthusiasm for Central European repertoire comes over, and, as expected, he has an insider's feel for the United States. The works lists at the back of the book are a helpful feature, and there are a few black-and-white photographs." - Glyn Paflin, The London Times Literary Supplement (TLS), January 15, 2010

"There is no shortage of analyses of the Requiems of Verdi and Brahms, or Haydn's Creation. Strimple offers interesting perspectives on masterworks such as these, but also introduces us to the important works of Cherubini, Bruch, Gounod, Herzogenberg, and the dozens of other influential composers of the next tier who ranked highly with audiences and critics in their day. His special expertise in the areas of Czech and Jewish music results in excellent coverage of these areas as well. . . Strimple's writing is clear, lively and often opinionated. This book presents a remarkable amount of information that is not easily available elsewhere, so will be an important addition to both personal and research libraries. . . it provides a unique and comprehensive look at the nineteenth-century choral landscape that should further much future research." - William Weinert, American Choral Review, Spring 2009

"Nick Strimple's Choral Music in the Nineteenth Century will be a most welcome addition to the library of all choral artists who desire a well-researched and highly readable overview of this crucial era in music. Following his seminal survey of Twentieth Century choral music, Dr. Stimple now examines the works of earlier European and American choral composers, offering insights into each composers'  contributions to the repertoire as well as their historical contexts. . . For choral conductors, singers and program annotators, Choral Music of the Nineteenth Century will be an oft-referenced and treasured companion." – Morten Lauridsen. Distinguished Professor of Composition, USC Thornton School of Music. Recipient, 2007 National Medal
of Arts

"Through a scholarly yet accessible writing style, Nick Strimple has illuminated 19th century choral repertoire for all levels of choral musicians.  An outstanding guide with a vast knowledge of choral works and composers, Nick leads us effortlessly through the terrain of the richest and most gratifying choral music of the Romantic era.  It's a must have for anyone in choral music." – Paul Salamunovich. Music Director Emeritus, Los Angeles Master Chorale

“A comprehensive, current study of nineteenth-century choral music has long been needed. Nick Strimple’s expertise is ideally suited to this endeavor, for his understanding of the material as choral conductor, composer, and teacher offers the reader an overview of this literature that is informed by experience and insight…. Essential for choristers and conductors alike! – Robert Blocker. The Henry and Lucy Moses Dean of Music, Yale University

Book: Choral Music in the Twentieth Century

“Everyone with a love of choral music – whether composer, conductor, singer or just fond admirer – should have this eloquent book in their library. Strimple, a gifted and articulate writer, has produced a volume that is easy, enjoyable and enlightening to read . . . Finally, the strongest endorsement I can offer is that this text is required reading for my graduate students.” – James Dearing, American Music Teacher, April/May 2006

"Full of insight, analysis, and informed opinion . . . Strimple has done us a huge service with this consolidation of the last century's choral literature." - Timothy Sharpe, Choral Journal, October 2003

"This is an excellent and valuable book" - Steve Holtje, Fanfare, July/August 2003

"This volume is the first to focus on the century's choral repertoire, and it sets a high standard . . . Not only is it the indispensable guide to choral music of the twentieth century, but it is among the most comprehensive and well-written guides to choral repertoire of any period." - William Weinert, American Choral Review, Spring/Summer 2003

"As an overview of what happened where, and when, this book is indeed encyclopaedic. As a descriptive catalogue of all this music, this is the first book to consult." - Peter Dale, Choir & Organ, May/June 2003

"An essential source book for the genre." - William McVicker, Classical Music, February 2003

"This is a valuable and rewarding book." - Pasatiempo, Jan.31-Feb. 6, 2003

"Nick Strimple offers us here a very thorough, yet concise global overview of serious choral music from the century just ended . . . Strimple writes in a straightforward, lively style, reflecting his rare understanding and deep affection for choral music . . .This significant and user friendly volume belongs in every music library as well as on the bookshelf of any choral director, scholar, singer, or serious choral aficionado." - Lindsey Koob, American Record Guide, January/February 2003

"[A ] masterful discussion . . . Any choral director or lover of choral music would prize the Works List at the end of this volume, along with an extensive Bibliography and Index, and, of course, the book itself. It's a gem." - Phyllis Villec, The California Music Teacher, Fall 2002

"This is a great book and will be helpful for professionals and music lovers . . . Nick Strimple has done an excellent and absolutely thorough job." - Maestro Helmut Rilling

"Nick Strimple's volume is an essential reading for choral musicians. The global overview provides the most current information available on world choral musics. In a marketplace of mundane historical surveys, Dr. Strimple succinctly presents fact carefully balanced with scholarly comment." - Robert Blocker, Dean, Yale University School of Music

"Nick Strimple's scholarly examination . . . has provided an invaluable resource for all conductors of serious choral music . . . The book promises to be a necessary addition to every conductors library. - Maestro Paul Salamunovich

Live and Recorded Performances:

“This recording features particularly forceful contributions from the Choral Society of Southern California, the Los Angeles Zimriyah Chorale and narrator Theodore Bikel . . . The result is one of the best releases in the Milken Archive series to date.” The Jewish Journal of Greater Los Angeles, April 7-13, 2006 [review of Naxos 8.559440] Reprinted in The Jewish Week, July 20, 2006

“ . . . Special commendation to the Choral Society of Southern California, which is beautifully balanced and blended in [Judith Zaimont’s] Meditations.” – Fanfare, May/June 2006 [review of Naxos 8.559444]

“Nick Strimple’s Choral Society of Southern California gives a tremendous choral performance. With crisp diction, the sense that they know what they’re singing about, and an heroic job of maintaining pitch.” - Classical Archives, January 2006 (#94) [review of Naxos 8.559444]

"Assembling a project of this magnitude is no easy task, and all involved can be congratulated for the smooth efficiency with which the program was delivered. The sound was . . . accurate and well balanced, and the integration of the varying elements - choir, orchestra, and soloists - beautifully illuminated the driving spirit at the heart of the music. The Choral Society rendered [the music] with style and infectious enthusiasm." - Los Angeles Times, 12 June 2001 (review of Sacred Concert by Duke Ellington]

"Nick Strimple is not only an acknowledged expert on music of the Holocaust period (Shoah) and on Jewish music in general, especially American, but he is also well-versed in Czech composers. The programme of the Prague vocal concert (20th of November) combined all his interests. . . [and was] performed with great authenticity." - Czech Music, January/February 2001

"In Bernstein's Kaddish, project music director Nick Strimple has a powerful but hardly unproblematic vehicle for reconciliation. The multifarious performance challenges were generally well met here. Strimple guided the dramatic performance with care and conviction." - Los Angeles Times, 15 November 2000

"Formed in 1982, the Choral Society of Southern California [under the direction of Nick Strimple] is obviously a very fine choir, with a good and just balance between male and female voices. They have a bright, silvery, and distinctly American sound, placing them some distance from the less sharply etched and mellow quality of their European counterparts. Their dynamic range is large, with the most transparent quality in quiet passages, and they have an admirable sense of pitch and intonation." - Fanfare, September/October 2000

"The program's midsection offered a male vocal octet, under the scrupulous direction of Nick Strimple, in a selection of Bartók arrangements of Slovak folk songs and, even more engrossingly, the quirky modalities and offbeat rhythms of the Opus 50 set of Old Hungarian Folk Songs. [Strimple's] singers presented this rarely encountered (anywhere, we'd wager) material with a thrilling blend of concert-hall polish and folksy vigor." - Los Angeles Times, 29 August 1994 (review of Getty Museum concert)

"Nick Strimple is one of those ardent workers in the local musical underbrush whose praise is too seldom sung. Choirmaster at Beverly Hills Presbyterian Church and founder of the Los Angeles Vocal & Instrumental Ensemble (which goes under its acronym, LA VIE), Strimple has produced important premieres in Southern California, including large-scale works by Dvorák and several new compositions. Last Saturday night at the latest of the Getty Museum's splendid summer concerts, Strimple and LA VIE put together a program enterprising and rewarding, nicely planned and beautifully performed." - LA Weekly, 5 August 1993.

"The performance, clearly a labor of love for all concerned, enlisted the services of . . . Nick Strimple's Southern California Choral Society, singing with both touching sweetness and climactic heft." - Los Angeles Times, 30 May 1992 (review of Schoenberg's Kol Nidre)

Music & Arts CD 4921:

"Our choral readers might also want to check out these anthems by Nick Strimple. [They are] interesting and expressive." - American Record Guide, March/April 2000

Psalm 133

"Beautiful polyphony without great difficulty." - Caecilia (France), August 1999

Cuchulain's Fight with the Sea

"Its evocative orchestration (including handbells and harp), imaginative tone painting and easy flow between solo and choir, action and commentary, served well in bringing the Celtic events to life." - Timothy Mangan, Los Angeles Times, 16 March 1994

"Strimple's own mettlesome setting of William Butler Yeats' retelling of Celtic legends . . . reached an overpowering climax, with percussion and bells marvelously used." - Alan Rich, LA Weekly, 5 August 1993

Nativities

"['Nativities' is] a well-crafted, appropriate and sometimes powerful telling of the Christmas story. In fact, with so few recent Christmas cantatas of quality accessible to both performer and listener, Nativities would be a welcome addition to the church music repertory. Strimple shifts easily from chant to angular vocal lines (in the Gesualdo tradition), from complex chord clusters to single sustained notes. And his use of thirds, unisons and imitation strengthens the drama whether shouting for joy or uttering a quiet meditation. His music, though strongly edged in Vaughan Williams-like colors and textures, is nevertheless individual and convincing." - Kenneth Sanson, Los Angeles Times, 20 December 1983

REVIEWS

Book: Choral Music in the Twentieth Century

“Everyone with a love of choral music – whether composer, conductor, singer or just fond admirer – should have this eloquent book in their library. Strimple, a gifted and articulate writer, has produced a volume that is easy, enjoyable and enlightening to read . . . Finally, the strongest endorsement I can offer is that this text is required reading for my graduate students.” [James Dearing, American Music Teacher, April/May 2006]

Recording: Judith Lang Zaimont: Meditations for the New Year

“Nick Strimple’s Choral Society of Southern California gives a tremendous choral performance. With crisp diction, the sense that they know what they’re singing about, and an heroic job of maintaining pitch.” [Classical Archives, January 2006 (#94)]

PHOTOS FROM THE ARCHIVEs

§ (l-r) Nick Strimple, Simon Spiro, Gerard Schwarz, Arianne Slack Brown, and Alberto Mizrahi following a Los Angeles Philharmonic Concert, 2006.

§ Nick Strimple with composers Richard Willis and Steven Stucky, following a concert in 1992.

§ Nick Strimple, Christof Perick and Günter Einhaus during a Nuremberg Symphony rehearsal break, 1987.

§ Nick Strimple with Dan Aykroyd prior to a concert in 1997.

§ Strimple with Christopher Norris and Delbert Mann, following a concert in Beverly Hills, 1995

§ Nick Strimple and Walter Matthau, Beverly Hills, 1991.

§ Nick Strimple during rehearsal with James Stewart, 1978.