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The InternationalChoralBulletin, the official journal of the TFCM, is issued to m embers four times a year.

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Regul ar Coll aborators:


Dossier : Mexico • Maria Guinand, Coordination Th e Choral Music of New Spain, Juan Ma11uelLara Cârdenas The Mexican Choral Movement in the Last Decades,


Gerardo Râbago and Veronica Alexa11derson Pan orama of Contemporary

p. 5

Mexican Compos iti on,

Jorge Cord6ba The Children's


Ch ora l Movement in Mexico,

Alfredo Mendoza


America Cantat IV, a Choral Ev e nt,

Gerardo Râbago and Veronica Alexanderson


lFCM News Margrete Enevold: World of Children's and Youth C h o ir s Krzysztof Penderecki at 70, Ray Robinson (111.enev, Jea n-Marie Mar chal : Collector's Corn e r News from Chora!Net • D avid Topping, Dr. Jailles D. Feiszli (j111.111ard1al@cccbw.co111), Werner Pfaff: Reperto ire (Wemer.Pfajf@gmx.11et), The Voiœs of our Planet, Z,maida Vâsquez Nadine Robin : Calendar of Events (11r Extracts from the IFCM Newslette r to the Board, Jean-C laude Wilkens Languages : In Memoriam Kazuyoshi Fujikawa Dr . Lore Auerbach (German), Juan Casasbe llas (Spanis/1), World Youth Ch oir: 2003 Sommer Sessio n - 2003/2004 Winte r Session !an Jones (English), Marie -Paule Letawe (French) elet programme, Jean-Marc Po11c Adve rtising : : Choral World News Jan Bullen, Box 60582, RPO G ranvi lle Pa rk, Vancouv er B.C., V6H EURO PA CANTA T 2003 in Barcelona, Brigitte Siebenkittel 4B9, Canada. Tel/ Fax: + 1 604 733 3995, Toll-free phone (USA and Th e Internationa l Chamber Choir Competition Marktoberdorf CANADA): 1-877-2467253 The International Seminar for Cho ral Conductors, Kent E. Hatte berg E-mail: ian@musidolder. corn The «Documentation and Research Centre of German Ch o ir Life », Layout : Foundation in Fe uchtwangen, Germany, Giinter Ziese1J1er Jean- Claud e Wilkens, rFCM Int erna tional Office - Altea, Sp ain Symposium «(ln)Visible Vo ices ?», Jeroen Sc/rrijner Nadine Robin , rFCM Int ern ation al Office• Altea, Spai n The Freedom to Sing ..., Report by Joy Hill Printed by : News from th e choral sing in g scene in France, Jutta Tagger Paul Daxh elet, B 4280 Avin (Belgium). First Swiss Chora l Music Forum, Mic/Jael Go/ri The Symp h ony Chorus, Bridging to the 21st Century, Docume nts: Kat/ry Salt zlllan Rollley When submittin g documents to be conside red for publicati on, please Diploma in Choral Conducting in Mexico, pr ovid e a rticles: Ana Patricia Carbajal C6rdoba - on 3.5" compu ter d ise or Iomega Zip (Macintosh or IBM forma t) • via e-mail (text : RTF, Word, BinH ex 4, UlJ Hte 1.4, Mime; illu stra The World of Children's and Youth Choi rs tions: JPEG) Skill is Mastery, Willlla te11Walde • in one or more o f these four lan guages : English, French, Ge rm an Collect o r' s Co rn e r orSpa nish . New CD Relea se, Jean-Marie Marc/rai 11,eviews expressed by t/Jea11t/Jorsof articles Repertoire are 11otnecessarily tlrose of t/Jeeditors or of t/JeIFCM. Choral score s w ith CD recordings, Wemer Pfaff Passi o Se cun dum Joannem by Antonio Maria Ru ss o, Cover : Coro de Camara de México, Dire ctor : Gerardo Ràbago Palafox Mar{a Elina Mayorga (picture by Maritza L6pez) Compo se rs' Corner Int e rvi e w with Jorg e C6rdoba Val e nci a, Kat/Jy Sa/tzman Ro11Jey International Centre for Chora l Music (ICCM) : Jean-Marc Poncelet, Executive Direclor, 2 Avenue Jean Ier, B 5000 NAMUR (Belgium) Tel : +32 81 711 600 - Fax : +32 81 711 609 - e-mail : ICCM®

Me mb ership lFCM Internatio n al Office Jean-Cla ude Wilkens, Secré ta ire Général, Ce n tre l n ternaciona l de la Musica de la UNESCO, Villa Gadea, E-03590 Altea • Spa in - Tel.: +34 96 584 5213 - Fax : +34 96 688 2195 • Email : jcw ilkens@ifcm.n et (Payab le in US$ or Euro, accordin g to TFCM zones) VISA or MASTERCARD, bank tran sfe r to rFCM accoun t in Belgium . please contact IFCM Internationa l office. • via In terne t : www t

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International Choral Bulletin • October 2003

Scores rece ive d at th e ICCM, Georges David Festivals , Work s hops, Competitions, Nadi11eRobin

ADVERTISERS' ACFEA Ameri ca Cantal IV Associaz io ne lnterna zionale Amici d ella Musica Sacra Art s Bureau for the Cont inent s Caru s-Verlag Stuttg art Colleg iumU Choralie s 2004 Hab anera s and Po lyphon y International Festival o f To rrevi eja Hawaii Pacifie Univer sity Jnte rk ultur Found ation lnt rop a Tour s Musica Mundi Pacifie Rim Music Resource s Po ly foni a Ath enaeum (Athen s, Rhodes ) Pow ell River Acad e my of Music Rider Uni v. - Westmin ste r CC Small Wo rld 7th Wo rld Sympo sium o n Choral Mus ic in Kyoto South African Cho ral Society Tonos Vang u ard Voices

p.13 p . 15 p.17 p. 19 p. 19 p.23 p.27 p.28 p.29 p.30 p.31 p.32 p . 33 p.34 p.35 p.36

p. 38 p. 40 p.44 p.4 7

p. 48 p.49

INDEX p. 14 p .8 p. 25 p. 46 p. 12 p. 22 p. 35 p. 39 p. 18 p . 11, 19, 48, 56 p. 14 p. 46 p. 37 p. 25 p. 32 p. 26 p. 22 p. 20 p. 14 p. 39 p .46

ltaly Copyright © 2003 by the International Fcderation for Choral Music

Happy 85th birthday to Eric Ericson from all your friends and admirers in the IFCM


Copyr ight ÂŽ 2003 by the lnt emati onal Federation for Chora l Mus ic --


l ntemational Chora l Bulletin - Octobc r 2003


Dossier Mexico: Maria Guinand, coordinator

he many research and restoration project s that have been perform ed in the archives of Latin American cath edr als and other repositories in the last seventy-five years by such renowned scholars as Lota M. Spell , Alice Ray Cath a lyne, Steven Barw ick, Robert Stevenson, Francisco Curt Lange, Samuel Cla ro , Wa ld emar Axel Roldan, Gi lb ert Cha se, Alfred E. Lemmon, Jesus Bal y Gay, Miguel Bernai Jiménez, Jesus Estrada, Egberto Bermtidez, Carlos Seoane, Bernardo IUari, Pau l Nawrot, Aurelio Tello and many others too numerous to mention, have given us a pano rama of the music of the Spanish colonia l era which couJd hardly have been imagined in the pr ev ious century. Vocal and especially choral music occupies a lea ding position in this panorama owing to the abundance of documents in wh ich it is to be found: larg es ize ch ora l book s, individual co ll ections and loos e s h ee ts which hav e sur vived thanks to the prot ectio n afforded by such lasting institutions as cathedra! and convents from the 16th, 17th and 18th centuries, d espite the often detrim ental rava ges of time for these human memorie s. This is not th e case for other genres, e.g. in st rum enta l music, which is much Jess well preserved compared to vocal music, as its fate ha s Iain in the hands of private owners and the greate r or lesser interest (often totally lacking) di s played by their heirs. The record s of th e cathedra ) chap ters show us how far the ecclesiastical authorities went to provide their choirs with the very b es t, both in term s of human resources: th e be st composers, sing ers and ins trum enta lists , the be s t choir ma sters, and in term s of rep e rt o ir e and in st ru ments . W e th e refor e ha ve no difficu lty in agreeing with Br ya n Trowell whe n h e states that "ail the great musical conqu ests of the (Renais sa nce) period took p lace in the field of sacred music ." 2 Until a few yea rs ago, there was woe ful ignoran ce about our mu sic during the colon ial era. The discoverie s concemin g literature, pa intin g, sculpture and the won derf ul baroqu e architecture atone count ed . Today if we wis h to app recia te completely the aest hetic pleas ur e provid ed by our colon ial art istic herita ge, we mu st refer to ail these art istic achievements: the poe-



those in Seville and Toledo, the music of the leading masters of the age began to enrich their arch ives, brought by the very persons who filled these honourable and difficult positions to which they were appoin ted only after rigorous se lection exams. The cathedra ! archives of Mexico City, Puebla and Oaxaca thus st ill contain works by he great Spanish, Flemish and other composers: Tomas Luis de Victoria, Cr ist 6bal d e Morales, Franci sco Guerrero (the greatest collection of the latter's works are to be found in ail the American archives), Pedro Bermudez , Antonio Rodrfguez de Mata , Sebastian de Vivanco, Seba stian L6pez de Ve lasco, Juan Cornes, Alonso Lobo, Eduardo Duarte Lobo, Sebastian Aguilera de Hered ia, Juan Gutiérrez de Padilla, etc., as well as Palestrina (reco rded as Pr enes tina in many documents), Orlando Las s o, C lement Jan equ in , Pedro Rimonte , or Philippe Rogier. Dr Stevenson rightly states that this is the "exquisite repertoire Parte del Alto del motde ChristusFactuse!L that was performed in the American cathedrals in the 16th and 17th centuri es ." Lienas, Francisco L6p ez Cap illas, Antonio This music, together with that written de Salazar, Manuel de Sumaya, etc. In my first book 3 I stat ed that w hen by our native composers is st ill to be one looks at the comp ete range of the artis- found in tho se marv ellous do cuments, the tic legacy of the 17th century "it not only great fnscistol (music stand) book s (some of sh one in the plastic ar ts or literatur e, but w hich are so exqu isi tely decorated that they are p art of our plastic art heritage), was also a golde n century for polyphonie voca l music in New Spa in, because it is the the part books and loose sheets, almo st miera during which severa l great compose rs, racul ous ly pr eserved, where we find not both foreign and native , flourished in th is only a testimony of the gen ius but also of part of America, lea ving ma ste rw orks of the spirit that animated the lives of an entire this genre." They were ail choir mast ers in people who through it took part in the relithe cathedral s of Mexico City, Puebla or gious and civil events of their tim e in th ose Oaxaca, given that at that time, the cathe- far-off colonial centuries. For n ea rly thir ty years, th e Ca rlos drals in Europe and America were the Chavez Nationa l Musical Re se arch , centres from which mu sic-making spr ead. When th e Europeans a rriv ed in our Do cum en tati on and Information Centr e con tin e nt, among other po siti ve thin gs, (CENIDIM) ha s spo n sored the work of rethey brought the grea t Franco -Flemi sh po - sea rch in g, transcr ibin g, con serving, st u dyin g, publi shing and distributing the mulyp hon y whi ch had flouri shed in Europe in the 15t h and 16th centuries. In th ey sic from those archives, culmin ating in the same way, they late r introdu ced the Italian p ubli cation of eleven vo lum es of the collect ion e ntitled "The Tr easure of co11certm1te sty le. The Europea n cho ir masters, nomad s Poly phon ie Music in Mexico". Begun in 1952 by Jesus Bal y Gay wit h by nature, accordin g to the very authorit ative op ini on of Spa ni sh mu sicol og is t P. the publication of th e contents of the Cod ex of the former Convent of Carmen Samuel Rubio, took wit h them whe rever they went the lat est musical adva n ces, de San Angel, D.F., the collection now inmany of th em m ade by th em se lves. So clud es a vo lum e of v illnllcicos from the when the American cathedral s were foun- Jesus Sanche z Gar za Co llection, transcrided, followi ng the mode) and traditi ons of bed by Robert Steve nson and publi shed by

try of Sister Juana and Juan Ruiz de Alarc6n, the paintings by Echave, Villalpando and Cabrera, the miracu lous wood carvings by Juan de Rojas, the altarpieces by Jer6nimo de Balbas, the buil ding s by Andrés de la Concha and Luis G6mez de Trasmonte, the wonderful po lyp hon y of Hernando Franco, Pedro Bermudez, Gaspar Fernandez , Juan de

l ntcrnntiona l Choral Bulletin • October 2003

Copyrig ht © 2003 by the International Fcdcra tion for Choral Mu sic

Felipe Ramirez (Vol. II); another devo ted to thr ee cho ir mas ters of the cathedra ! of Oa xaca (Manu el de Suma ya, Juan Matias de los Reyes and José Mar iano Mora: Vol. m, edit ed by Aure lio Tel10); as we ll as an An th o lo gy o f th e Ar chi ve of Oaxaca Cathedr a! (edit ed by Au relio Tel10). The rem ainin g volume s are each d evo ted to the work of a sing le compos er. Volum e IX is the first book of wo rks by Hern ando Franco (1532-1585), ch oir m aster of Mex ico cath edr a ! (ed ited by Ju an Manuel Lara C. ); Vol. X is the first boo k of


. Ir


. fcciidu~,


..1•. Fran.Lopc:z.



C.1pillas .




the Mus ical Son g Co llect ion by Ga spa r Fern andes (ca. 1566-1629), ch oir master in Pu ebla (ed ited by Aur elio Tel10, with the a ss is ta n ce of Ju a n Man u e l Lara C.); Volum es V, VI and XI are devoted to the

wo rks of Franc isc o L6p ez Ca pi llas (ca. 1608-1674), recog nized to this d ay as the first g reat native com pose r from Ameri ca. CENIDIM, Jun e 2003 1New Spai11:the 11 a111 e of Mexico rl11ri11 g the colo11inl 11criorl 2Bryn11Trowell. t1E( l~e11acimie11J o lt!mprn11 0,,, ;,z Alec Ro/Jertso11a11 rl De11i s Steve11 s (rlirectorcs) Historia ge11 crnl rie la M,isica (lrn11 slatio11by A 11i bal Pro11 f c), Vol. 2, 2°. Erl. Marlrirl:Alp11 erto Erlicio11 es ls/111 0, 1977, pp 165. .lf ra11 cisco L6pcz Capillas, Vol. 1, CEN IDIM, INBA . México, 1993, page xi

Trn11 s lat io11:Inn Jo11es, Belgi11m


In the 18th centu ry, thi ngs contin ued n the ten years from 1993 to 2003, the choral moveme nt in Mexico has gained mo re or less as in the 16th an d 17th centurenewed im por tance: specific circum- ries. In 1739 Manue l de Sumaya came to stance s have helped to create the grea t Oaxaca: in my view he was the most nointe res t w hich we see today. As in other table compo ser of the 18th centur y, as he cases, we need to look to the past in ord er left an impor tant legacy whi ch is still exto unde rs tan d the pre se nt, and for thi s tant thank s to bo th the CENIDIM organ ireaso n I will take a look back at our cou n- sat ion and the Peru vian m aes tro Aure lio try's ch ora l pas t. It is a know n fact that Tel10, who is responsible for the compremu sic had an impo rtant role in the esta - h ensi ve rev iva l of Suma ya's works . Th e blishm ent of the Catholic faith at the time 19th cen tury arr ived in Mexico just as the of the Spanish conq uero rs. lt is now the re- war o f ind e pe n de n ce was s tar ting , and ligious faith of the major ity of Mexicans. this had a negative effect, from a cultur al Az tec cul ture and othe rs established in poi nt of view: a tendenc y still felt today 'N ew Spain' (now Mex ico) h ad d ifferent whe reby the art, culture an d aesth etics of relig iou s rites includin g hu man sacrifice, Fra nce a nd la ter, oth er Europ ean counfor which reason th e Catho lic religion wa s tries, is valued at the expen se of national not seen as being of any great interest, at cultur e. In this way , the cultur ed society leas t fro m th e po int of view of Chris t as of the century befo re last, read Ro nsard , played Chop in and sang Verdi , before fathe basis for the redempti on of Manki nd. As far as mu sic wa s concern ed, th ings miliarizing itself with or hav ing an interest wer e d ifferent. There is no do ubt that this in the litera tur e, art or mu sic of Mexico. ~~~~~ TT-- TITnn a r t fo r m h a d a r.- "-7;-,--r-: :.- - ...- -..,.,.~- -d ee p s ign ifica nce for the conq ue red, es pecially since the conquero rs had introduced mu sic as one of the first elements of their nonagg ress ive imp lantat io n . Th e cong ue ror s s howca se d Eu rope a n mu sic of th e ea rly 16th ce ntur y th rough noted mus icia ns w h o we re chap e! cho ir masters . Cora de Camara del CENART , Director: Gerardo Rabago T hu s we fin d the o ldes t instituti on of ail the Am ericas: Natura lly the national artists d id not reject th e choir of th e Bas ili ca o f Gu ad a lu pe : these influences and prod uced works corMexico's choral history sta rted here . We resp ond ing to Europ ean sensibilities. know that the Pope sent the King of Spain It wo u ld not be u n til a r t is ts li k e (a profound ly Catholic country ) cop ies of Re v u e ltas, Cha ve z, Mon cay o a nd th e wo rk s of Pa lest r ina a nd Lu is d e Contr era s arr ived o n th e scene, am on g Victoria, and the King, for h is part, se nt other p ropon ents of the nat ionalist mu sicop ies to the Cathedra ! of the New Spain. cal movement, that Mexico was to turn its Th ese wo rk s, alon g w ith o th e r Sp ani s h attention to its own cultura l developm ent, work s s u ch a s th o s e of Mo r a les a nd wh ich had p revio u sly been re legated to Guerr ero, were su ng and st ud ied by the the lower classes. first American composers - who natur ally In thi s w ay, Mexico lo st th e inerti a und ertook the task not on ly of comp osing whi ch had becom e comm onp lace in th e mu sic, but also beg an to produ ce mu sical colon ial era. Dur ing tha t time, our artists instrum ents. Thu s there began an activity we re und er the shadow of a Spain united - heretofore unk now n in that pa rt of the in th e eigh t hu nd red yea r Arab lega cy and world - which wo uld neve r be lost thank s influ e n ce s fro m th e res t of Eur op e. Beca use of this our artists failed to dev eto mu sical comp os ition. lop a style reflecting the mixing of races in


Copy right © 2003 by the Jntcm.1tiona J Fcdcration fo r Chor al Music

l ntcmali onal Choral Bulletin - Octobcr 2003


Mexican society; neither did the y integrate the mu sical forms which , in spit e of every thin g, were still flouri shjng in rural settings. Returning to the last decade , as mention ed above, som e notable efforts ha ve been made to inte gr ate the work of perform ers and creator s of choral mu sic. Worthy of mention among these effort s is the series of projects undertaken since 1965 by the Nationa l Co uncil for Culture and Art s . This last, through the N a tional Musical Promotion Board' s Co ordination of Choir s, directed by Gerardo Rabago, which estabJjshed the ba sis for an organized choral mov ement wh ich is bearing frui t today throug h th e many imp ortant initiative s on beh alf of love rs of choral singing. lt is worth mentioning that among the proj ects promoted by thjs organisation is the creation of a programme called "Centres for Chora l Studies" , with twoyear cour ses for choral conductors, which now exist in 17 of the Mexican States and which have given rise to a large number of new chora l ens embles and conductors in our country. Today Mexico has a mu sical tradition, the n ecess ary institution s, author s and choral ensembles - w ith varied profil es, levels and proj ects as well as some notable figur es - som e of whom have passed away - wh o hav e given renewe d ener gy and intere s t to choral work thr oug h academic and arti s tic endeavour s of great merit, which will sur ely be continued by future generation s. Sorne o f th e ma in figur es who h ave fo s te red th e Mexican chora l mo vem ent are: • Romano Picutti: Choir conductor and piani st from Ven ice. Cam e to Mexico in 1949 o n th e in v itati on o f the compo se r Miguel Bernai. He found ed the children 's choir of More lia, of which he wa s leader until h is death.

dent of Nadia Boulanger in Pari s, untirin g promoter of chora l music in Me xico, a nd teacher to import ant conductor s.

• Luis Femandez Luna: Born in February • Fernando Lozano: Born in Mexico City, 1962. Stud ied chor al and orche s tral condu cting at the National Cons ervator y in 1940. Orchestra condu ctor and founder of Mu s ic, and in the Conser vator ies of of the programme of Youth Cho irs and Orche s tra s of .--- ------ -------- ------, Mexico and of th e Philharmonie Orchestra of Mexico City. Doubtless one of the main figure s in Mexican music. • Rufino Montero: Born on 10th June 1939. Baritone, pianist and ch o ir conductor, founder and conductor of the "Madrigalistas" of the Nationa l lnstitute of Fin e Arts, current ly conduc to r of the "So li sta s Ensamb le" ).

Caro de Câmara de México , Director: Gerardo Râbago

• Jorge Med ina : From Mérida, Yucatan. He has a solid body of work in Mexican mu sic, with the choir o f the Philharm onie Orch estra of Me xico City , th e "Juan D. Tercero" vocal octet and the Ch oir of the Theatre for Fine Art s.

Milan and Vienna for five years . He dire cted the Uni so n Chor Wien (Vienna) for five years. In Mexico, he conduct ed the "Madr iga lista s" cho ir and the choru s of the Fine Arts Op era.

• José Antonio Âvila: Born in Mexico City and choir condu ctor since the age of 11. Found er conductor o f th e cho irs o f the Nationa l Pol y tech n ic In stitut e. He has been Profess o r at the National Sch ool of Music and conductor of its choir . • Alfredo Mendoza: Born on 9th Janu ary 1952 in the state of Michoacan . He ha s a solid ca ree r as conduct or of childr en 's choirs and as a tenor. Found e r o f th e Sch o la Cantorum d e Mex ico chil dre n's choir.

• Gerardo Rabago: Born in Mex ico Ci ty in 196 0. Tenor and dir ector of ch oir s s in ce 1986. He found ed the National Choir of Mex ico, th e Chamb er Choir of - Me xi co a nd the CENART Chamber Ch o ir. N a t io n a l coo rdin a to r of ch o irs fr o m 19962001. He has wo n Caro de Câmara de México, Directo r: Gerardo Râbago th e "Ma rin Co n s t an t i n " • Luis Berber: Born in Morelia, Michoacan Special Prize, among others, and is at preo n 18th Jul y 1927. O rches tr a and choir sent an IFCM Board member. co ndu cto r, di s cipl e of M ig u el Bern a i • Patricia Morales: Cond uctor of the ch ilJim é nez, Ge rhart Mu e nch, an d Ignacio d r en's ch oir of th e Nat io nal Sc hoo l of Mier. Music, w here s he rece ive d her tra in ing. 0 Juan D. Tercero: Pianist, arranger, comShe has do ne marve llous wo rk w ith thi s poser and choir conduct or. He was a st u-


group with a wide repertoire and sign ificant reputati on in Mexico and abroad.

l ntcrn.1tional C hornl Bullctîn - Octobcr 2003

Coro de Camara de Méx ico, Director: Gerardo Râbago

Th e ta sk which we fa ce as Mex ican mu sicians is a consid erable one, given the und eniable cultur al roots of our trad itions . Yet this count s as an art istic and institutio nal inh er ita nce , from o u r teach er s and from the cultu ral policies whi d 1 ha ve bee n ad op ted in recent times . As such we wor k for ou r own identi ty w ithin the framewo rk of the intern ationa l interest, and we tru st that we w ill find a way forward whid 1 is both powerf ul and d ecisive in the exp ression and dev elopm ent of the m arve llous wor ld of chora l mu sic. Gerardo Rribngo , Pres ident of the Orgm1isi1g1 Co111111ittee of A111 erica Cm1/at IV, IFCM Board 111 e111b er Verô11ic n Al exa 11ders o11, Gei,era / Secretary of the Orga11isi11gCo111111it tee of America Ca11tatIV (Tra11s/. E1111101111 O 'M 11/to11 y, lr e/1111d )

Cop y right © 2003 by the International Fcdc ration for Choral Music

s in many part s of Latin America, chora l composition in Mexico has found itse lf in a two- side d and paradoxical s itu at ion: irr eg ular , but cons tant. I ment ion thi s because this has been a characterist ic of choral life in Mexico which for quit e white ha s had such a twin deve lopment . I am spea king of contemporary chora l composition with its var ied composit ional sty les in the 20th and early 21st centur ies and the important rote of cho ral arrangemen ts in the grow ing choral activ ity in Mexico.


A rapid overv iew of Mexican compo sition revea ls that the list of those interested in chora l music (whether a cappe lla, with p iano, other instrume nts or orchest ral accompaniment) is very short. In the so-called 11ationnlistper iod, the major composers were persons like Blas Galindo (19101993), Lui s Sandi (1905-1996), Carlos Jiménez Mabarak (1916-1994) anrl Miguel Bernai (1910-1956). Their chora l works d isplay no t on ly a ma stery of thi s med ium , but also a partic u lar love for it. The qua lity and qua nti ty of their work are parad igms of Mexican choral mu sic. In the following per iod, which one mi ght call post-nntionn/ist, we find some int eres t - proof of th e irr eg ular but constant development - g iven that there are a few qua lity pieces by compo sers like Leonardo V elazqu ez (b. 1935) and Mario Kuri (b. 1931) who show that they have mastered chora l techniques. Th eir work is Jess sig nifi cant in terms of qu antit y than those ment ioned above but no t in their quality. At the same time we find com pos ers following othe r aesthet ic trends comp lete ly diffe rent from the nationalist s tyl e, e.g. Manue l de Elias who shows an ope n intere st in chora l composition and ha s writte n quite a few chora l pieces . A num ber of conte mpo rar y comp osers of this period , also with other aest hetic interest s, hav e produced a s ma ll num be r of choral works, albei t exce llen tl y crafted. Of the next gene rat ion, it can be said that those compo sers who have regu larly wr itten chor al works have also been chora l conduct ors, such as Luis Sand i in his time, as we ll as Gu ill ermo A lvarez, Se rgio Cardenas and the au thor o f thi s article, each of them with very individual , wideran g ing and var ied aest hetic sensitivities . I wou ld like to stress that based on a close study of the tw o vo lum es of the Dictionary of Mexican Co mp ose rs of the 20th C. by the comp iler and comp oser Eduardo Soto



Millan , and on the Mexican popu lar mu sic performed by three choir s which reflect the know- how of the Mexican cul tural institution s, i.e. the Cor de Mndrignlistns, the soloist gro up E11sn111ble de Bel/as Artes, and th e Mexican Ch oir of the Nationa l Fine Arts Institu te, there is no Mexican composer in any generat ion since Carlos Chavez who has not wr itten at least one piece for mixed cho ir, male-vo ice, female or childr en's choir, a cap pella or accomp an ied by in str ument s, o r by orch est r a, a nd that co nt emporary Mexican cho ral mus ic is performed in one or tw o con certs every season by those choirs.

The sa me can be said of the exce llent work by the ar rangers, with their many successf ul and ge nerous way s of gett ing us acquainted with differe nt types of music which they set for choir. One of the pioneers in th is field was Luis Sand i; a very spec ial place is occupi ed by the comp oser and a rr an ger Ramon Noble , au th o r of more than 300 arran geme nts, in addit ion to où1er compos itions, which conti nu ous ly and s u ccessf ull y met the n ee d s of the many choirs which he conducted dur ing his lifetime He lead an exemp lary, but unrecognised career.

Gabriel Saldivar , a ch ora l dir ector w ho has wr it te n a large numbe r of arrange men ts. Jo sé Luis G on zalez, Jorg e Martinez Zapata and Gustavo Martin belong to th e next generatio n of arrange rs who have enrich ed the choral re pert oire wi th very special arrangements. Last, but no t least, two of the most active ar ran gers of the recent ge nerati on are Jorge Pérez D elgado and Jorge Cozatl, who have written many excelle nt pieces.

I obta ined thi s in format ion from the chairs mentioned above, mo st of it from the archives of the Mex ican choir of the INBA (Nat ion al Fine Arts In st itut e) and the choral ard1 ive of the National System of Musica l Development. I was ab le to verify tha t at least one piece by a Mexican arrange r, w het her I q uote d him or n ot, is part of the repe rtoire. Thi s proves the follow ing (whether you think this a good or bad thin g): littl e, but sure . Eriito,·'sNote: /Jiogrnplricnlnotice of tire nut/,or, cf Iris Interview wit/1KntlreyRomey irr //ris issue. (Tra11s. JT)

The sa me thin g app lies to arrang emen ts as to contemporary mu sic: there are man y d1oral arrangers, but some of them on ly set a few pieces . One of them is Félix Mora who is very close to Noble and

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lthou g h in Mexico we do not have the ab undance of d1ildren' s choirs that ex ist in Arge ntin a, Venezue la or Peru, their numbers are growing as we mov e into the ne w century . At the same time, as the numbers of schoo l and vocatio nal inst itu te cho irs are incr eas in g, ther e is grow in g contact w ith wo rld w id e activities and a r e newa l of techniques, repertoire and art istic concep tions. More emphas is is being placed on mu sical training and int ernai organiza tion. New pub lic and private institutions are combining to foster cho ir s through fest iva ls (internatio nal, nationa l an d reg iona l), symposium s, courses, works hops, consultancy, compos ition competit ions, public ation s, radi o broadcasts, recordings, etc. A li this amounts to prog ress compared w ith the state of affa irs between 1970 and 1990 when childr en's cho ra l singing sudd enl y dropped out of the educationa l curricula and th e Catholic litur gy alike: they see med to be endangered spec ies, despite the illu striou s precedents prov ided by the choirboys in the colonia l era chape ls and the peak reac hed in the 1950-1970 per iod. Be twe e n 1945 and 1961, the 0 1fe6n Infa11til Mexicnno, led by Rege lio Zar zosa was outstanding in popular mu s ic and performed in sixty cou n tries . In 1948, o n the initiative of Miguel Bernai Jinénez, the historie g roup Ni,ios Can/ores de Morelia (Morelia children's choir) founded by Roma no Pi cutti , former director of th e Vienna Boys Cho ir, who trained two wonderfu l di scip les: Lui s Berber, his successor and FeUpe Led es ma, founder of the Nhïos Cantores de Monterrey (1955) a nd the Nhïos Can/ores de P11 ebln (1965) cho irs. Both p remièred original and complex works by the Ger m an -M ex ican co mp oser Gerhart Muench (1907-1988). That br ief go lde n age was the main parad ig m wh ich inspired th e activities of the Mexican ch ild ren's cho irs and their d irectors: between 1950 and 1980, José Zava la, Francisco Gonza lez, Jesus Duron, Josefina Alvarez , Ar isteo H ernandez, Martin Villaseno r, Guill ermo Orta, Ramo n Noble, Jos é Anton io Av ila a n d Guada lupe Campos; since 1980, Sergio Nav a, Alberto Alvarado, Pascua l Go nza lez, Alberto Alva, H azae l Martfnez, Ana Maria E lgarte, Philippe H e rnande z Tolon, Leszek Zawadka, Marco Ugalde, Robert Dickey, Cris tina Stevens, Aurel io Martfnez, Hu go Rosa les and Emilio Hernandez. Th e Ni,ïos Can/ores de C11nda lnjnrn Oosé de Jesu s Frau sto) and th e Ni,ïns Cantnres rk Coroacrf11 (A ng e l Z a c arfa s ), w ho h ad brilliant ca ree rs, dese rve s pecial mention along s id e g roup s whi ch are now bett er



known: Ni,ïos Cantores de Coli111a(José Antonio and Gabriel Fra u s to), the Chi ldre n's and yo un g perso ns' d1oi r of the Na t iona l Sc h ool of Music (Patr icia Mora les), Ni,ïos Cm1toresde Morelos (Pab lo Puente), Coro de Ni1ïos de la Schola Cnntonun de México (Alfredo Me nd oza y Jes u s Lopez) and Coro de ln I11111nwladn (Hernan Cortés). Although the repertoire focuses on the Eu ropea n tradition, there is a recen t and gradua i open in g u p to Latin Ame ri ca, Nor th Amer ica, Asia and Africa. The catalogue of Mexican works for children's choir is sma ll. Until rece ntly it ma in ly cons isted of works b y Miguel Bernai Ji ménez (1910-1956), Carlos Jiménez Mabarak (1916-1994) and Muend 1, as we ll as folk song arrangements (Berber, Ledes ma , Jaramillo, Nob le, Hernande z Gama y Mendoza). Howe ver in recent years, as well as the colonial baroque he ritage, which is being revived, new works have been compo sed by Feder ico Iba rra , Jo rge Cordoba, Arturo Valenzuela and Patr icio Gomez Jun co. The 1990-2003 per iod marks a cha nge wh ich cou ld take us back to the leve l of the golden age . The driv in g force stems from the grow th in and the daily efforts of the choirs. The Iynd1p in of the moveme nt

has been th e Chi ldren's Choir Coordination, throu gh its ed ucational and promotiona l work fo r nearly te n years, fir st ly through th e Mexican Yout h Orchest ras and Cho irs and subseq uentl y through the Nationa l Musical Deve lopment System (SNFM). This ha s been led by Pab lo Puente, supported by hi s s up e riors: Fernando Lozano, Thusnelda N ieto, Eduardo Diaz Muno z, Ge rardo Rabago, Fernando Gar da Torres, Se rg io Ramfre z y A leja ndro Leon. Thi s un stin ting institutiona l wo rk has given wider prospects to the childr en's choir move m ent and ha s attracted mor e and mor e new m em be rs. Co ntribution s have bec n m ade by the pr ese nce in Me xico of th e l11temntional Society f or Childreu's Choral n11dPe1/or111i11 g Arts (ISCCPA), w hich toge-

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ther w ith the SNFM has organ ized two editions of th e Festival of the Americns and has promoted th e count ry's participation in festiva ls in Latin Am er ica, the United States, Europe and Ch ina. Bu t this progress in the area of ch ildren's choirs urgently requi res more favourab le condition s to enab le the adiievem en ts to become sig ni ficant a nd last in g. To give Mexico wo rthy successors to the colonial era choirboy s, the ch ildre n's choral moveme nt needs professionally-tra ined conduc tors (Bache lor's a nd Master's de-

Niflos Cantores de la ENM, Directora : Patricia Morales

grees in chora l conducting); greater refinement, voca l tech niqu e, musica lity and ,,v ider rep er toir e in th e cho irs; published mater ials for chi ldren's cho irs, espec ia lly in Sp anis h, includin g compos itions a nd cd ucatio nal texts; apprec iation for the valu es of chora l singing, generos ity, se nsitivity, love for our cou nt ry and faith in the future in governmcnt bodies, the educational sys tem, the media, pr ivate sp he res and society as a w hole. Our ch ild ren's choirs need and deserve bette r training opportuniti es as we ll as social support and facilities to trave l. At the beginning of the 21st cent ur y, Mexico is faced with the challenge of developing fully the potentia l of its children's choirs, identifying the ir successes and failur es, learning from more advanced countries, openin g up to new artist ic and ed uca tion a l approaches, and supportin g th e directors, composers a nd organ ize rs w ho in the co min g years w ill ha ve to e n rich their musical lives a nd root chi ldr en's choi rs firmly in Mexican society. Mex ico, D.F., 16 June 2003 A lfre do Mendozn (bo n, 1952) is a 1ne111b er of the Artistic Bo/1,-r/of America Cantal I V. He found ed the Children 's choir of the National Sc/100/of M11sici111980 and Schola Cnntor11111 de México i111991. He is now the director of the Mexicn11sectio11of the ISCCPA which, wit h the SN FM, orgnniz<'rl the first / 1110 int 1•rr,nfio11nlcl1ildren 's choir festivals in his co1111try.

Tm11slnH011: l/111 fo11es,/Jelgi11111

lntern otio nol C hor,1I llullclin - Octobcr 2003


h e choral movement on the American continent has undergone steady development. This observation is based mainly on the en counters, exchanges and festiva ls organ ized in different regions. In th ose countrie s which have focused on the development of the choral art, the festiva ls are now richer in terms of participation and quality. At the same time, th is development is promo ting an ahnosphere of healthy competition amo ng cities, and sometimes coun tries and regions. Following the mode! set by the famous Europa Cantal, whose fifteenth edition this year is being held in the beautiful city of Barcelona, Spa in, the idea of the Am erica Ca11tatFestival was hatc hed twe lve years ago in Argentina. This wa s a great challenge, like so man y oth er exce llent projects, given that the chora l trad ition in ou r conti nent is at best around 4 or 5 centuries yo un ge r than that of the O ld Co ntinent (Europe) and th at the eco nomies of the Lat in Amer ica n count ri es in th e second half of the twent ieth century, far from deve loping, deteriorated serious ly, leading to lar ge cuts in bud get s for cultural event s, with a few notable except ions. La Plata, Argenti na is the birthplace of America Cn11tat,w hi ch came in to being on the initiative of numerou s per so nali ties of the South American choral movement, and we are grate ful for this to th e unstinting work of Ricardo De ne gr i and 6scar Escalada. America Ca11/atl w as, as well its own results, thank s to the determination o f the promot ers, the found ation of what is toda y the most important ch oral fes tival on the Amer ican conti nent. Th e second America Cantal also to ok pla ce in La Plata , Ar gentina, by whi ch time the festival was bette r known, had mor e partic ipant s and a be tter format than the first one. In the year 2000, th e third fes tival took place in Caraca s, Venezuela, und er the dir ection of M a ria Guin and and A lbe rt o G rau . Th e graduai dev elopm ent of thi s international e ncount er of choir s made possible th e participation of mor e than 2,000 singe rs, a n ac tive and varied schedul e of work shops, conferences, op en singing sess ions and , of cour se, the unfor gett able con certs in w hich the sp lendid invit ed ch oir s and fes tival parti cipan ts, gra ced th e stages of our sister republ ic (Vene zu e la) w ith harm o ny and cultur e. Durin g the closing night of the America Ca11tnt Ill fe sti val , th e Ar ge ntin e and Venez ue lan organi zers ann oun ced th e decision to e ntru st Mex ico w ith the responsibili ty of orga nizing th e fourth fes tiva l in 2004. For those of us w ho have wor ked for


ITQJ 1--

thi s musical spec ialit y, this gesture is an acknowledgement of Mexican culture and a sign of affection for our people. It is also an opportunity for us to stre ngt hen our relat ions, to promote daily work w ith our sig h ts set on the goa l of 2004. ln other words, it is a n important step for the Mexican choral movement.

Mexico wa s the first Arnerican countr y to receive cultural, religiou s, acad emic and po litica l repre sentations from Europ e toward s the end of th e fifte e nth ce ntury. Tho se w ho corne to A111 erica Ca11tntIV w ill exp erie nce th e wea lth y cu ltur al history of this nat ion wit h its rich pa st, ran gin g from arch eolog ical sites to the most mod ern a rch itecture. Visitors shou ld mak e a poin t of visitin g our ant hrop ologi cal mu seum , the bigges t in the wo rld, and seein g th e museum s specializing in ancient and cont empora ry paintin g . Their stay in Mex ico w ill a llow the m to obse rve the or igin s of prese n t-da y Am eri ca. The y can v is it the contin e nt' s first library and its first un iversity, cathedra !, sc hool of pla stic art s and man y oth er pioneerin g institution s. A lthou g h A 111 erica Ca11/at I V m ea ns concerts in many th eatr es and oth er cu ltur a l venu es in th e Mex ica n ca pital , w e w ou ld like to make a spec ial m e nti on o f the Pal acio de Bellas Artes (Palace of Fine Art s), whi ch w ill host the op e nin g cere mony and ot he r ga la con cert s. Thi s theatre wa s o rig in a lly des igne d to be a n op e ra h o u se and it is in d ee d u s ed b y the Nat ion a l Opera Compan y . Th e Nat iona l Sy mphon y Or c he s tra as w e ll as o th e r Mex ican arti st ic comp an ies also perfo rm in thi s wo nd e rful hall. Th e Palace o f Fine Arts was inau gu rate d in 1934, af ter m ore than two d ecades of constru ctio n wo rk. It w as d es ig n ed by the lt a li a n a r chi tec t Ad am o Bo ri w ho deve loped his concept s

I ntern.Hion.11Chora l Bulleti n • Octobet 2003

based o n "Ar t Nouvea u " aesthetics as well as oth er more eclectic in spiratio ns includin g nationalistic and classical touches. Aside from the main concert h all (where the likes of Ca llas, del Monaco, di Stefa no, Rub instein, Rostropovic h , Caballé, Domingo , Perlman and man y ot her stars have performed) it also boasts the Manuel M . Ponce Hall for chamber mu sic, together with mus eums, exhibiti on room s, a restaurant and offices. It is mainly built of Mexican and Carrara m arb le w ith polychromed onyx and enhanced wit h marb le and bronze scu lptures and splendid bronze gr ill s . Our foremos t theatre has a u nique metal drop cur tain we igh ing m ore than 10 ton s featur ing a marvelou s volcanic landscape depicted w ith Venetian mosaics by Tiffany's. The organizat ion of a festival li ke America Ca11tatdemands coordina ted work from different sectors with clearly defined respo ns ibiliti es . An artistic co mmi ss ion meet s we ekly to di scu ss and d ecide details w ith regard to conce rt and ga la conte n ts and programmin g . lt is also res pon sible for auditio nin g the mat erial sent to the fes-

Gerardo Râbago

tival' s organi z in g committ ee by a spirin g national and foreign choir s . Constru ctive di sc u ss io ns br in g new ch a lle n ges and great er e nt h us ias m. For thi s re ason , th e ar tistic comm iss ion is mad e up of a com po se r, a n arran ge r, two childr en's choir co ndu cto rs, two co ndu c to r s o f mi xe d ch o ir s and a cultur al prom ote r. A li of th e m have exce lle nt cred enti a ls a nd a re prof ess iona lly ac tive in th e ir res pec ti ve field s. The reaso n be hind su ch a hete rogeneo us com pos ition is to be a ble to de fend eac h sec tor w ith th e bes t ex pe rt ise in the

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Cn11tntI V, are a n example for we llk n ow n firm s and a r e fe rtil e gro und s for de ve lopi n g navel a re as for th e ir co n tributi ons, thi s b e in g under s tood a s a noble mean s of relating wit h society throug h the foster ing of cultur e. lt is important to acknow ledge th e sup po rt for A111 ericn Cn11tnt IV by the hig hest Mex ican cultural institutio n, th e National Council for Cu lture and the A rts. Thank s to this supp ort, we can today in vite love rs of choral mu sic a round th e wor ld to enjoy th e ac tivities that w ill take place in the Nati onal Centre for the Art s, an incomparable cultural co mpl ex that brings to get h er the Mexico' s prin cipal a rti stic schoo ls an d di sciplin es comb ined w ith the commitment of man y oth e r natio nal cultu ral offices wh ich are workin g hard on the variou s aspects of A111 ericn Cm,tnt IV. Th e central them e of A111 ericn Cn11tntI V "T he choral mu sic of the twent ieth century", pro vides an opportun ity to grow under the guidance of imp ortant personali ties from the wo rld of chora l singing and condu cting. They w ill show us th e choral rich es of m any region s of the wor ld . It is, in a nut she ll, an e ncount e r o f Am er ican sa ng, mu sic a nd a rt, w ith di stinguished chairs from Argent ina, Ve nez uela, Brazil , Cuba, Peru, Puerto Rico, Canada, th e USA and Mexi co, plu s sing ers from di stant lat itud es s uch as Swe d e n, th e Ukra in e, No rwa y, Au stralia and Afr ica . Th ey w ill mak e A111er icn Cn11tntI V an u nfo rge tta b le eve nt. May thi s articl e be an invitation for a il of you to take part in a cho ral e vent o f g reat imp ortan ce, an exhortation to combi ne our separ ate e fforts in to a single w hole that will reap it s ha rv es t in th ose w ho w ish to take pa rt in Am e rica Ca nt a t IV. We will mee t in the Mex ican capital on 5th Apr il, 2004 and enrid1 ou rselves mutu ally wi th th e ge nerou s exc han ge th a t flows from the sup re me art of chora l mu sic.

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Centra Nacional de las Anes , CONACULTA (Transi. Dr. M acario Ofilada , PJ,i/ip p i11es)

di sc uss ions w ith a view to producin g a comp lete academic ran ge for the mornin g wo rk shop s, th e g re atest dive rsity in the gro up singin g repe rtoire and th e best options for ead 1 wo rkshop .

Many Latin Amer ican count rie s ar e s ti ll in th e ea rly st ages of r ai sin g fund s from priv ate initi atives and Mexico is no except ion. In the light of thi s, it is excitin g ericn that man y chora l proj ects, su ch as A111

AMER I CA CANTAT IV, Torres Adnlid, 1810; Col. Nnrvn rte, Méx ico, D.F. 03020 Tel.: +5255-55 432321, 5413 2999 - Fax: +5255-56822322 A 111 ericaca II ta ti v@/1111 d nci oII co ral 111 exi ca II 111 www .f,111 da ci oII co ra l 111 ex ica II a. co 111 g Co111111ittee of Ameri ca Ca11tat IV, IFCM Board Me111ùer Gerardo Rtiùngo, Presid ent, Orgn11iz i11 Ver611ica Alexa11derso11,Ge11era/ Director, Orga11izi11gCo111111ittee of Festi val America Cn11tat IV


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l nternotionol Ch or,11Bulletin • Octobcr 2003


Weihnachten · Christmas· Noël 2003


... a cappella Hodie Christusnatusest European Christmas Carols arranged for equal/mixed voices edited by Europa Cantat. Recorded on CD. Hodi e I for equal voices Hodie Il for mixed voices J. L. Bach:Uns ist ein Kind geboren / Coro SATB/SATB

CV 30.015

Loewe:Vier Weihnachtschorsatze / Four Christmas settings Coro SATB

CV 40.414/10

Reger:Weihnachtslieder / Christmas songs Vol. 1 / Coro SATB Vol. 2 / Coro SATB

CV 50.409/10 CV 50.409/20

Rheinberger:Neun Adventsmotetten / Nine motets for Advent Coro SATB Schanderl:Kiris Bara Bari/ Solo S, Coro SATB Weihnachtsliederbuch des ThomanerchoresLeipzig

CV2.099 CV2.090

Swider:Polnische Weihnachtslieder / Polish Christmas songs for Mixed choir for Children's choir/ Women's choir for Men's choir Weihnachtsliederbuch desThomanerchoresLeipzig 70 choral songs and mote ts in old and new settings, th e repertoire of the St. Thomas Choir edit ed by the Thom askantor Georg Christoph Biller (mostly Coro SATB)

CV 50.176 CV7.345 CV 7.418 CV 40.718 CV 40.818

CV 2.028

... with instruments Gabriel:Swinging Christmas Pop Hymn als for Advent and Christmas ln du Ici jubilo / Silent night / Adeste fideles / Conditor aime siderum / Wachet auf, ruft uns die Stimme / Vom Himm el hoch / Go tell it on th e mount ain CV 9.701 Each title available as a single choral score The collection conta ins two addition al pieces in pop arrangements: - Swing low (E) / Coro SSMsAA CV 9.701 /70 -Jingle bells (E) / Coro SATB/SATB CV 9.70 1/80 The 10 sett ings are recorded on CD CV 9.701/99 Gounod: Béthléem / Coro SATB, Pfte (Org) - Noël/ Soli SA, Coro SSA, Pfte, Org ad lib.

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CV 23.309/03 CV 23.325

Jacobi: Also hat Gott die Welt geliebet / Soli SATB, Coro SATB, 2 VI, Va, Be

CV 10.369

Massenet: Noël / Solo S, Caro SA, Pfte

CV 23.331

Reichardt:Weihnachtskantilene. Text: Matthias Claudius Soli ST,Coro SATB,2 FI, 2 Ob, 2 Fg, 2 Cor, 2 VI, Va, Be

CV 23.016

Saint-Saëns:Oratorio de Noël / Soli SMsATB, Caro SATB, 2 V I, Va, Ve, Cb, Org, Arpa

CV 40.455

Interna tional Ch ora l Bull etin • Oc tobcr 2003

Cop y rig ht O 2003 by thl! Fcdcration for Choral Mu s ic


IFCMN Krzysztof Penderecki at 70 Ray Robinson

hen Krzysztof Pendereck i receive d the Mide m Class ica l Award - th e Euro p ea n recordi n g ind u st ry's de s ignation for th e Grea test Liv in g Compo ser -on January 23, 2000, in Cannes (France), it was a we ll -deserv e d recognition of a d ist in gui s hed career as on e of the world' s o rigina l musical creator s . So rne would ev e n <lare to s ug g es t that he sh ould have as sum ed thi s mantle ear li er, foll o wing the p ass ing of compo ser s like Dimitri Sho s takovich , Ol iv ier Mes s iae n , Benjamin Br i tt e n and W itold Luto slaw ski. Bu t no w, it is o fficial! For th e ch o r a l mu s ician part ic ul a rly , Pe nder ec ki's w o rk s h ave offered a gr e at chall e n g e a s w e ll a s in finite s ty listic variet y . It is d ifficult to im ag in e w h at the contem- . por a r y re p e rtor y for choru s and o r ch es tr a w o uld be like w ith o ut hi s imp o rtant co ntribution s to th e g enr e: wo rk s s of Dav id, the like th e Psn/111 Pnss io11nccordi11g ta St. Lu ke, Dies irae, Utre11 y n, Cos111 ogo11y, Te Deum , th e Polish Requi em, and mos t recently , Seve11Gates of Jeru sn le111a nd Cr edo. Th e sam e co uld be sa id of his sy mphoni es, concerto s, ch am be r wor ks and operas . Bec au s e o f hi s soc ial con scien ce and d ee p con ce r n for the p light of th e less fortuna te, he coura geo u sly ass um ed anoth er ro le in the 1960's: th at o f a p rophet in his own time [A pr o phet in thi s se nse being on e w ho te lls u s th ings we may no t want to hear!). H is wo rk s con tinu ally remind audi ences o f so me of the most hor re nd ou s and po igna nt mom ent s o f our tim e : Hiro s him a (Threuody ), the Kat yn Fores t ma ss acre (Polish Requiem), Au sc h w it z (Dies irae), martia l la w in Po la nd (Te Deum) , the War saw Ghetto ), and th e 9-1 1 u p risin g (Po/ish Req11ie111 tr agedy in New Yo rk (Pin110Co11cerlo). Eve n the m o num e n ta l SI. Luke Pnss io11 carri es an ex tra-mu s ical message : "The Pnss io11is th e s uff e rin g a nd d e at h o f Chri st, but it is al so th e s u ffer ing and d eath at Ausch w itz, th e trag ic ex perie nce of ma nkin d in the mid dle of th e twentieth centur y. ln this se nse, it sho uld, acco rdin g to my int en t ion s a nd fee lin gs,



have a universa l, humani stic charact e r like T/1re11ody ." Pender ecki was born in the Ga lician city of D~bica in southeast Poland on November 23, 1933. His format ive year s were spent in an area that lay approx i-

matel y 120 kilomet ers (72 mi les ) east of the Old Ca tho lic ce nt e r of Krak6w. In th e pe r io d b e twe e n t h e t wo w a r s Pe nd e rec ki ex p e ri e n ce d th e par oc hi a l life of a sm all tow n in Eas tern Eur ope at a tim e w he n Po la n d w as enj oy in g its fir s t free d o m from fore ign d omin a tio n s ince th e co untry 's fir s t par titi on in 177 1. Bu t th es e idy llic co n d ition s we re no t to las t. Hi s e le ment ary sc hoo lin g beg an in 1939, ju s t as Hitl er's ar my was inva di ng th e coun try. Soo n th e fami ly was forced to leave their sm a ll apartm ent ; th ey su bse qu e nt ly m o ve d to a hou se wh e re a Jew ish famil y had bee n rece ntl y d rive n fro m the city, an eve nt that rema ined etched in th e yo u ng co m pose r's gr ow in g soc ial consc iou sness . Dur ing the years of hi s e le m e n tar y sc h oo lin g Pe nd e r eck i witnesse d firs t hand the d evas tat ing ef-

Copy rig ht Š 2003 l>ythe Internation al Fcdcratio n for Choral M usic

fects of the Nazi occupa tion. Years later he wou ld re late to a report er "that the prob le m o f the gre at Apoca ly p se [Auschwi tz], th at great war crime, has undoubtedl y been in m y subcon s cious mind s in ce th e war whe n, as a chi ld, I s aw the de s tru ct ion of th e g h e tto in m y s mall n at iv e to wn of D~bica. " When th e Sov ie ts d rove out the Ge rman army and oc cupied the countr y in 1945, Poland wa s again for ced to live und er the rul e o f a foreign po we r. Al th ou g h th e war en de d in 19 45, Pe nderecki is quick to r e m ind u s th at Po les did not reg a in their fr eed o m un t il 1989 . He n eve r forgot th e e vent s of hi s yo uth a n d ea rly-adult yea rs, and th ese ex p e rienc es eve ntua lly co ntribut ed to th e shapin g o f hi s w or ld vi ew, h is so ci a l consciousness and , u ltimat ely, h is hi ghly-cha rge d and ori ginal mu sical sco res . It sh ould not be surp risin g th at the iss u es he confr on ts a nd th e w orks h e co m po se s set him apart as a uni q u e mu s ica l vo ice for our time. Ga il Stoc kh o lm p la ce d h is ar t in its spec ial con tex t w h en s he w rot e in 1974 : "P end erec ki's mu sic ar rives at a co mm on d enominat or of com muni ca tio n in a il of its s ub jec t m at te rs - it s rev u ls io n at h orrors we've a il se en, its fee ling, its sp iritu ality, per h ap s even in its un cer taint y ab out the condi tion o f mod ern man. The se com mon denomin a to rs, so deeply fe lt b y our age, a re w ha t m ake me believe h e is a sp okes m an fo r ail peo pl e of the la te-20t h ce ntur y . I b e lieve h is mu s ic will b e around in the 21st cen tur y - if we ar e!" Vivn Pe11derecki!

Ray Robi11s o11, a 11ntive of the Sn11 Frn11 cisco Bay Aren, hns written exte11sively 011 the life n11dworks of Krzysztof Pe11de recki. He curre11tly lives i11West Pn/111Beach, Floridn, where he ho/d s n11 nppoi 11l111 ent as Disti11guished Se11ior Pro/essor of Music nt Pn/111 Beach Atln11tic University (robi11s Edit or's No te: Krzysztof Pe11dereckiis n11Ho11ornry Pntro11of the IFCM

lnlcmalional Choral Bulletin - Octobcr 2003



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The South African Choral Society presents: Georg Gruber Choral Conference The Choral Experience Friday, 26 March 2004 University of Stellenbosch, South Africa Conference theme : The Chora l Experience Cali for abstracts: AbstTacts of pap ers, oral presentation s on work-in-pro gress and poster present ation s are invited in the follow ing five (provisional) sub-th emes: • The Condu ctor and The Choral Experi ence • The Chor ister and The Chor al Experience • The Choir and The Choral Exp erience • The Comp oser and The Choral Experience • The Aud ience and The 01ora l Exp erience Keyn ote address: Kâre Hanken ln stitut e of Music and Theatre, Universi ty of Oslo, Nor way. Impo rtant dates: Frida y, 31 October 2003 : Deadlin e for submi ssion of proposa is Frid ay, 28 Nove mber 2003: Successful p.resenters notified Friday, 27 Februa ry 2004: Dead line for sub mission of ed ited, full-text papers Friday, 7 May 2004: Deadlin e for submission of rew orked fuJl-text pap ers for pu blication in pee r-rev iewe d conference p roceectings Compl ete informati on:

http://sacs.n1 .ac.znlggcc.ht111 Contact pe rson: Markus Mostert (M.Mostert@ru

lnterrrntio11nlChor,11Bulletin - Octobcr 2003

Cop)•rli;ht (()2003 by the l11tcrnatio11alFcdcralio11for Choral Music

IFCMN News tram ChoralNet Dr. James D. Feiszli, Chora/Net Founder and present Secretary hora!Net, Incorporated was completely restructured by a vote of the Board of Director s in Janu ary of 2003. The new stru ctu re redu ced the Board to seven Dir ector s, eac h represen tin g a spec ifi c con s ti tu en cy fro m major Chora LNet su pporters. The Board: • Frank Albind er (representing the Patron category) • Julio Dominguez (representing Patron Europa Cantat) • James D. Feiszli (repr esentin g Part ner IFCM) • Charles Fulle r (represent ing Partn er ACDA) • Michae l Shasberger (repre sentin g the Donor category) • Frank Stubbs (represe n ting Partner Chorus Ame rica) first elected officers, w ith the follow ing result s: • Michael Sha sberge r, Presiden t • Frank Stubbs, Vice-Pres iden t • Cha rles Fu ller, Trea surer • Jame s D. Feisz li, Secretary and th en electe d A llen H. Simo n to the Board. Th e new Board has been very ac tive s ince February, h olding three meetings. One of th ese meetings was the first meeting of the Board in Chora lNet history to be he ld face-to-face. At that meetin g in Denve r, Co lorado, they were join ed by Musica Int ernational Executive Dir ector Jean Sturm and Treasurer Dolf Rabus; who presented a de sire by Musica to collaborate wit h Chora lNe t, especially in the area of online chora l m us ic se arches. Chora lNet agreed to enter into a merger of th e Chora!Net Repe rtory Site with the Mu sica Internationa l on line chora l music da tabase and appo in ted a joint comm itt ee of key persons to make such collab oration po ssible: Shasbe rge r (chair) , Rab u s, St urm , Sim o n, Rob ert D. Reyno lds - former ChoralN et Board member, and Alessan dro Cortese - IFCM Marketin g and Communicat ions Manage r . The eventual hope is to hav e one unifi ed seard 1 eng ine that comb ines ail the data and features of both efforts . Of greatest importance dur ing the first half of 2003 was to find a new Manager for Chora !Net in the face of the impending departur e of David Topping, who had expre sse d a d esire to return to more active moral music-mak ing. A committ ee cons isting of Shasbe rger, Albinder, and Simon was commi ss ioned to begin the sea rch for a new Manager. In a meeting in August the Board accep ted the committe e's recom -



mendation to hire Martin Knowles as th e new ChoralNet Manager and bid farewe ll to David Topping at the end of Au gust. Topping's d epar ture ma rked an end to the beginnings of Chora!Net, whidi for many yea rs h ad been opera ted solely by Feiszli and Topping.

The followi11g words of appreciatio11to Topping were written by Board 111 e111ber and Chora/Net Fo1111der Feiszli a11ddistributed to the Chora/Net lists andforums.

ChoralNet says Goodbye to David Topping The last day of August 2003 marks th e last day of Dav id To pp ing as the Ma na ger of ChoralNet . How does one speak of the va lue of David Topp ing to Chora l Net? How are his contri bu tions to Chora!Ne t meas u red? From the beginning, David was there. In a sma ll room a t the Amer ica n Ch o ra l Directors Associat io n (ACDA) convent ion in Sa n A n to ni o in 1993, a group of about twenty people gathe red to discuss how the Internet might be used to benefi t the ch oral professio n . David Toppin g, a doctora l stude nt from Arizona State University, was at that meeting. One mont h after that meeting, Walter Coll ins and I began the first e-mail d istribution list dedicat ed to cho ral music - Chora list. David Topping was one of the o rig inal member s of that sma ll list. List membe rship expa nd ed ra pid ly as more and mor e chora l mus icians ga ined emai l access in the spr ing and sum mer of 1993 and l was faced with a di lemma . I had app lied for a sabbat ical and was awa rded one for the fall of 1993. What to do w ith the list? I sent ou t an appeal to the li st for an interim manager. David Topping responded and so began his association w ith w hat became ChoralNet. When Choralist expanded int o Chora lAcademe, Choral T alk, and th e Cho ralNet webs ite, it was David who took ove r ail the list manage ment du ties wh ile I focused o n the webs ite . Until the establishm ent in J999 of the curr en t non-p rofit cor p o ration th a t owns a nd ope rates Chora lNet, David and I wer e ChoralNe t.

Copyrig ht © 2003 by the Intcrnat ion ill Fcdcration for Choral Mus ic ---------

We owned, operated, and made ail fina l decisions abo ut w hat had become the de facto central meeting p lace for d 1ora l mu sicians on the Int ernet . Whe n it became possible to actua lly pay someo ne to wo rk on Ch ora !Net, Dav id Topping became Chora !Net's first Manager. Everyt hin g that ChoraLNet has become, eve rythin g that Chora !Net is, bears th e sta mp of Da vid Topping . lt is not poss ible to im agine w hat could or wo uld h ave hap pe ned w ithout Da vid. He taught hin1self arcan e comput er programrning code, web design, an d a myriad of othe r thin gs that no chora l musicia n shou ld ever have to learn. He designed and put into operat ion websi tes for ACDA, Chorus America , the Internat iona l Federation for Chora l Mus ic, and three World Chora l Sympos iums. H e recrui ted and train ed d ozens of list mode rator s for th e ever-expa ndin g Chora!Net fanùly of lists. He Iobbied for and established many of the policies and operational act ivities. He created Iang uage-spec ific and reg io n -s pecific web bulletin boards (Eu roC ho ralTa lk, Foro de Musica Cora l Lat inoamericana, Itali aCora le) as we ll as bu lletin boards for spec ific int erests. He ass isted countless users of Chora lNet lists w ith e-mail and comp uter probl ems. The list of his accomp lishm ent s is endl ess and simply cannot be completed. When it needed to be done, Dav id wou ld doit - regard less of time, d ifficulty, or per so na! sacrifice. David Toppi n g has been a friend, a partner, an emp loyee, and mud1 mor e. Hi s dedicat ion to the profess ion and to ChoralNet has gone far beyo nd anyth ing expecte d or deserved. He is leav ing the ChoralNet Ma na ge r position in order to spe nd more tim e as a choral condu ctor, singer, and family man. Dav id isn't leaving Chora !Ne t or the choral profess ion and so we' Il still have his expe rtise and expe rience to call on in the future, but his departure from o fficial status definitel y marks an end of an era. David 's su ccessor, Marti n Knowles, is we ll-qualified to ta ke ove r and has been on the job s inc e the middl e of Augu s t. Please click on th e Iink under "News" on the Ch ora lNet hom e page (www to read about Martin and lea ve a me ssage to express yo ur best w ishes to David . I am sur e that I speak for the rest of the chora l world in say ing, thank you, David.

Dr. f ames D. Feisz li, Clwra/Net Fo1111d er a11dprese11tSecretary(jfeiszli@msl1111 ore.co111)

l ntcrn nlionnl Ch oral Bulletin - Octobcr 2003


NEWS orld Symposium of Choral Music in Kyoto July 27-August 3, 2005 Application to perform in main choral concerts The In ternati on al Fede ratio n for Chora l Mu sic and the Japan Ch oral Associa tion will conve ne th e 7th World Symp osiu m of Chor al Mu sic in Kyoto and are now acce pting ap plications to perform in main Symp osium concerts.

1. Overview Title: 7th World Symp osium on Chora l Music in Kyoto Dates: Jul y 25 - Augus t 3, 2005 Venu es: Kyoto Co ncer t H all, Kyoto Int ern at iona l Co nference Hall et al. (p lanne d )

2 . How to apply Please p repare the followin g and send them to your IFCM regional vice-pres iden t no later than Sept ember 1, 2003. 1. A pp lication form (available on the IFCM Website) 2. A sup erio r qu ality ster eo casse tt e-tape (or CD, MD, DAT) - Recordin g mu st be within 15 minut es and includ e three selections. - Longer choral work s m ay be in the form of excerpt s. - Recordin g mu st be of 2001 to 2003 p erform ances. *You m ay att ach a VHS vid eotap e for a uniqu e visual portr ayal of the perform ance. 3. Choi r biograph y and color ph oto 4. Conductor's biogra ph y and color ph oto 5. Proposed pro gr am s Please subm it two p ropos ais for rev iew by the Art Committ ee and li s t th e tit le, comp oser's n ame , per fo r ma n ce tim e and publi sher' s nam e for each pr ogr am. - Pr ogram A: 40 - 45 min. - Program B: 20 - 25 min . 6. Con cer t bro chur e Be sure the brochur e is recent.

3. Mailing addresses (IFCM regional vice-p res iden ts) • Mitsukazu Suwaki, Vice-President Asia-South Pacifie 14-6-205, Asahi gao ka-cho, Ash.iya, Hyog o 659-0012 Japa n H ome phone: +81-797-22 1399 Work: +81-78-413 3111 E-mail : su wak • Michael J. Anderson, Vice-Pres ident No rth America University of Illinoi s at Chi cago, D PA, 1040 W. Harr ison St. MC 255, Chicago, IL 60607-7130, USA H ome ph one: +1-847-3109638 Work: +l- 312-9968744 E-mail: • Maria Guinand, Vice-Pres iden t Latin America Fund acio n. Sd 1ola Can t. de Caracas Apd o. 328 Ca rme litas 1010, Caracas, Venezue la H ome ph one: +58-212-2658011 Work: +58-212-5646923 E-mail: m gui nand • Lupw ishi Mbuyamba, Vice- President Africa Caixa Postal 1397, Map u to, Moza mbique Work ph one: +258-1493434 Mob ile: +258-82-423677 E-mail: l.mb uyamb a@tvcabo • Thomas Rabbow , Vic e-President Europe Ge rhar d Rohlfs-Strasse 13, D-53173 Bonn, Germ any Home ph one : +49-228-332232 Work +49-228-2091166 E-mail: thomas rabbow@co m

For further info rmat ion : 7th Wor ld Sym pos ium on Choral Musil.': c/ o Japa n Chora l Assoc iation, Yaginum a bldg. 6F, 1-5-8 Ebisu, Shib uya-ku , Tokyo 150-0013, Japan E-mail: ws7@jcan et.or.jg, Fax: +81-3-5421 7151 URL: h tt]2:/ / www .jcane t.or .jp / wscm

l ntcrnationnl Chornl Bulletin - Octobcr 2003

Copyright (D 2003 by thC'lntcrnation,11Fcdcralion for Choral Music

IFCMN The Voices of our Planet 13th International Day of Choral Singing Sunday, 14 December 2003 Zenaida Vasquez hro u g h its tion, w ith a strong vo ices, the and unselfish partiwor ld cho_ral cipat ion of cho r a I co mmun1ty organisat io ns, festiex pr esses its so li davals and prestigious ri ty w i th the su ffee n se mbl es who rin gs a nd prob lems hav e joined u s in of this planet' s inhathi s an nu a l int ernabi tants . We are an tional s in ging im m e n se force in event. the wo rld , not on ly Las t yea r, o n 8 in numb ers, but also Dece mb er 2002, we by ge nerat in g great had a mas s ive parpo s itive ener gy w hi ti ci pation fr om ch is benef icial an d Argent in a, can transform grea t Germany, lt a ly, eve nt s into great USA, Mex ico, Cuba , m oment s of fraterniCa n ada, ty and com muni on Sw itz e rl a nd , Pu e rto betwee n hum an Rico and Venez ue la beings. Numerous among so many fes tiva ls, meet in gs, other s w ho supp ort co ncert s a n d workus year in yea r ou t shops a il over th e in our s earch for wor ld a re pr oof of h a r mony between this force. Th erefore peo pl es . it is important to We need the 9th Symphony , Beethoven and Cantata Criai/a de Antonio Estévez. Sala Rios Reyna, Teatro Teresa u nit e many peop le participation of a il Carrefio , Caracas, Venezuela, Junio 2000 , Orques/a National Juvenil, 1500 coralistas . Oirectores: Gregory who love chora l sinCarrefio y Felipe Yzcaray. Maestros de Caros: Alberto Grau y Maria Guinand chora l orga ni sat ion s g ing in ail parts of to he lp u s promote th e world in a m essage of union, peace g in g, stand up for the necessity of living thi s id ea so that o u r voices become an d fratern ity. We ha ve the m ea ns to in peace. st ronger a nd stronge r and our chora l fabring togethe r ma ny people w ho by sin The internation a l chora l comm unit y m il y rema in s a n act ive partner in the m us t devote a grea te r part of it s activ i- pea ce proces s in the world. ti e s to rem indin g the rest of the wor ld It is very easy to pa rti cip a te: You ca n that we are an important force, capab le doit in your city by g iv in g a ch ora l Proclamation of setting an exa mpl e and prov idin g so- co ncert o r by orga n isi ng a festiva l or a n luti o ns to many prob lems wh ich affect Open Singi ng which you ded icate to th e Sing choirs of the World! Mankind. We rep resent th e m ost peaceIn te rn ationa l Day of Chor al Sin ging by ful , most beaut if u l a n d most n atura l sin g ing sangs about peace , liv in g togeMay yoUI voices rain as springs way of being toge ther. Where fires bum. ther in h ar mony and frat e rni ty betwee n The fest iva ls, com pe tition s an d cho - peoples. Let us transform this day int o a May your songs plant roses ra l m ee tin gs are a livin g exa mple of the choral friends hip day. T ra ns late the Where battlefields lie. Plough furrows and sow love vo ice we h ave. An exce ll ent w ay to " Pr oclamati on" into yo ur own Iang uage To harvest fruits of hope . c ha nn el this ene rgy is to ce le br ate the a nd se n d u s a report abo ut thi s day' s Sing to liberty where despots reign, In terna ti ona l D ay o f Ch ora l S in g in g act ivit ies of: by d oing so you wi ll be long Sing to equality where poverty dwells , which sh ou ld procl aim our motta th at to the Vo ices of Our P lan e t. Sing to brotherhood where hate prewe are a great force in uniting peop le s. vails. We are the vo ices of our p lan et. Zenaida Vâs que z, Coordi11ator May your singing Iead the world On Sunday 14 D ec e mb er 2003, we In te rn ationa l Day of Cho ral Sillgi11g So that peace overcomes wars, wi ll ce lebrate the 13t h Internationa l Da y IFCM Vice-Presidence for Latin Am erica So that men cherish the Earth, of Chora l Singin g. Let us once again lift Fundaciô n Sch ola Cantorum de Cara cas So that ail differences of race or colour up ou r voices in faveur of e n ding a il Apartado 328 Carme litas . Cara cas 1010 are banished , violen ce, promoti ng peace and reconci Vene z uela. So that we are all fratemal, lin g peop les. Tel-fax:58-212-5648 748 So that the planet rejoices with our ln the las t twe lve y ea rs, more th an e-111ai l: f, 111d voices . fou r mi ll ion c horal singers around the world ha ve taken part in thi s celebra(Tr: JT)




Copyr ig ht © 2003 by the International Federation for Cho r,,I Mu s ic

Inte rna tio nal Ch o ral Bulletin · Octo ber 2003


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l n1c ma1ionï1I Chor,11 B11ll~lîn

O ctol)l•r20 0l


Cop yrig ht


2001 h}' tlll' lnt crn.i tion nl r:cclc ration for C hor al Mu s ic


IFCMN ln brief (Extracts from the IFCM monthly Newsletters to the Board) Jean-Claude Wilkens, Secretary General of IFCM

IFCM Website Uv -dated Please look at the IFCM websit e. There now are links to new project s such as the World Chi ldren' s Choir, Songbridge, the Tagger Foundation in Vigevano, etc. C/1ildre11'sCltoir Festival i11Ho11gKong 2004 Unfortunately, our friends in Hong Kong hav e had to cance l this festiva l because of SARS. The organi sers ha ve postponed it to ear ly Ju ly 2005. M11sicaand tlte E11ro11ean Union The IFCM and Musica are subm ittin g a project for th e organisa tion of a Musica sess ion as youth peer trainin g and the prese rvation of our choral herita ge . These fall with in the European Union 's guidelin es for project s in cross di scipline s. Partn ers will join from Bulga ria, Slovenia , Poland, France and Spai n. Award C h orus Amer ica pre se nt e d Philip Brun elle with th e Michael Korn Award, during its nationa l conference in Kan sas City. Congratu latio ns. Tite Tagger Fo111ulatio11 in Vigevano lt ha s finall y happened! Th e Tagger Foundation is no w a reality! After so me nig htmare s in ga therin g ail the necessa ry doc um ents from Ok lahoma, Pari s, Vienna, Amman, Stockholm, Altea, and of cou rse, Jtaly, we have signed the act of constituti o n in th e n ota ry off ice in Vigevano. Present were repr ese ntativ es of th e city,

the pr ov in ce, th e region, as we ll as Silja Fischer for the IMC, and Thomas Rabbow, Dolf Rabu s, Maria Gu inand, Jean-Claude Wilken s and Alessandro Cortese for the IFCM . The very first Board meeting took plac e in order to take the necessary firsl decisions and start working . Thomas Rabbow was elected President ; Alessandro Cortese was appointed Executiv e Director. Bank accounts were opened and the capital deposited. The next board meeting is planned for 20 September, and the o fficial inauguration w ill tak e place on 22 September. Tite IFCM in Karen Last year's Choir Olympics in Busan were well receiv ed by the popu lation and the city of Busan. Press coverage was very positive, and th e municipality wants to proceed with intern at ional and national cho ral activities. They have proposed a parh1ership wit h the IFCM for the future. The aim is to make Busan a focal po int for Asian - South Pacifie chora l activities and networking. As a first activ ity, Korea wi ll organise the 2004 summer sess ion of the World Youth Choir. More projects are un der discuss ion .

M11sica and Cltora/N et Th e merger of the repertoire lis ts of Mu s ica and Chora lNet ha s s tart ed. The compo se rs and publi sher s files are alread y merg ed and work has begun to merge the in forma tion on th e scor es . This is a first step in the proces s of coo pera tion betw ee n the acti vities of the two web s ites. Obit11an1 Jean Baudry , former treasurer of Europa Cantat passe d away on 12 Mardi 2003. He had been the treasurer for many ye ars and was assoc iated with numerou s fest iva ls. Man y amo ng you w ill probabl y remember him. If you w ish to send a letter to hi s widow, plea se write to : Odil e Baudry, 6 ru e Roger Duca sse, F-3300 0 Bord ea ux, France.

New Website The Fundacion Scho la Cantorum de Caracas ha s a new website: w1vwfsc/10/acc.co111

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ln Memoriam Kazuyoshi Fujikawa Kazuyo sh i Fujikawa, Vice-Pres ident of the Japan Choral Association, passed aw ay on 19 Mard, 2003, after su ffering a cerebral ha emorr hage. He was 66 years old. He became a state sd1ool tead1er in 1959 and a professor at the Fukui University in 1973. He was a conductor of local comm unity chairs and of several chi ldren's and university choirs. He occupied va rious important post s in local, regional and na tional chor a l associa tions . He worked untiringly for th e 7th Wo rld Symposium on Choral Music to take place in Kyoto 2005 and was a Vice-Chairman of the Sympo s ium's Executi ve Committee . ln spite of our sadness, ail members of the Japan Choral Association will do their best for the 7th Symposium and for choral life in Japan and to carry on his ideas and dr eams.

MMAP Website - an i11itiative of the I11ten rntio11alMusic Co1111ci/ One o f IMC' s prioritie s is to d eve lop a MMAP ("Many Mu s ics A c tion Programme") website which wi ll contai n prese n tation, informati o n and docum entat ion of it s pro gra mme s and offer usef ul lin ks relevant to musical di vers it y . De sp ite so me mi ss ing tec hni cal d etai ls, the MMAP website is "o nlin e" as from 1 Jul y, at the followin g address:!111111ap and ha s a d irec t link from the IMC homcpa ge . Ali IMC member s are enco ura ged to contribute to th e informati on and documentation at this website. Pl e ase forwa rd do cum ent s, proje ct descriptions, re po rts, etc. re leva nt to mu s ica l div ersity. Your contribution will be anno un ced on the website a lo ng with link s to doc ume nt s and to yo ur own webs ite if yo u so wis h . Please pr ese nt yo ur contributions by e-ma il (eliborclt @o11/i11 e.110)a nd sta te yo ur source if differ e nt fro m yo ur ow n o r gan isat io n, as we ll as whether you wi s h to have a link to you r o rgan isa tion' s web address or not .


AmWeingarten 3 D-35415PohlheunGermany phone:+49(0)6403-956525 • fax: +49(0)6403-956529



ChoirOlympics ChairMeetingsConcert Tours►ii-li¾i




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International Ch o r,,I Bulletin - Octobc r 2003


TheInternational Federation for ChoralMusicinvitesyouto the

7th WorldSymposiu m on ChoralMusicin Kyoto,Japan July 27 - August3, 2005

Cantuspopuli,cantusmundi.Cantusomnibusunus. Thesangsof the people,the sangsof the world.Onesanguntoall. Th e 7th World Symposium on Choral Music in Kyoto , 2005 will be joindy ho sted by th e organizers, the International Feder ation for Choral Musi c and the Japan C horal Association , and chree co-or ganizers: Kyoto Prefecture , the Ciry of Kyoto and the Asahi Shimbun. We look forward to your taking part in th e Kyoto Symp osium in summ er of 2005 . Th e Art C ommitt ee is negotiating to invite experts in each field as lectur ers at variou s workshop s and seminars of inter est to parti cipant s. In addition , we will invite int ernational choirs by makin g a careful selection from chose recomm ended by th e world 's five regions. Th e selection will be complet ed by spring 2004 . Th e registration fee for the Kyoto Symposium will be decided in th e same pri ce ran ge as th e previou s conf eren ce. O f parti cular not e is that it is the first tim e to base th e fee on th e United Narion's Hum an D evelopment Ind ex. For derails, please see the 2nd Announ cement schedul ed for distribution in August, 2004. Advance registration of your nam e and addre ss on the website ( scm/) will entide you to receive th e announcem ent by mail. H enceforth , we shall provid e various kind s of inform ation chrou gh rhi s newsletter , such as m essages from choru s friend s around th e world , Jap anese lessons , and information on Kyoto , to give you a better under scandin g of Jap an and Kyoto pri or co th e event. T he Executi ve C ommitte e welcom es feedb ack from you .

JapaneseCultureand ONGAKU R. MurraySchafer,Canadian composer Wh at I admir e mo st about Jap anese cultur e is its natural ness and simpli city. Less is more in thi s cul ture, for th e Jap an ese have lea rn ed how to find joy in t he sim plest thin gs: in cense, Aowe rs, fold ed pa per, or th e room with minim al furni shin gs. T he Tea Ce remon y is an unfor gettable experience when perform ed prop erly and respectful ly, yet what has one achieved afrer rhe hour o r so spent in th e garden and in th e rea house? We have d runk a cup of rea, char is ail. But rhe rea has op ened o ur senses to a whole world of inspirat ions and impr essions. Th e same is tru e of th e ln cense Ce remon y in whi ch, for an hour or rwo, o ne merely passes around bowls of different incenses with exotic and pictur esque names in an exquisite blend ing of che senses chat we would call synaest heric. I found th is ce rem ony so enchan ci ng rh ar I wro re rwo wo rk s inspired by ir. W here is rhe big climax in chese ceremonies? W here are th e screamin g voices and the beatin g of drum s? No, th ese ceremo nies arose o ut of respect an d hu m ility before ail life, not out of an urge to co nt rol or reap profits from ic. If th ere is ego present , it is held back out of court esy before th e mysreries of nature. W hen co nversin g wit h a Japa nese friend, I am always aware of how carefully they are listeni ng. Som etimes l feel I am too forceful , too noisy, because my friend is so qu iet. Bu c he or she is merely reflect ing on what I am saying and, l 11tcrnntio 11a l Ch oral Bu\l ctin â&#x20AC;˘ Oc tobcr 2003

taking whatever is useful, will transform it int o a mir aculous new creation. Borrowing is co mm on in Japan ese cultur e. A great deal of it wa s borrowe d from C hin a. Borro wed and tr ansform ed . Even scen ery can be borrow ed. SH AKEI is th e word for it. W hen a gard ener wishes to borrow a distant or particular scene, he plant s the garden in such a way as to frame ic, camo uflaging distract ions and dissonances. T he focus of Japanese cultur e is always che dewdrop of t he beauti ful amid chaos and turbul ence. Th e Japanese word for mu sic, ONGAKU, has an enorm ous advant age over our word because it means simpl y "beautiful sound s". Th erefore b irds produ ce ONGAKU and so do wate rfalls and wind s. Ir is a sou nd -scape defi nirion. Ir is not exclusive like the Western exp ression rhat isolates a collect ion of pleasant sound s pro du ced by hum ans fro m everythin g else on earth. Of co urse, I am speaki ng of tradi tional Japanese cultu re. T he mode rn wo rld has had a treme ndo us imp act on Japan as everywhe re. Bu t a uniqu e and valu able cultur e never dies. Som etim es it Aies like a seed and grows again in th e most di stant p laces. I h ave been profoundl y affecte d by my experience with Japan and my Japanese friend s, and the resulr is evident bor h in my m usical wo rks and in my att itude to the narnral environme nc. It is n ice to have chis opp ortuni ty to say "T hank You". Copyr igh t Š 2003 hy th e lnt crnat ionill Fcdcra t-ion for C hora l Mu s ic

7,1, orld Sym(10SÎ11m

Mineichi Kamino

Let's start learning Japanese language --What kind of language is it? In the past, many foreigners knew only a few Japan ese words lik e Fujiyama, Geisha and Harakiri. What about now? A wide variety of Japanes e words hav e become known to rhe world in areas of food, science, rechno logy and cu ltur e, suc h as sushi, Walkman, karaoke,and tsunami. Aside from words, ir may be difficulr to define Japanese lin guisrically in a word. English , French and German , which belong to the Indo-Europ ean Croup, have simi lariries in rheir basic langu age structur e, so und an d chara cters. Compared with them, rhou gh classified in the Ural-Altai Croup , th ere ar e few simil aririe s between Japane se and oth er languages in the group, like Turkish and Korean. Sorne call Japan ese a "lonely language" for bein g separared other lingu istic group s. Still, it is a language spoken by 120 million people sca rrered rhroughour th e Japan ese arch ipela go. N everrheless , our native tangue cannor go a lon e wirho ur bein g affected by orher languages. Includin g such aspects, so m e of the p eculiariti es of Jap anese are:

1. Written char acters Ther e are rhr ee types of chara cters (No,e) with many in each categ ory.

- Kanji: C hin ese charact ers import ed from China - Katakana: sym boli c char acre rs mad e by simpli fying kanji - Hiragana: phonetic characters mad e by transformin g kanji to cursive style Katakana and hiragana have about fifty characters each , w hil e there a re mor e chan 10,000 kanji . A lrh ough Japa nese childœn lea rn about 2,000 kanji in eleme nt ary and junior high schools, mor e are nece ssary ro read and u nd erstand newspa pers and m agaz in es. In ad diti o n ro Nore:







rhese thr ee typ es of characrers, Arabie and Roman numer als as well as th e alp habet are ofte n used. 2. Pronun ciarion Edwin O. Reischauer, former U.S. Ambassador to Japan and verse d in Jap anese and Jap anes e c ultur e even mor e chan many an ordi nary Japanese, once wrore in his book char Japan ese is a very simpl e language nexr ro Polynesian in renns of phon erics. Ther e are only five vowels, a, i, u, e and o, pronoun ced in the same mann er as Iralian , Spanish and German. We use only a limir ed numb er of consonants , wirhour so und s like v and /. Excepr for n, Japanese words do not end with consonants . Rather , they always cake the sequen ce of a consonant plus vowel. Japane se is a pirch accent language, accentuated by high and lo w, insread of strong and weak. For instance, the word, hashi, has du ee meanings depending on th e accent, though there are slight regional differen ces. Hashi '-: chop st icks Hashi __r- : brid ge Hashi -: edge (or end ) 3 . Notation Japanese is trad iti onally written verrica lly top ro bottom with sent ences read from right to left. In principle, newspapers a nd no vels are wrirren in this vertical m ann e r. Acco rdi ng ly, pa ges srarr from right with the back cover clown . H owever, after World War II, lefr ro right wr iting gained momentum in Jap an . ln particular, books using marhemati cal formul as an d alphabets are usually writt en horizont ally. As it is up to individual choice wherhe r to write vertically or horizontall y, Jap anese is very co nven ient when w riting in limired spaces suc h as on billboard , vario us signs and book covers.

K:rnji: idcosram

'· ~ ~.- :J - 7 À iJl 17 !fr c. f ::.o =---i:::'.:::::::::...:_:_____!~ k_::.~ J ~ K:11:ikan;i: phonogra rn u.scd to wr i1c-forcign wt;mb su I ail. and 0 110 111 :u opoci:1 Watashi w11 korasug 11 choru s. love I

Where should I go? Kiyomizudera Temple Main temple of che Kirahosso secr of Buddhism. Found ed in 778 and built scarting 798 on che side of Orow a Hill. Th e temp le includes som e 30 stru ctures, mosc of which were rebuilc in 1633 by Tokugawa lemitsu , che 3rd shogun. The Main Hall (Nat ional Tr easure) wich its wooden balcony is a beauciful work of architecture in the H eian period scyle, with a single-ridge roof sloping in four directions and cypress-bark roofing. le concains an image of the Eleven-headed Kann on (Important Culcu ral Propercy). Ocowa Wacerfall is visible below the balcony . Koyasu-no-To (Important C ultura l Propercy), a 3-scoried pagoda built as a pecicion for easy chi ldbi rch, can be seen across th e valley. In D ece mbe r 1994 , Kiyomizudera T empl e became part of che Wo rld Cu ltural Hericage.

7th World Symposium on Choral Music c/o Japan Choral Association, Yaginuma blclg . 6F, 1-5-8 Ebisu, Shibuya-ku, T okyo 150-00 13, Japan E-mail: Fax: +81-3-542 1-7 15 l Copyright Cô2003 by the Jntcrn atio n.ll Fcdcration for Choral Music ----



Interna tio nal Ch oral Bulletin - Octobcr 2003


APPEAL FOR HELP APPEL à I' AIDE AUXI LIO BITTE UM HILFE The ICB is s till lookin g for vo lun tee r trans lators from French, Germ an, and , ab ove ail, fro m Sp an ish int o Eng lis h (moth er ton gue). L'ICB est toujours à la recherche de traducteurs bénévoles de l'anglais, de l'allemand et surtout de l' espagnol vers le français (l.;ngue maternelle). Das ICB braucht immer noch freiwillige Übersetzer /-innen aus dem Englischen , Franzosischen und vor allem , aus dem Spanischen ins Deutsche (Muttersprache).

El ICB necesita traduct ores voluntari os d e l Fra n cés y d e l A leman al Esp ano) (lengua materna). Jutta Tagger: jtagge Thank you on behalf of our readers Merci au nom de nos lecteurs Graciasen nombre de nuestros lectores In Namen unserer Leser: Dank e !

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IFCMN World Youth Chair - 2003 Summer Session Switzerland - Austria - Slovenia Jean-Marc Poncelet, WYC Manager


n 11 July 2003, among the thousand s of tourists com ing to vacat ion in Sw it zer land we re 79 young men and wome n w ho, at first g la n ce, did n ot sta nd o u t. Nonet heless, th ey ail sh ared a common pu rp ose: to gat her in H as liberg-Go ldern for the 2003 summ er session of the World Youth Cho ir.

Waiting to welcome th em was a remarkab le Swiss team led by the d istinguished tandem of Michel Gohl and Peter Dan iels, the internationa l staff of the WYC Jean -M arc Poncelet (Be lg ium), Alessa n dro Co r tese (ltaly), Nata li a Verkie nk o (Russ ia) and Ewa Strus inska (Pola nd) - and, of cour se, two highly tale nt ed cond u ctors in Maria Guinand (Venez uela) and Johann es Prinz (Austria) . With a population of sca rcely one hundred, H as liber g has develop ed a reputation throughout Switzerland for the man y winter and summ er sports practised in the superb mountain s sur roun ding the village . The ham let of Goldern is hom e to one of the internationa l private schoo ls that hav e made Swit zerland renowned for its quali ty of educatio n. For about two weeks, the WYC held re h ear sa ls at th e e minent H as liber gGol dern Schoo l of Hum a nities and th en gave its first concert in Meiri ngen. A magn ificent location, excellent facilities, d iverse culinar y offerings to suit eve ryo ne's taste, fascinati ng and well-organized excursions - the setti ng met with unanimou s approval. The challen ging and exc iting mu sical program he ld manifold di scove ries for p art icipants. Jo han nes Prin z directed A11


Odefor Music by Z. Kodaly, Klei11erPsn/ter Wiù1 ù1e first concert in Meir ingen, the by W. Burkhard (Switzerland), Fest- 1111d WYC were "p layin g for the home crowd". by J. Brahms, ext racts from The cho ir then undertook a three-part tour Gede11kspriic/1e Ons Nnsobe111 by F. Ti sc hhau se r that began w ith t wo co n certs in (Switzer land) and a very live ly arran ge- Switzer land in the context of well-k nown ment by A. Ho sp (Austr ia) of two interna- festiva ls. The first was in Dav os, famo u s tiona lly known Italian so n gs: F1111ic11/i - for having hosted a GS su mmit and the seF1111irnlnand A11geli11n.Maria Gu in and cond in Celerina, near Saint -Moritz. Corali of I. pr epa red the Tre Co111posizio11i On July 30, the WYC went to Kuf stein Pizzett i, /11binbin in Austr ia, a superb lit tle city wh ere an by C.A. Pi11to immen se outdoor orga n contri but es to the Fonseca (Br az il ), loca l qua lity of li fe on a d aily ba sis. The Mi Pntrin es el WYC performance in the in teri or co urtby A. Grau yard of the castle was memorab le. The rest M1111do (Ve nez uela) , Ons of the Austria n tour comp rised concerts in Rad by R. Mose r three locations: Hohen ems w ith its fantas(Switzerland), tic Baroqu e churd1 where the concert was C/011db11rslby E. wo r th y of the im p ress ive s it e; Andorf, w here th e welcome was as war m as the Whitacre and Verde Mar de tropica l temperature s; a n d St -P au l lm Nnvegnr, a popular Lavanta ll, home to the fam ily of Joha nnes Brazilian song. Prinz, who atone filled a fifth of the church. Coordinat ion of the Aust rian tour was Th e goal was to ensur e that the entruste d to Burgi Schobesberger, a forWYC fulf ill ed it s mer cho riste r of Jo h annes Pr inz, w h o un iq ue ca ll ing didn't hes itate for a momen t before comthe right blend of mittin g him self totall y to mak ing the WYC mus ical quality ta- visit to Austria a com plete success. ken to the highest Before returning to Sw itz erland, the leve l t h rough hard work , discip li ne, WYC made a short sw ing into Slovenia at concentration and com mitm en t, and an th e invitat ion of To m az Fagane l. The u nequalled op portunity di scover other conce rt in Ce lje wa s w ithout doubt the cou ntr ies, mak e new friend s fr om a il warmest (in every se nse of the word) of around the world, develop a new glo bal the tour. The presence of nu merous forperspective, sha re intense ex pe rie nces of mu sical creativity, in short, to s pend 25 day s in another dim ens ion : that of the WYC! Th r o u gh ge nui ne teamwork , the result lived up to the expectations. At every one of i ts ten concerts, th e WYC presente d an exce ll en t pro gramme disting ui s hed by mu s ica l inspiration and youthfu l enthusiasm. On each occasion, Johan nes Prin z and Maria Guinan d mer choir memb ers crea ted an ah11osphere took the WYC to new hori zo ns, showing mor e like that of a rock conce rt than of a thei r yo ung singers that eve ry concert is a choral concert! Celje was also the perfect new musica l adventu re. s ite for an int ense reco rd ing session, the

Copyright © 2003 by the l11tcm;_itional Fcdcralion for Mu s ic

Interna tion al Ch or,1\ Bull etin• Octobcr 2003


NEWS r YOuth

Ch ir

The organizers of the World Youth Choir- 2003 Session warmly thank the

Ecole <l'Humanité , Switzerland for granting a one-year

WYC-Scholarship to attend this hlghly renowned International School for a student chosen by the WYC Committee . The Ecole d'Humanité hosted the WYC from 11th until 26th July 2003 at Hasliberg BE. The WYC Organisation Committee 2003 The International Centre for Choral Music The International Federation for Choral Music

res ul ts o f w h ich w ill be available nex t summ er. Fo ll o w ing th e lon g tr ip ba ck , th e ·WYC fou nd itself the star of a telev ision produ ction on the Rhin e. A crui se, interviews, and, natura lly, a concert m ade up the pro gra m of a d ay give n over to the med ia. Thank s to this exce llent init iative of the Sw iss organi zer s, the WYC will eventu ally rece ive pr o fess io na l qu ality prese ntat ion ma terial on video and DVD. The sess ion came to a close in Gossa u, the home tow n of Anit a Mauc h le, a sopra no in the 2003 WYC. Follow ing a colour ful concert (at wh ich a pr esentation of the various coun tries repr ese nted by the chori s ter s evo ked differ e nt folk trad iti ons and held man y surpri ses), a fabu lou s bu ffet, and a fina l part y tha t w as altoge th er too short, it was tim e to say goo dbye unti l next year in Sout h Korea or elsew here. Throu ghout the session, the WYC d id mu ch more th an sing "M y H ome is th e Wor ld " ( Mi Patr ia es el Mund o - Alb erto Gr au ). The choir was a pos itive and encou rag ing w itness to alternati ves to iso lation and intoleran ce. May these w ord s by a source of encou ragement for those who had the pr iv ileg e of pa r ticipa ting in th e 2003 su mm er sess ion as they d eve lop as artists and as hu ma n beings. In it s ow n humbl e w ay, the WYC achieve d w ha t it set ou t to do. <Transi : Dav id Scott -Ly tle, Canada )

World Youth Choir 2003/2004 Winter Session "Nordic Lights" (Lumières Boréales) • Conductor: Gret e H e lgeroed Pedersen , Norway • Date s : 26 Dec 200 3 - 11 Jan 2004 • Pro gram me : Contempora r y music from Scand inavi an countri es and tradition a l song s from Norway (with traditional instruments ) • Co ncerts : 04/01 : Somb reff e (B) 05/0 1 : Na mur (B) 06/01 : Na mur : priv ate conce rt 08/01 : Bruxe lles (8) G a l a co n ce rt toge t he r w it h Jeunesses Musicales International (JMI) 09/0 1 : Au bel (8) 10/ 01 : Nanc y (F) 11/01 : Luné ville (F)

ê]- -

Interna t iona l Ch or,,I Bulletin • Octobcr 2003

Copyri g ht €) 2003 L> y the lntcrn at ion .1I Fcdcratio n for Chora l Music



6thRhodesInternational Music Festival

10thAthensInternational Choirfestival

Organized by «Polifonia Athenaeum» & Cultural Organizationof the Rhodes Municipality

Organized by «Polifonia Atbenaeum»


14 - 17 April 2004

10 - 14 November 2004

• lOthI~ternationalChoirCompetition Opento Mixed , Male, Female, Chambcr, Youthand Children 's Choirs, as wellas FolkloreEnsembles.

• 5th LyricSoloist Competition Opento Soprano,M_So r9

• 6th LyricSoloist Competition

ntra to;-T.enor, Baritone and Bass.

• lst InternationaI -Follilôre:Dance è ô~ ·..--_.,-;:


Open to Folklor(7E> ancing-Ensemble

• 6th InternationalChoirCompetition Opento Mixed, Male, Female, Chamber, Youthand Children's Choirs,as well as FolkloreVocal Ensembles.


Opento Soprano, M. Soprano,Contralto, Tenor, Baritone and Bass.



• Concertsand Dances out of Competition Provided:Prizes,Medalsand the

• Concertsan-d Dancesout of Compêiitio= ~

Provi e~.Î>rizes;Nledals and the ~~. ~ ~ ~ GRANDPRIX! of.the. CITYof ATHE S J _,. :,.:---



✓tutio;, o!!!~~~~'? '.~c.,,u.., Deadline tblregister: 29 i elirJ!JJh oo4. 1 Applic~tions accepteêl f rom:1 d Jtober2001

Euro ~,000 Artistic Director:Dr. Thrassos Cavouras

Deadlineto register:30 November2003.

For informationcontact:

For informationcontact:



PolifoniaAthenaeum 2, Spartis str., 153 42 Agia Paraskevi

PolifoniaAthenaeum 2, Spartis str., 153 42 Agia Paraskevi



Tel.: (+301) 6080119, 7668970 Fax: ( + 301) 6009204,6018841 e-mail: or

Tel.: (+30210) 6080119, 6014741, 7668970 Fax:( + 30210)6018841,6009204,7668743 \. .".b e-mail: info@inter-fest.comor



Choir E'Vents 2003/2004

6th INTERNATIONAL I~OLKSONG CHOIR FES TIVAL "EUROPE AND ITS SONGS" Barcclona , Sp:iin , Scptcmbcr 17-21 , 2003 Addr csse d to male. femnlc, mixed. youth and childr en choirs: repertoir c of folksongs witl1out compul sory piece and difficulty lcvcl with al least o ne piece of folk music from the choir 's co untr y of origin and one European folksong. The choir comp ctition will t:1liC place in the spectacular se ttin g of the Chu rch of Santa Maria del Pl. in the histo rical "Barrio Gotico" of Barcelona. A Spani sh fiesta will close the Festival. A unique chance to mingle with choirs from a1Jover tl1e world. Deadlin e: 03 .08.2003

~z~ 11th INTERNATIONAL CHOIR FESTIVAL "ORLANDO DI LASSO " Marche , ltal y, Muy 30 - .June 02 , 2004 Addres sed to mnle. female and mixed choirs.voca.lg roup s with max. 12 singers. folksong choi rs. youth ,md childr en choir s. the comp etition will talœ pla ce in a very cham1in g rcgion in central Italy. Compre hends categories with and witbout compulsory piece: a repert oire of both sacred and profa ne a-cappe Ua music is to be pr esented , witl1one piecc of folk music from the choir's countr y of 01igin: special category for folk choirs. Deadlin e: 15.03.200 4

~z~ 7th INTERNATIONAL FOLKSONG CHOIR FESTIVAL "EUROPE AND ITS SONGS" Barcclona , Spain , Scptcmbcr 22-26, 2004 Add ressed to male, female, mixed , youth and childr en choirs: repertoir e of folksongs witl1out compulsory piece and difficulty level with at least one p iece of folk music froru tl1e choir's co untr y of origi n and one Eu rope an folkson~. The choir competition will take place in the sp ectacular se tting of the Chu rch of Sant a Maria del Pl. in the histor ical "Barrio Gotico · of Barcelona. A Spanish fiesta will close tl,e Fes tival. A uni que chan ce to mingle witl1choir s from ,ùl over the world . Deadlin e: 0 2 .06 .2004 Fo r furth e r in format io n . pl ease co n tact


Assoc iatio n Friends of Scred Music

Via Pao lo VI, 29 001 93 Rome. ltnly Tel: 0039 /06/688058 16 Fax: 0039/06/68210889 (Monday -Frida y 9 n.m . to 6 p.111. ) e-mail : in fo-conco rsi@ainms .it web site: www.nmi cimu sicnsncm. com



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l ntemo tionol Chora l Bulletin· Oc tober 2003


lntt:rnation,11Chor;il Bulletin - Oclobcr 200.'.I

Copyrlg hl © 200.'.Iby the lntc111 ,1tio11al Fcdcr,1tlo11for Chural Musk

CHORAL WORLD N EUROPA CANTAT 2883 in Barcelona Brigitte Siebenkittel

arcelo na: h ot an d sunn y, many peop le and langua ges, a beach an d a p ort, mu seum s and c:1urches, na rro w s tree ts an d hig h hou ses, pa rks and gard ens, du st and traffics jams, tapas and beer, wine and wa ter, the souvenir of two wo rld expos: a fascinatin g city! Barcelona in July 2003: more than 3000 peo p le sin g ing, wo rk sh op s, condu ctors, co mp ose rs, ch oirs, co ncert s, w orld pr emieres, rehea rsal, mee tin gs, discussions ... Europa Cantat is an international d1oral festival not onJy for top d 1oirs but also for chora l singers, choirs and composers w ho would like to sing or get to kn ow good d10ral music without linguistic or cultur al borders. Jt is organised every thr ee years in a Europ ean city. This Jul y' s 2003 festival in Spa in d id not on ly mean Europa Cantat in a bea uti ful hot count ry on the Mediterran ean, but in Ca talan Barcelon a! There is a difference: • Not only because ail sign s are at least in two la ng uag es : fir s t in Ca ta lan, th e n in Castilian. • Not o n ly b eca u se eve ryb ody s p eak s Catalan (by the way, the multi -lingua l Sonja G reiner lea rnt Ca talan for the occasion, 1 was imp ressed !) • Not only beca use eve ry bistro ow ner is happy w hen you as an English or French speaki ng foreigner say si us plnu instead of porfnvor • No t only because the Spa nish Na tion al Museum shows unique p ieces from Catalan Roma nesque churd 1es • But also because nobody wo uld otherw ise have had the opport un ity of lis teni ng to Ca talan mus ic, of wa tching peop le dan ce




the snrdn11 n, or of expe riencing how prou d these peo ple are of their coun try. A pit y th a t we po o r fo reig n ers (Ge rm a ns, Fr e n chm e n, Ja p a nes e or Filip inos) we re un able to und ersta nd th e sun g and spoken texts at the openin g and the closing concerts. It wo u]d probably have been easy to install a simu ltaneous h·anslation system, given aU the fantastic tedini cal fea tur es o f the hall. May be n obod y had thought of it durin g the imm ense pr epara tory work. Then there wa s that lonely Catalan flag at the left corner o f the scene, for a festival w ith part icipa nts from 48 countri es. The fact tha t so me d1oirs had pro blems w ith accomm od ation, lo ng d ista nces, not enough bed s, one toilc t for ma ny peop le, etc.; the fact that it was necessary to get used to a foreign language and a d ifferent mentality - everyw here everyt hing is different; ail of thi s was more than compensa ted by extre mely int ensive an d in ter es ting wo rkshop s and successful concert s presented by a charmi ng and abl e tea m of translato rs . And ev en the lonesome Catalan flag wa s consigned to ob livion because of the g reat variety and the liveliness of the singers, the excellent wo rk of the wo rkshop leaders , the top qu ality of the conce rts and the enth usiastic and know ledgeab le audiences. I really enjoye d go ing to the di fferent workshops, looking at and listening to what was being clone, w hat wa s cha nging, how the spe cial at mos phere set the ton e. Thi s was d1allenging and o ·ea ted ties. I wo u ld like to men tion the show -choir work , the No rd ic Song wor kshop, the Vocal Pop and Jazz w o rk shop , th e Aca d emy for Youn g Choral Condu ctors and the very de mand ing Songbr idge w ith 150 d 1ildJen.

Copyr ight © 2003 by the l ntcrnatio n:il Fcdcratio n for Chor,11 Mus ic

ln spite of the sometimes difficul t dim atic cond itions, work was dune in goo d hu mour, w ith discip line and very pro fessiona ll y . "Swe a t d rop p e d fro m th e h ot for ehea d " (tra ns lator' s note : allu sio n to Schiller's poem Die G/ocke - The Bell) and not only from the forehea d - but dur ing rehea rsals nobody thou ght abou t it. I wo uld neve r have imagined th at inside o ld hig h-ce ilin ge d Go thi e chur ches w ith thick wa lls, like Sn11tnMarin del Pi, it cou ld be even hotter than out side! The exceptional perfor man ce of Monte verdi's Vespers of the Virgi11in this d1urd, will leave a long-lastin g impression. The EC Comm itt ee w ith its in d efatigable, always present an d helpfu l s taff; the daily news pape r with inform ation, upda tes, persona! featur es and a hum our section; the regul ar daily sd1edul e; an d the many d iscussions about the favourite topic of choral mu sic w ith kn ow n and u nkn ow n peo ple: this is how Europa Cant at should be! We are p roud of our orga nisation which celebrates its 40th anniversary this year. Let's look forwa rd to th e next time in the midd le of Germany: in Mainz in 2006! P.S.: A11 rl 11 œ11ticm s/1011/dbe mnrle of tire 1111 s11 ccessf1/1JJickg pockcl i11tire metro, wlro fled nfter rcceivi11 g n reso1111rli11 slnJJi11tirefacefrom n reso/11/c Belgimz wo11 zn11. P.S. 2:A11dof the clznr111 i11gclzornlco11 rl11ctorwlrose rerl shirt wns 11o t 011/ySJJZ"n!ferl f ull of wnter f.-0111tire mngic s as a goorlbye! foz111tni11 b11 t nlso tom 11pby Irisfn11

Brigi tt e Siebenk itte l, (BrigSieb@nol.co111 ) voice tenclter n11 d cltoml co11 d11c tor, Hn111 b11 rg, Gen11n11y ; Assistant Chnirperso11of tlte AM / (Musicfor Yo111t g People Associntio11 ).

International Choral Bu lletin - Octobcr 2003


ALWORLD NEWS _____ ~___. The lr.1ternational Chamber Choir Competition Marktoberdorf (Germany) 5-11 June 2003


Seminar for Choral Conductors 11-15 June 2003 A report by Kent E. Hatteberg

was lookin g for an opportunity to broaden th e exper ienc es of my gra duate condu cting stud ent s; one w here they would hear cho irs from num erous countries, hear new and exc iting repertoire, mee t other condu ctor s and singers, a n d have a ch anc e to h one their cond u cting sk ills. We were also hoping to keep our costs for such an eve nt to a minimum. We found ail of this in att ending th e In ternationa l Ch a mber Choir Co mp e tition and Se minar fo r Cho r a l Co nductor s in Marktob er dorf, in the bea u tiful A llgau. Th e compet ition is held every two years, alternating w ith th e Internationa l Musica Sacra Festival in the even-numbered yea rs. T he Tap io la C h o ir of Fin land ope ned th e compe tition wit h a gues t performan ce. The next fiv e day s were filled w ith compe tition performance s, concert s in severa l su rrou nd i n g commu ni t ies, a nd nightly feat ures at the eveni ng ge t-t ogethers in th e fes tiv a l tent w ith en terta inm ent spa nned a il over the globe (a Ger man bra ss band , an a cappella boy band, a Lat in sa lsa group, and a trio from the U.K) The br ain beh ind the compet ition is Dolf Rab u s, D irecto r of the Compet iti on and Dir ec tor of the Baye ri sc he Mu s ikakademi e Marktoberdorf. He is ab ly assisted b y a staff of a id es, choi r hosts, and media experts. Twelve chairs from Len n at ion s are chose n from submi tted appl ica tions and CDs: s ix mixed ch am ber cho irs a nd six wo men_s ch airs (ma le choir s are chose n every oth er competition ). The leve l of the cha irs is exce llent, as is the cho ice of repertoire . Chairs attendin g the competition h ave a gr uell in g schedul e of s ingi ng; in add itio n to the comp eti tion performances, they give sa cred mu sic concerts and folklore conc erts eac h day, req uirin g a large amo un t of reperto ire for the festiva l. Th e int ernat iona l jur y was com posed of: Johannes Prin z - C h a ir man (A), Michae l Glaser (D), Malco lm Go ldrin g (GB), Kari Ala Péilli:inen (FIN), Alexand er Vatsek (CZ), Emili o de Cesar (BR), Jennif er Tham (SING) .



Observers were welcome to attend the choir studio re hearsals, where membe rs of th e Int ernat ional Jury re h earsed ch oral works with combin ed choir s. Particu larly notable was th e val uab le in struct ion in Baroque performance practice and rehear sa l technique given by Joh ann es Prinz, Chai r o f the Jury. After the close of the compet ition, we moved to living quarters in the Bayer ische Musikakademie, hous ed in the former Marktoberdorf cast le, w here the four-day

Internat ional Conducting Sem in ar too k p lace. Sorne 33 conducto rs from Germa ny, Sw itze rl and, Sloven ia, Korea, Roman ia, Gr ea t Britain, Po land, Po rtu ga l, Greece, Burkina Faso (Afr ica), and the Un ited States attended . H eading the cond ucting faculty was Volker H empfli ng, fou nd er and d irec tor of the Kéilner Ka ntore i and profe sso r of ch oral conduct ing. A seco nd group of conduct ors was led by Profe sso r Peter Erde i, director of the Zoltan Kodâ ly P edagog ica l In s titute for Music in Kecskemét, Hungary. Vo ice clas ses and conducting in st ruction were g iv en by Hermia Schl ichtmann , pian ist and assistant conductor of the Kéilner Kantor ei. Profe sso r Hempfling ha s an amazing abi lity to assess a condu cto r' s s trength s and weak nesses, and he offers imm ediate s uggest ions for technical improvement. Profe sso r Erdei's enthus iasm for mu sicmaking, grounded in rhythm and tempo , is eve r-p rese nt. Ms. Schlichtmann is ma sterful in get tin g clarity and resonance in the sing ing voice. 1 apprec iated the opportunity to obse r ve th e various teach ing

lnl c rnolio nol Choral Bulletin - Octobcr 2003

sty les of each faculty member. Ali of these fine mu s icians wou ld make exce ll ent choices for someo ne seeking a clinician. I gained id eas from Prof. Hempfling that w ill aid not only in my cond uc tin g but as a teacher of conducting at the university leve l. The Seminar was g iven in English, alth ough Ger man at times helped clarify the finer poi nt s for so me conductors. Th e reperto ire ranged from mode rn chur ch wor ks w ith accompaniment to masterwo rks of the a cappella repertoire. Th e Kamme rch or Cantamus Cord e, from Pretoria, South Africa, served as the resident choir for th e duration of the sem inar I was thrill ed wit h the exper iences of my ten d ays in Marktoberdorf. My s tud en ts and 1 heard exciting rep ertoire from stellar choirs and stud ied w ith highly-respected conductor s. We loved the eve n ings in th e fes tival tent, where s in gers, conductors, jur y members, an d town speo p le came toge ther th roug h th e lov e of mu sic-m ak ing and the enjoyment of life. 1 could not imagine a bett er opportunity for the s tuden t co n d u cto rs w i th whom I work to enhance their know ledge and sk ills. I stron gly encourage others to take advanta ge of thi s wo nderfu l opportunity . The next date is: 9th Internationa l Cham ber C h o ir Compet ition Ma rktoberdo rf, Germa ny, 2005, Mai 12th 18th, for mixed and male choirs.

Ke11t E. Hatt eberg, Director of Choral Activities, University of Louisville, Louisville, Ke11tucky , USA. (ke11t.hntt eberg@louis ville.erlu) For i11formatio11about tlze competition 111,rl se111 i11ar , yo11may co11tact Internatio11aler Kammerclwr-Wettbewerb Marktob errlorf do Bay eriscl,e M11sikakarle111ie Mnrktoberdorf Kurfi.irste11stmfle19 D -8 7616 Mnrktoberdorf Telepl,011e:+49 (0) 8342 961825 Fax: +49 (0) 8342 40370

E-mail: i11fo@i11t-kam111 Ho111 epage: www. 111od11111sik.d e

Co pyright © 2003 by the Interna tion al Fcderation for Chor.ll Music

CHORAL WORLD NE The «Documentation and Research Centre ot German Choir Life» Foundation in Feuchtwangen, Germany Günter Ziesemer

"On/y they who know yesterday realize that tomorrow can be."

here could a choral sing er encou n te r hi s hi s tor y ? In Feucht w an ge n, for in s tance. This Bavarian village ho sts the " Document atio n and Research Ce ntr e of Ge rman Ch oir Life" Found ation, home to a compr ehen sive collection on th e life of am ateur choir s. rt hold s th e arc h ives of choral societ ies and bequ es ts by composers, mu sicologists and personalitie s of the amateur chora l wo rld . The Fo unda t io n bega n its w ork in Janu ary 2000, al thou g h its pr ehi s tory is rnuch longer. O n 4 Oc tob er 1925, th e Ge rm a n Sin ge rs' Mu se um was ina ug urat ed a t a form er mo nas tery nea r Nur emb erg' s St. Katharin e's Chur ch. Besides artefacts and literary do cum ents, the holding s includ ed cultur ally valuable histor ie rnate rials abo ut choral asso ciations and the work of creative mu sicians . Add ed to this was an extensive collection of au togr aph manu script s. ln 1945, the mu seum was de stroye d by a hail of bomb s. In 1979, the Feuchtwa ngen Music and Choir Associati on submitt ed a propo sai to create a choral mu seum for the Fran conian Choral Union. Th e suggest ion beca me a fact and by 1985, a selecte d bu ildin g had bee n renovat ed to fulfil this purp ose. ln 'J991, the Bavarian Cultu re Mini ster Hans Zehetm air officially ope ned the bouse. Th ro u g h o u t th e 199 0' s, b o th th e Germa n C h o ir Un io n s (A OC ) a nd th e Ge rman Singe r' s Society (DSB) donat ed archive mat erials to Feuchtw ange n. Bequ ests fro m choral assoc iations also a rriv ed, as well as those made by comp osers. To rep lace the aut og ra ph co llection tha t h ad bee n destroyed in the wa r' s aftermath, the Fo und ation was su ccess ful in acce ss in g materials from the city archive of Essen in



1997, and highlight s of the new collection are names Iike Goeth e, Schiller, Schubert and Schumann, Bruckner and Reger. Following the political shift of 1989 and 1990, Feuchtwangen became a refuge for simi lar materials from the former GOR (East Germany). People who are aware of the multiplici ty of sources don't want them to rot a way forgott e n in drawers, and Feuchtwangen evolved into interdi sciplinary field s becau se of the close relationship betwe en mu sical knowledge and histor y, sociology and folk lore. Thi s interrelationship and the cross- referenc es widen horizons and offer opportunities for interdisciplinary studies. The Feuchtwangen Sing e rs ' Mu s eum h as long outgrown its original tas k : it clearly d oes not w ish to be merely the leg acy of the Nur e mb e rg Si n g er s' Mu se um , a nd ha s evolved into a mu chused documentation and research centr e. The ide a th at th e centr e should be supp orted by a foundati on won favour in the last third of the 1990's and th e foun d a tion wa s crea ted on 1 Janu ary 2000, by the DSB, th e Fr a n co ni a n C hor a l Union, the Kur z family of Feuchtwan gen, and the Association for the Pro motion of th e Ce ntr e. DSB Pr es id ent Dr. H e in z Eyri ch too k ove r ch a ir m an s hip of th e Found ation' s board and manage ment lies in th e h a nd s o f Ms H elma Kurz . The Foundati on' s asse ts are th e archiv e and Singers' Museum . The archiv e ' s ta s k is to re cord th e sour ces and to mak e them availabl e for resea rch pr ojec ts . It h as a rea din g libr ary con taining mostly books about mu sicology and mu s ical practi ce. The mu seum houses objects and writt en d ocum ent s ab out the histor y of am ate ur cho ra l singing and its cultural significance. The Foundat ion also plans and carries out interdi sciplin ary resea rch projects. Ther e is a gro wing insight in ail scientific bran ches that materials kept in lib raries, archiv es and mu seum s can offer new po ss ibili ties, find in gs an d opt ions w hen interconnected (1). ln Feuchtwa nge n, that is of great practical impo rtance an d therefore th e Found ation integra tes the instru -

Copyright © 2003 by thC" Inte rnational Fcdcr.1tion for Choral Music

ments offered by the various information sciences into its workin g methods, without however indulging in a simple eclecticism. Here a modern computer program helps greatly. A study has been carried out on the multi -media potential of the documentation and research centre and has revealed remarkable prospects. The Foundation al s o has a we ll -documented web s ite (www.chonvese11.d e). The museum provide s a representativ e in sight into the hi s tory of the amat eur choir movement in German -speaking region s. Its exp loitation encourage s a cultur e of remembrance, which is important for

our p lur alisti c soc iety . Th e Foundation ow ns specific his torical sour ce ma te rials, w hich are indi spensa ble for sc ientifi c research. Beyond this, it pro vides orient ation into our contemp ora ry cultu ral land scap e, if interpret ed correctly from the persp ective of a witn ess from the pa st. It also contri but es to recogni zing and furth ering d1oral singing as a mean s of int eg ration. G ii11te r

Zi es em e r,

Di p /0111 arch ivar

(i11 f o@chorwese11. de) Klaus Dieter Le/111,a1111 , die Vorziige rler Virt11alitiit . Das k11rze Gediicl1l11 is digitaler M edie111111d die k11lt11r elle 0/Jerliefenm g (TJ,e Adva11ta ges of Virt11a/Reality. The Short Me111 ory of Digital Medir, 11111/ C11/t11ral Tradition) i11: Fra11 kf11 rler A llge111 ei11 e Zeit1111 g, N°. 240, p.54 (1 )

(Tran s i. Dev on L. M11/1/ert , Canada , rev. by JT)

Intcrnation ol Ch oral Bu lletin - Octobcr 2003




Symposium «(ln)Visible Voices?» Symposium for the European choral profession, Haarlem, the Netherlands, June 26-28 2003

Jeroen Schrijner n June 28, I attended the final session of the sympo sium, which comprised a vision by Simon Halsey of professiona l cho irs ten yea rs from now, so m e discussion and a forum wi th Danish conductor Bo Holten, Stephane Leys, director of Co llegium Voca le Ge nt and Mid1ael Emery, artistic producer of the BBC Singers, d1aired by Neil Wallace, director of the Haarlem Concer t Hall and Theatre and Director of the Biennale. Sorne 40 persons were on the list of participants of the symposiun1, thou gh on the last day I saw only abou t 20 persons , amon g them Philip Whit e of th e Fre nch Radio Ch oir, David Lowe of the Royal Academy of Music and a numb e r of managers of profe ss iona l choir s, e.g. the Flem ish, Dutch, Croatian , Latvian, Swedish, RIAS d1oirs as we ll as the Estonian Phil harmonie Chambe r Choir, the Danish Nationa l Choir, The Sixteen, etc. The Ha arlem Chora l Biennale wa s held for the first time in 2001. lt aims to brin g together some of the best professional choirs in the wor ld. Dur ing the Biennale, a so-called Eric Ericson Mastercla ss is held, in whicl1 participants ca n wo rk w ith the Dut ch Radio C ho ir a nd Orchestra as we ll as the Nethe rlands 01amber Choir. Thi.s year's director s we re Uwe Gronostay and Hartmut Haenchen. The symposiwn on the d1oral profession was organ ised during the last thr ee day s of the biennale. TI1e next edition of the festival is plann ed for the end of June 2005. There wiU proba bly be an official report about the symposi um some time in the future so I am only sharing some of my persona! observations. S11mvos i11111 Obviously, dur ing day 1 of the sy mposium the participants had di scussed asp ects of ed ucation and training, PR and progran1ming. On a flip-over d1art I saw thing s like: "We nee d a po ol of excellent, charismatic cond uctors". The idea of the final round of discussions was to bring together some of the central issues in professional d1oral life with a view to the futur e. S11eec l, b11Simo11Halse11 Spe~k in g of an id ea l future, Simo n Halsey touched upon the foLlowing subjects: l. Good re tiremen t arrangements are needed for singers in professional d1oirs. 2. There is a need for broadly ed ucated professional singers and teachers who don' t tell the m that sing ing in a choi r is wrong. The other side of the coin is that conduc tors mu st know how to develop their sin gers' vocal comp etence.


3. 01oirs should offer opportunities for assistant conductors, stud ents and singers on work experience. 4. Singers shouJd be able to specialise in a variety of fields, thus widening their expertise. 5. There should be more coUaboration betwee n professiona l and amateur d1oirs, w ith more and more professionals being involved in the amateur scene. 6. TI1ereshould be many yout h d1oirs, also attad 1ed to professional ad u]t d1oirs.

BBC Singers

7. Choirs must be actively involv ed in serving their sponsors. 8. Choirs shou ld run chambe r music series, ù1us allowing their singers to work in smalJer setti.ngs. 9. "Excellence is ù1e only ù1ing that can save us in ù1e long run". Hence, it is important ù1at choir s work with the differing talents and spec ialisations that different conductor s have. 10. Venues for concerts mu st be d1osen wiù1a view to both audiences and ù1e music. 11. Much work should be don e on presentation, something wh ich amateur s seem to be better at ù1an professionaJ d1oirs. 12. Choir comm ittees mu st be act ive ly involved in their cl1oir's wor k. 13. Singers shou ld g ive pre-concert talks or ho ld intervi ews with composers or the conductor. 14. Ample attention mu st be given to PR. 15. The und erstanding with ord1estrns should be better. In this context, it is in1portant that a d1oral cond uctor sees his field of expertise as equaJ to that of an orcl1cst:ral conducto r. A d1oir conductor must not feel obliged to also become an expert ord1estra l cond uctor. 16. Channe l you r energy. Thi s is greatly affected by the degree to w hid1 you pay attention to what ù1e singers have to say about the work ing meth ods, the and goals of the d1oir. 17. Audition singe rs annu ally, thus promoting continued studi es. And finaJJyaUof ù1ese things can be done whether you are talk ing about an amat eur choir or a professiona l one . The point is that

Int ernationa l Chornl Bulletin - Oclobcr 2003

professionals ought to be at least as good at it as amateurs! Simon gave man y examp les of how singers can and mu st be actively involved in the way ù1e choir operates, e.g. w hen work ing with (new) conductor s, eva lua ting conductors and reper toire, working hours, etc. Be11cl1111arki11g Michael Emery po inted to a perceived need for d1oral bend1marking and for continued d ialogue, considering ù1at man y d1oirs form different countries are confronted wiù1 the same problem s, such as decl ining au diences and music education in sd 1ools. B1·i11gi11g co11mosers back to choral music Bo Holten spoke up for good d1oral composition s: composers generally do no t know how to write for choir s and need to be brou ght back to ù1em. ln order to avoid 75% of first performances being at the same time last performances, a dialogue between mu sicians, composers and audiences is needed. Co11c/11 sio11 Neil Wallace concluded that he was happy with ù1e discussion network ù1at had begun to take shape: the di scuss ions had met w ith great ent hu siasm and obviou sly this meets a hunger for exchanges betw een professional d 1oirs . Th ere fore, he was hoping ù1at someone else would take ù1e initiative to invite their colleagues aga in afte r some time. He aJso repeated that ù1e singers are obviously at ù1e centre of what professionals d1oirs do. He could imagine some common actio n in ù1e field of bend1marking or profiles of professiona l d 1oirs. However, he sb·ongly feels that individual action is o·ucial to bringin g thing s forward. NatUJ'ally, I discus sed w iù1 the participant s ù1e collaboration between amat eurs an d professiona ls, the role of the IFCM and of Unisono, my own organisatio n and its activities, in these discussions . Tt wou ld seem that ù1e short programme of ù1e symp osium and ù1e fact that the meeting had been addre ssed spec ifically to "professional cho irs" we re essentia l in makin g it a success. Needl ess to say that w ith co nc e rts by Cappe lla Amsterdam (Dan ie l Reuss), RIAS Kamme rchor (Parkman), the Latvian Rad io Cho ir (Kjava and Putn ins), the Netherland s Chamb er Choir , the Dutd1 Radio Choir (Ed Spanjaard) , th e Ta llis Scholar s, SWR Vokale nsem ble Stuttgart, Orlando Con so rt and Gesualdo Conso rt and Harlem Gospe l 01 oir as well as a communi ty project invo lving 250 amateur s, Haarl em was also a voca l paradise for several da ys.

Jeroe11Sc/1rij11er , Director of U11i so11 0, tlle 011tc/1 Music Ce11h ·e(sclll'ij11 e1@m11nte1m1111 ziek.11/)

Copyright © 2003 by the lntcmational f cdcration for Choral Music

CHORAL WORLD N The Freedom to Sing .. . A Workshop in Vilnius, Lithuan ia, with the professional choir Jauna Muzika directed by Gary Graden, from Sweden in March 2003

Report by Joy Hill pro lific composer him self, is about to have two pieces, Hy11111 fo St. Mnrfi11 and Psa/111139 recorded by the Swedish Radio 01oir. Th e Swedis h mu sic performed in th e work shop s wa s new to the choir and the many choral cond uctors and singers who attended. Intere sting ly, th e majority of th e members of the d,oir were in fact choral directors themselves, ha ving tra in ed at th e conservatoi re in Vilniu s. The rep e rtoire used explored acoustics of choral sou nd and related ideas of impro visatio n and the concept of new n ess in liv e performance. Gary Grad en's profound mu sical integ rity, his passion to give new mu sic a chance and hi s art as a great conductor encompa ss the ability to be able to enter into a two-way dialogue w ith choirs which relates Steve Dobrogosz , Vaclovas Auguslinas (cond . of Jauna Muzika), to m usical performan ce, · Gary Graden and the emotional and intellectual effect of mu sic. cess, to gain better und er-sta nd ing of the As a conseq uence, the mu sical experience of lives an d cultur es of people overseas, and on both the singers and the audi ence is enhan ced durin g rehea rsals and pe rformances. I their re turn , th e ir ex p erti se is e nhanced that greatly as is their effectiveness at work and in di s cove re d many d e legates their contribution to the community. were more fam iliar I chose to investiga te the pro cess of d,oral ed ucati on in Sweden as, like man y mu si- w ith a m ore aut horiappro ac h cians, I w as aware of the stron g influence of ta ri an the Swe di sh chora l cultur e intern at iona lly, whic h, th ey sug ges ted, might stem p arti cular ly th ro ugh the work of th e great from th e time s beicon of d1oral educ ation, Eric Ericson. My growin g in terest in Swedish repertoi- fore indepe nd ence, re the n led to an oppo rtunit y to v is it w hen one wa s told Lithuania where Gary Graden, the condu ctor w ha t to think a nd of Th e St. Ja cobs Ch amber choir in n ot enco u ra ge d to Stockholm, was to work with the professio- d eve lop id eas and na l d1oir, Jauna Mu zika on a progra mme of to influence the way Swed ish repe rtoire. Prev ious condu ctors of other s migh t think. these, now yearly, wor kshops with this outs - H oweve r, it mu st be tandin g d , oir have included Friede r Ber nius, sa id that suc!, a We rner Pfaff, Ander s Eby, Simon Hal sey, co nclu s io n is n o t based on a signifi He rm ann Max, Alb ert Hartin ger, Rinaldo Alessa nd rini , Ira Sp aul d ing and Johann es cant sa mple of responses, but is merePrinz . ly the result of some The mu s ic u sed included works by Ingva r Lidho lm, Michae l Walenby , And ers personal, bu t profound, conversations. 1 was given th e opportu ni ty to spe nd Hi ll b o rg, Jan Sa nd s triim and Steve Dobrogosz, an d Bo Han sson and some sp iri- time with stud ents in the conducting classes tu als. Swed ish repertoil·e is not new to the at the Academy and Conservatoi re in Vilniu s and had the d1ance to carry out some intercho ir, as th e ir con ductor, Vaclovas Augustinas explained to me: "ln the chora l views w ith the student s regar din g their poscondu cting cour se at th e conserva toire we sible feelin gs of cultural ide ntily in relation to study the meth od of Eric Ericso n an d th e singing Lithu anian songs. The stude nts said cho ral wr itin g co ur se u ses ex ampl es of that they felt that, through d,ora l music, they Swe d is h repertoi re . Conseq ue ntl y, the were able to expe rience a il mu sic, an d that, Swed ish influ e nce is stron g." Vaclovas, a perhaps since independence in 1991, the ir

u rin g 2002/3, I was awarde d a Churchill Fellowship for choral music which gave me the privi lege of being able to meet a nd obse r ve others working in d,ora l mu sic, ou tside my own country. The Fellows hip scheme was created as a legacy to Sir Winston Churchi ll: to enable men and wo men to acquire know ledge and experience abroad, and in the pro-




Co pyrig ht © 2003 by the International Fcdcration for Chor;ll Music

own mus ic was no longer so strong ly related to their feelings of cultural identity. The next day, however, a stud e nt told me in a seminar that she had thoug ht furth er about our conversations and tha t now she be lieved that she unde rstood what singing mu sic and its re lated feelings of identity meant to her. She recalled her earliest m usical memory as a chi ld when one day a t sc h ool, as she h ad started to sing a Lithuanian song, her moù, er, a teacher in the Kindergarten, had p laced her hand ve ry tightly over h er mouth. Sing ing in Lithuanian was of cour se forbidden und er the Soviet regin,e and her mother had had to teach them secre tly to her. If the song had been overhea rd, her moù, er wo uld have lost ù1e right to ever work again. Only the evening before, she had spoken with her moth er of Ùlis time and her moù,er had wept. The pain is still felt so strong ly. During further conversations and during seminars at the conservato ire, w hid, considered the phenomenon of singing and its power to communica te, ù,e mu sic stud ents ackno w ledged the fact that mu sic lea rnt in childhood really doe s sow the seeds of futu re feelings toward s mu sic. Tim e was the n spent reflecting on our respons ibility as musicians to crea te choral music programm es

Gary Graden directing Jauna Muzika

for you ng peop le a nd the d,alle nge brou ght about by ow· total freedom to choose d,o ral repertoire. Fol.lowing my time with these student s, I wa s invit ed to visit th e Schoo l of Sac red Music u, Kauna s whid, was formed in 1991 by Nijole Jautakiene, after Liùm ania becam e ind epe nd e nt following th e de mi se of th e former Soviet Union and Communi st regime. T he school curr entl y has 200 pupil s aged from 7-20 com ing to the school every after-

I nternational Chora l Bulletin - October 2003


no on to study mu sic and in particular , to have the chance to sing. Thisschool fulfilled the deepest dreams of Mrs. Jautakien e who had formerly created a girls' choir, Pastoral, in her desire to iniluenœ the value system of girls surrounded by atheistic propaganda wlùch submerged ail of Lithuania und er the Soviet regime. I found the school to be full of vibrant stude nt s who seem to get the greatest pleasure out of singing to visitors likeme! At the end of the week, after workshops each day , Jaun a Muzika, under Gary Graden and acco mpanied by Steve Dobrogosz in lùs Mass, performed a remar-

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kable concert. To be s ingi n g a Swe di sh pray er, Med mitt oga se and Gospe l Music such as Lord l'm Free by Steve Dobrogosz , served for me as a poignant remind er that, just 12 years ago under the old regime, the sing ing of sucl1 mus ic would have bee n a puni shable act. The significance of thi s see med reflected in the response of the audience in the way they embr aced the whole concert with particuJar warmth and a strong of celebration. As a mus ician who has generally been able to choose repe rtoir e free ly, my time with these singers and conductors, many of w hom have become mu sicians despite the fact that they were, as they refer to themselves, a lost generation during the Soviet regime, ha s proved to be one of the mo st profound mus ica l an d emot io nal ex p eriences of my life. JoyHill , Choraldirector,The RoyalCollege

of M11sic, J1111i or Departm ent and Senior Lect11rer in Mu sic and Mu sic Ed11cation, University of S11rrey Roehampton, Great Britain. Awarded Sir Winston Ch11r chill Travel Fel/owshipfor ChoralMusic, 2002/2003

News from the choral singing scene in France Jutta Tagger he French chora l singing scene is changing, and audiences are ap preciating choral singing more and more. Evidence for thi s development is the first Vocal Art Biennale which took place at the Cité de la Mu sique in Paris from 2 8 Jun e 2003 at the instigat ion of Laurence Equilbe y, conductor of the Accen tu s chamb er choir and art istic direct or of the Choir of th e Or ches tr e de Pari s, among other s . Eighte en int ernationally know n choir s from Franc e and ab road gave 24 top-quality concerts with a wide reper toire. There was a m as ter- clas s for conductor s and futur e s in g e rs (directed b y Anders Eby, Professe r of Con duc ting at the University of Stockh olm, and Daniel Reu ss, Musical Dir ec tor of Cappella Am s terd am a nd RIAS Kamm e r chor, Berlin). lndi vidu al and public cond ucting courses, pub lic rehearsa ls and audition s, lectur es and mu ch more com pleted the even t, which had bee n modelled along the lines of the IFCM world chora l sy mp os ia. The closing conce rt, in pa rh cular th e seco nd part , performed by the Eric Ericson Kamm e rk o r und er th e bat on of Er ic Ericso n himself, was one of those rare moment s whi ch made cold shiver s run down your sp ine. An unfor get table expe rience ! But things are not impro v ing ju st at thi s sem i-official leve l. For instance: • The amate ur ch oral movement A Cœur Joie w ith its 40,000 Fren ch-spea kin g singers ail ove r the world (including 17,000 in France) has taken a new lease of life, sp urr ed on by its new Execu tive. The quality of the singers is impr ov ing cons idera bly, and the movement is opening up to th e outs id e wor ld . A national choir was crea ted a few years ago. ( • A Fre n ch In st itu te of C h o ral A rt (IFAC) was created in 2000. lts objectives are to become a "forum for obse rvation and analysis, for researc h and reflect ion, for meeting s, exchanges a nd coope rati on and a reso u rce ce ntr e access ibl e to ail ". ( www • Off ici a l r eg iona l organ isat io n s ("Missions Voix", or Centres polyphoniqu es), childr en's choir s (maîtrises) and voca l ensemb les are being created ail over France and are ass umin g an increas ingly siq11!franimportant role. (Info: www.cite-11111 caisli11fo_do clci111 dllnetier-chef choe11r.hti11 • A traini ng cenh·e for young singer s ha s been o·eated in Paris and has just successfully


Interna tio nal Ch o ral Bulletin • Octobe r 2003

completed its first year. (cf. icb, vol. XXII,n° 4, July 2002) (leje1111 ec/1oe11rd eparis@wm1a • A grow ing numb er of composers w ish to write for choirs . • Choral conducting is becom in g more professional. • Course s and wo rkshops are taking place ail over Fran ce. Ali tho se involved realise tha t they are pursuing th e same objective, wh ich is to make the chora l art better kn ow n and ap precia ted by a large n umber of peop le, and to raise the qua lity of cl1oral sin ging. Anta goni sm s betwee n amate ur and professional secto rs are rap idly disappear ing for the great er good of cl1oral art. PS : La11re11ceEq11ilbey /,as bec11awarded the Grn11d Prix dof lite l11t ematio11a/MusicalPress (IMP)for 2003.

International Festival in Powell Ri ve,; BC, CANADA

1®u~m11❖ rn,na _ July 6 - 10 _

Join choirs from arou nd the world 'in 20 concerts, seminars, common singing, social events and competitions on the shores of Canada's magnificent Paci fic Coast.

Guest Artists & Int ernational Jury Exte11sio11Tours available July 11 • 17 K.athaumixw is known worldwidefo r ils f riendly musical almosph ere and ils beauliful nalural seuing. APPLICATION DEADLINE : November 1, Z003


Kathaumi xw Singing Week June 28 • July 2, 2004

~ PowellRiverAcademyof Music +1 604 485 9633

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CHORAL WORLD N First Choral Music Forum A Milestone for the Swiss Choral Movement Hasliberg, 13-22 July 2003 Press Release

Schweizerische Fôderatio n Fédérati on Sui sse Federazione Svizzera Associaziun Svizra

Michael Gohl


or th e first time in Switzerland, about 20 exh ibitor s and delegates from Swiss training institute s and chora l associations met on 12/ 13 July for a "Chora l Music Forum". The occasion was the begi nning of the rehea rsa l pe riod of the World Youth Choir (WYC) at th e Ecole d'H11111n11ilé on th e Ha sl iberg in the Berner Oberland. Its cen tral theme was the coordination of chora l tr a inin g, the promotion of childr en's and yo u th cho irs as well as the need to improve and strengthen the all-Sw iss cooperation in th e field of choral mu s ic in ge nera l. The experts agree d that in future, all-Swiss sympos ia on choral music sho uld take pla ce on a regular basis. Jt was also planned to establish a regular chi ldre n's and yout h chora l festival. The forum was organ ised by and at the initi at ive of Michael Gohl (IFCM Adv isor and member of the World Youth Choir Committ ee ) who also organised the su mmer 2003 sess ion of the World Youth Choir in Sw itze rland. Th e discuss ion forum was spo nsored by the Swiss Europa Cantat Federation , the Musikhochsd1 ulen (music universitie s) of Lu ce rn e and Winterthur-Zurich, the Conserva toire de S ion and the Swiss Associat ion of Professional Conductors. O ther participants were representatives fro m th e Sw iss reg ional church assoc iations, conductors' assoc iati ons, A Coeur Joie Suisse and other orga nisat ions active in Swiss choral life. The const ru ctive and action-oriented discuss ions show ed the importance of having more sucl1 cho ral mu sic forum s . For future meetin gs, mo re persons and organ i-



sat ions should be encou raged to take part in order to deal w ith the press ing subjects in more depth and in a larger circle. In addition, the forum decided to arrange for a Swiss children's and yo uth chora l fest ival to take place on a regu lar basis and se lected a project group for this. Inspiring choral conductors - sho wing the way for those in charge of training institutions and choral associations An essential part of this forum was the two-day -lon g further education opportunit y. More than 50 choral conductors from ail over Switzerland, so me of th em we llknown, took part in th e st ud y tour and works hop s directed by Beat Schafer (Musikhochsd1ule Winterthur-Zurich) and Andr é Ducr et (Con servato ire de Sion). Ali the participants considered that the attendance at WYC rehearsals, the observation and assessment of chora l conducting work as we ll as the discussions with the conductor s of the World Youth Choir, Maria Guinand and Johannes Prinz, were an insp iring way of providing further educat ion, and many wished there to be more such eve nts. The mu s ical cl im ax of the event was the s ing in g by a il pa rti cipa nt s toget her with the Wor ld Youth Choir. In o rd er to make the presence of yo un g singers from 35 count ries beneficia l to normal Sw iss choirs and choral co ndu cto rs, M ichael Go hl publi shed a "WYC Songbook 2003" for the occasion w ith 28 choral arrangements sent in from WYC parti cipants from l 9 count ries. The hospitality of the Ecole d'H11111n11it é and the idyllic locatio n in this

Copyrig ht © 2003 by the lnt crnat"ionalFcdcr,,tion for Choral Music



mountainous land scape also contr ibut ed to the success of the foru m. Micl,ael Go/,/ (IFCM Arlvisor m1rl 111 e111ber of t/1eWorlrl Youth Choir Co111111ittee) (

Robert Edler Preis 2003 The 2003 Robert Edler Prize for Choral Music goes to Stephen Leek from Austra lia. He was awarded th e prize for the comp lete range of his art istic wor k, but above ail for his activ ities as a composer. His compositions have had a decisive influenc e on the music scene in Australia. Leek has combined in a un ique way various e lem ents and the me s from Aus tralia und er the influen ce of Aboriginal music to create a multi-facetted, modern and impressive sou nd expe rience . The enormous range of his works includ e ail age levels and ted1nical capabilities and put him on a level with sucl1 names as Orff, Br it ten and Maxwe ll Davies . Leek is also we ll known for his involvement in musical education and for his successf ul work as the cond uctor of the choir ,,The Australian Voi ces", wh ich enjoys an excelle nt int ernational reputation. Congratulations! For more info rmat ion about the prize, p lease go to www.111orl11111sic.rle

Intern ational Ch oral Bu lletin - Octoùcr 2003


The Symphony Chorus , Bridging to the 21 s~ Century Kathy Saltzman Romey n Febru ary 2003, the profe ssiona l organiz ation of Ch orus America release d a new publ ication ent itled "Am eri ca ' s Performin g Art: A Stud y of Choru ses, Chor al Singers, and their Impact ". The research indicat ed "chora l sing ing is the top choice for par ticipation in the perform ing art s by adult s a nd chi ldr en, w ith an estimated 28.5 milli on regu larly performin g in a choru s." The stu dy focused on public attitud e, p ar ticipation , motiv atio ns and behaviors of peo ple invo lved in choral orga ni za ti o ns n at io nw ide . Of so m e 250,00 0 American choru ses, approxim ately 12,000 are pr ofess iona l or vo lunteer comm uni ty grou ps, ove r 38,000 are sch ool ense mbles, and 200,000 are chur ch choirs. John D . Sparks fr om th e A mer ica n Sym ph o n y O rchest r a Le ag u e s tates, "C hora l sing ing - because of its emotional cont en t, its disci plin e, and its requir ement for perso na! int erpr etat ion and communi ca tio n - h as a un iqu e ro le to pl ay in an edu cat ion sys tem that seeks to benefit both the indi v idu al and so ciety." [From The Voice: Spr ing 2003]. Cho ru s Ame rica execut ive dir ector Ann Meier Baker also indicates that "C ho ruses are a big part of enriching communi ty life and cultu re in cities a nd towns of ail sizes ac ros s the co u ntry .... and p rov id e ed u cation pr og rams that reach acro ss ail seg ments of the popu latio n ." What imp licat io n d oes thi s have fo r th e sy mphon ie choru s? In the Jul y 2003 iss ue of the Int e rna tional Choral Bulletin, Sim on Tipp ing ad dr essed the chal lenges fac ing large r ch ora l organ iza tions in th e 21s t cent ur y . As art is tic dir ec tor of th e 200-voice Minn es o ta C h o ra le, I h ave s tru gg led w ith my s taff to fin d creat ive ways for our choru s to increa se its reach and scope beyo nd the tradit iona l repertoi re, au diences and concert stage . Now in its 31st seaso n, the Minne so ta Chora le is the p rincip le sy m phonie chorus in Minneso ta . D istingu ished by its cap acity to perfo rm in ense mbl es rang ing from 20 to 200 vo ices, the Chora le is most w idely know n for its chora l-orchestra l collaborat ions w ith the M innesota Orchest ra and The Saint Paul Chamb er Orc hestra. While the Chora le's p rimary focus is to be a chora l res our ce to these two orches tra s, the overarch ing mi ss ion is to reac h a bro ad commu n.ity of audiences by perform ing an ever -w iden ing reperto ry o f d1oral mu sic, and to celebrate the huma n vo ice and its power to edu ca te, enr ich, uni te, and inspire. To thi s end, the Chorale has cleve lope d thr ee program s, which au gment the sy mp hon ie perform ance activities of the organizat ion. While these efforts are defined


as "com mun ity ou treac h ", in reality th e pro grams are also very mu ch "d1oral inr each ", in ter m s of offerin g th e s in ge r memb ers hip oppo rtunit ies to explore a diverse bod y of repertoire, gain new ins ight into mu sic, and enga ge in uniqu e arti stic partn erships.

Bridgesâ&#x201E;˘ The Minn eso ta Chor ale' s BridgesTMprogram is an annu al eve nt focusing on artistic collaborat ions, w hich seek to overco me cul tural , econ omi c, and generati onal barriers of today's world by build ing mu sical and social b rid ges w ithin the comm unity. Each pro gram engages the Chor ale in an ex ten de d artis tic pa rtnersh ip, w h ich culmin ates in ed ucation activiti es and a final performance. The repertoire is dete rmined by the par tnership and often is accomp anied by piano, orga n or a cham ber instr ument al ense mb le. Performan ce sites are linked to the partnership s an d communi ties involved in eac h project. Bridges partners have inclu de d the local Ru ssian commun ity (A R11 ssin11Nig!tt), Jew ish and Chr istian commu n.ities (Service of Rc111 e111brn11 ce n11dPence), and the Tw in Cities' Afr ica n-Amer ican comm uni ty (an 18-mo nth communi ty / ch ur ch choir pa rtnersh ip fea tur ing a s in g-a long co nce rt Lift Every Voice, and a mu lti-choir concert en titl ed God's Tro111bo11 es). Th e 1999-00 BridgesTMp rogram reco nnected past bridg ing com mun ities in a p rogra m ent itled Music & Meditntio11 s : A Pence Co11cer t for the Mi l/e1rniu111. In 2000 -01, th e M inn eso ta Chora le focused on ch ild ren, and commi ssioned composer Janika Vande rvelde and wr ite r Jud y McG uir e to w rite a "c horal s torybook" ca lled Adv e11tures of the Black Dot': The lsln11d of Mu sic. The 2001-02 Bridgesrn se ries reun ited the Chora le w ith Yene z u elan co lleagues from the 2000 Amer ica Cantat Fes tiva l in Nor//, Meets 5011th: A Celebrntio11of the A 111ericns!, a week-long collaborat ion feat ur ing five vis iting Venezue lan mu s icians, ten Tw in C ities ' sc h o o ls-e le m en tary th roug h co lle ge-a n d th e Tw in Cities' Lat in Ame rican com m unity. ln 2002-03, th e Bridges r.11 p rogram featu red an expanded version of Yanderve ld e's 2001 Ad venture s d of M11sic. The of the 8/nck Dot: The lsln11 2003-04 Bridges ' pre sent ation w ill feat ur e T'a i Chi ma ste r Al Huang Chu ngliang and intern ationa lly renow ned pipa play er Gao H ong in M11sicnl Chi : East -W est Co11verg e11ces.

Full Voice Education Program Now in its 10th yea r of par lnering w ith selected St . Pau l and M inn eapo lis p ub lic

l rHL'rnritionnlCh ornl Bulletin â&#x20AC;˘ Octobc r 2003

schools, the Minnesot a Ch ora le's Full Voice Edu cati on Pro gram is noted for its effective matc h in g of s tud e nt n eeds w ith Choral e reso ur ces and for dr amatic result s in impro ving the vocal artistry, skill leve l, and mot ivati o n of stud e n ts in p ar tne r school s . The program is cus tom-d esigned to me et the uniqu e nee ds of the stud ents and teac hers in ea ch par tner sch oo l; the scho ols selected have es pecially limited resour ces. The program has tw o key comp on en ts: Tire A rt is t Re s iden cy Prog ram bri ngs Min neso ta Ch ora le memb er s on month ly vis its to parti cipating sch ools to work w ith choirs on ted 1n.ical proficiencies such as ensemb le soun d and voca l produ ction, p rov ide ind ivid ualized voca l lesso ns, help pre pare the ens em bles for state compe titions, and provide pos itive role-modeli ng in th e fie ld of mu s ic. Tire Op en R elrearsal Excursion - CDs, comp ose r biographi es, and pro gram notes p rov ide the b as is fo r mu lti -di sc ip li n a ry s tud y o f a large-scale choral wo rk, culminat ing in attend ance at an ope n rehear sal of the wo rk w ith the Minneso ta Chora le.

lnChoirrMAdult Education Series lHClr o ir is a n educat io n se ri e s fo r ad u lts, w hich b rings par ticipa nts into the chorus to experience the creat ive process up -close, illumin atin g mu s ic and wor ds in a 360 d eg ree enco u n ter w ith the wo rld ' s fines t cho ral mu sic. Each sess ion is buil t aro un d an eveni n g rehearsa l of th e Min ne so ta Ch orale prepar ing repe rto ire for an upco mi ng pro g r am w ith the Minneso ta Or chestra. As an add itional bonus, participa nts are inv ited to atte nd the final d ress rehea rsa l o f the work w ith the orchest ra, and are prov ided access to discoun ted concert ticket s. ln its inau gur al seas o n, 1nChoi r feat u r ed th ree e x periences: l11Cl1o ir-- 0 11 Scree 11! Se r ge i Prokofiev's Alexa nder Nev sky, in Ru ssian and Latin, was or igina lly the score for an epic Soviet film [1938] of the same name. Participa nts ga ined an insider's pers pective o n thi s h isto ri e co llabo r ati on be tween Prokofi ev a nd film di rector Se rge i Eise nstein , see ing and hear ing exce rp ts from the film and the score as illu minated by Dr. John Mow itt, profes so r of compara tive lite ra ture at th e Un ive rs ity of M innesota. fo Cl1oir--011 C11 e ! Particip ants joined th e C h o ra le in s in g -al o n g of Fe li x Mend elsso hn's beloved o rator io Elijah. Dr. Marian Dolan from Candler Sch oo l of Th eo logy at Emor y Univ ersity se rved as mod e rat or, illumin ating Me nd elsso hn 's ma s terfu l p o rtra it of th e grea t Bib lica l

Copyr ight Š 2003 by lhc Internat iona l Federatio n fo r Chor:il Mus ic

AL prophet an d its relevance to pres ent-day concerns. InCl,oir--On Stag e! Particip ants observed the Chorale work wi th four young conductors on the podium in terpret ing Part I of Gu stav Ma hl e r' s monum ent al Sy111p/ro 11 y No. 8. The experie nce so ught to demys tify the process of prepar ing the sy mphoni e chorus - th at int ense but usuall y inv isible labor w hi ch resul ts in po lished concert performances . Choir s arou nd the world are effectively reaching out throu gh a my riad of crea tive programs, w hich use music as a tool for commu ni ty building, ed uc at ion and social change. The programs pr ofiled in this articl e are ju st a sma ll samp lin g of possi ble ways to updat e and conn ect the ag ing sy m ph onie ch orus to the grea ter co mmunit y . As condu ctor s and educato rs, we need to e ngage in a dialog u e aro und the globe that continues to examine the role of d1oral art in an ever-c hanging so cie ty. The la te A meri ca n co ndu ctor Robert Shaw stated "In these times of political, econo mic, and per sona! d isintegration, mu sic is not a luxury, it is a necessi ty: not simpl y bec au se it is therape uti c, no r becau se it is the uni versa l langua ge, bu t because it is th e per s iste nt focus of our int e lli ge nce, asp ir a ti on and goo d w ill." Kat/ry Sa lt z man R om ey (biogrnphical note cf. C6rrloba Interview)

Are you and your choir planning to came to France in the summer of 2004? The 18th Choralies invite you to perlorm one or more concerts between 2 and 11 August 2004 at Vaison-laRomaine (Provence) . If you are interested , please send a curriculum vitae and an audio recordmg to: A Coeur Joie, Brigitte Segado 24 avenue Joannès Masset BP 9261 F 69264 LYON Cedex 09 Tel: +33-4-72198342 Fax: +334-78434398 E-mail: acj.france


A choral conducting diploma in Mexico Voce in Tempore, A.C. - Continuous Education 2003

Ana Patricia Carbajal C6rdoba e feel th at it is a challenge to make cult ur e a synt hesis that pr omotes human virtues and thereby becomes a mea ns for int eg ration and dev elopment. If we sta rt from the fact that the arts reflect ways of perceiving and feeling, music in part icular can revea l the cultu re of a specif ic peop le throu gh manifestations that are based on traditi ons . According to Curt Sad 1s (1962): "We ca1111o t escapefrom tire cult11retirai we /rave b11ilt011rse lves".










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Cho ral s ingin g has specific q ualiti es which promote, wit hin the indi v idu als who prac tice it, a sense of un ity that goes beyo nd eco nom ic, po litica l and religiou s inter es ts. Throu g h th is ac ti v ity, we can bui ld expe rience s that give us mea nin g, based on dignity and res pect. To ach ieve a p os iti ve res ul t, we mu s t take into account the fact that in any collective ac tivity, it is necessary to have a-lea der capable of uniti ng eve ryo ne's efforts so as to reac h a common de stin ation. Thu s this activity req u ires condu ctors (male or female) w ho can interact w ith choral singers, contri bute th eir know ledge and ge nerate an atmosp here w here it is p oss ible to share joi nt potent ials. There are few sd 1ools offeri ng stud ies in chora l conduct in g in Mexico. Sometime s var ious public and private instituti ons organi ze courses , bu t they are not suff icie nt to train the people w ho eith er wis h to create a choir or who are already facing the cha lle nge of con du ctin g one w ithout the neces sary too ls to perfo rm job adequate ly. At pr esent, chora l activity in Mexico is g row ing . We are awa re that th e artistic qua lity cou ld be improved by means of an academic stru ctu re w hich is brou gh t upto -date and made compat ib le wit h the needs of aest hetic expression. We con s ide r it of vita l importa nce to pay atten tion, in an organi ze d way , to the acad em ic h·aining of new d1oir condu ctors

Copyri ght © 2003 by the Interna tiona l Fcdcration for Chora l Music

and to create a pla ce where tho sc already co ndu cting can confr ont th eir ideas and know ledge so as to grow and consequent ly to im prove the artis tic level in the cho ral field . We must not forge t that choral activity is an artistic option that needs we ll-trained human bei ngs, capable of lead ing projec ts wh ich will gather perso ns toget he r and arrive at a sound result, work ing wit h sensitive people who will in turn, toge ther with the conductor, make the comm itm ent to wo rk as a team , thu s y ield ing collect ive grow th and the mu s ica l develop ment of our count ry. Yoce in Tempore, A.C. has created, toget her w ith specia lize d profe ssors, a Choir Conduc ting D iploma, w ith the objective of ga theri ng those people int erested in extend ing the cho ral move ment in Mex ico by improving th eir own attitudes, abi lities an d know ledge, so th at th ey ca n create and conduct a choir at a high leve l qua lity. The chora l cond ucting d iploma is regis tered w ith t he Conse jo de Normalizaci6n y Ce rtifi caci6 n d e Compete n cia Laboral (CONOCER), the Stand ardization and Certification Counc il for Technical Comp etence, as a centr e for setting up and disp ensing courses. Official registration is pendi ng. With this dip loma we expect to contri bu te to th e choral develop ment of ou r countr y, in a joint effor t with other institution s. We wou ld like to express ou r dee pest gra titude to those professo rs w hose expe rience, know ledge and int eres t have helped this dream to become a rea lity: Ma . Felicia Pérez (cond u ctor of the EXAUDI C h ambre Cho ir, Cuba); M ike Brewe r (cond u cto r of the Brit is h Youth Cho ir); Erkk i Poh jo la (fo u nde r of the Tapio la Choir, Finla nd); Lour de s Ambrfz (sopran o, Mexico) ; Lu is Lun a an d Edua r do D iazmufioz (orc he st ra l conducto r s, Mexico). Also, we apprecia te the teach ing staff: Aurelio Tello (mus icologis t); Pat ricia Mora les (ch oir cond u ctor); Jorge Pérez (d1oir cond uctor); Victor Lun a (singer and cond uctor); Co ry Dedena (cond ucto r and mu sical pedago gue); an d Ethe l Go nzalez (conduc tor) .

Ana Patricia Carbajal C6rrlovn, President, Voce in Tempore, A .C. www.voce intempor info (Tm11s/. Mnrceln Grob et, M ex ico)

l nlcrna lional Ch oral Bullclin • Üclobcr 2003


The World of Children's and Youth Choirs


11is Mastery>) Wilma ten Wolde

ometimes an arti stic performanc e is experience d w ith such intensity, that one cannot help hav ing one' s br ea th tak en away. The perform er casts su ch a vigoro us spell up on his audience that their breat h is literally made to flow along w ith his . It was thi s sensa tion that I felt recently at a rehear sal weekend of the N eth e rland s National Ch ildren' s Choir. lt was a Saturd ay night , and we had been rehea rsing ail day . The youngest childr en h ad go ne to bed and the older choris ters had gat hered on the floor, singing old reper toi re. I was in the back of th e ha ll, -......... read in g a n d takin g a rest fr om a hard day's work. A t one moment, one o f th e chori sters su ggested si n gin g the choral part fr o m Prok of iev's Iva11the Terrible. Without any d isc uss ion what soever, th e childr en spo nt aneo usly regrouped int o a perfect circle, as if so met hin g spec ial was about to begin. One gave the first chord and away the y we nt: Predm1y 111 y est' 111y 11y11 e v rnki vladyk bezzako1111yk'1 (Al the 111 ercy of lawless tyra11ts).The a ca pp ella piece rang out th ree times, wit hout help from a cond u ctor! It was ind escribably beautiful. Perfect ly in tun e and in tim e, bu t, more imp ress ive even than that, w ith an intense under standing of the text and the music. It was a deep rem iniscence of some kind that was at the sa me time aud ible, visible and sensitive. At the time I could hardly imagine anyt hin g more bea utiful. Lat er, w hen I came to mu se up on this expe rience, I wo ndered w hy it was that children can di splay s uch enthu sia s m, inten s it y of emot ions and mu sical feeling. First ly, I am co nvin ce d tha t sin g ing und er g rea t mu sic ians like Rostro p ov ich greatly enha nces the childr en's mu sical deve lopme n t. H e is abl e to di g deep into both the mu s ic and the chi ld ren's mind s and fee lin gs. Working with him - o n a br illiant piece of music too! - is an experi ence never to be forgotte n. Moreover, sing ing toget her w ith peers who share the sa me pa ss ion is a trul y lib era ting sensa tion. The safety of the gro up put s the childre n compl ete ly at ease and they feel free to make music from their hea rts. Ho weve r importa nt the qual ity of the condu cto r, the mu sic and the group, they are by no means the only things that make u p the richn ess of musica l interpr etat ion. ln fact, it is first and foremost the m us ica l sk ills of the chori sters th at matter. Much of th e effort invo lved in lea rnin g tho se s kills cornes from the childr en thems elves, wi th the he lp of course of qua lified teachers and conducto rs. As soo n as a chil d has pa ssed his or her aud itio ns and been accepted as a cho-


Netherlands ' Children 's Choir

rister in the Netherland s Childr en's Choir, the edu cat io n starts. lt consists of voca l tra inin g, sight-read ing, so lfège, reperto ire s tudy, ensemb le singing and theory of mu sic. Specia l attentio n is paid to the develop ment of the child 's mu s ica l im ag ination , which I cons ider th e ba sic mus ica l sk ill from w hich ail others flow natu rally. Sigh t-reading is taught thro u gh sin ging on relat ive note name s (do-re-m i) rather than absolute ones (c-d-e). This so-called so lmi sa tion meth od h as prove d to be by far th e most effec tiv e method with chi ldren, ow ing to its tonal tran sparency. For instance, the to nie, thi rd and dominant are always referr ed to as do, 111i,sol in major key s and as la, do, 111i in m in or key s . Because this met hod teaches chi ldren to io11s,it is very useful at th ink in tona l f1111ct ai l lev els of educa tion , for talented and less g ifted childr en al ike . Chi ldren wit h pe rfect pitd1 are less like ly to simply jump to the right pit ch, bu t are made awa re of the rela tive di s tances betw ee n tone s. On the other hand, "groane rs" (childr en who

International Ch oral Bulletin - October 2003

have difficulty find ing the righ t pitch) find it helpful to have a tonal grid to rely on. ln eit her case so lmi sa tion helps childr en to qui ckly achieve a sense of tonal structur e and musical phrasing, w hich in turn enriche s their mu sical performance and un der s tand i n g of th e mu s ic as a who le. Rathe r tha n stumblin g throu gh a new piece of mu sic no te by note, the chi ldren can star t singing right away and do so with a sens e of di rection and goal. And isn't that what ma king mu sic is ail about? As we have see n, solm isa tion enab les childr en to really ma ke mu s ic from th e very sta rt. Over tim e the y wi ll beco m e more and mo re fluent in the langu age of mu sic and almost effort lessly grasp theoretica l not ions too (major and m inor keys, modal scales, accidentais, chords an d har moni s at ion) . lt is o f great importan ce, though, tha t the met hod is pra ctised accordin g to a we ll-def ined plan of pedagogically se nsible s tep s. If that is the case, al/ childr en (even less talented on es ) wi ll be ab le to achieve remarkable resu lts .

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The World of Children's and Youth Choirs

Moreover, it is not only their general mu sical skills that will develop, but their voca l skiUs too. Because the childr en have been trained to grasp mu sical stru ctur es, lega to singing - th e very ba sis of healthy vocal development - cornes naturally to them. Most of the sigh t-reading work is clone individua lly at home. Once the children are aware of wh at it mean s to "sing with under standing", practising at home will prove no problem but will even feel like an ointm ent for the voice. Learning the trade of sin gin g is not like a toug h cycle ride through wind and rain wit h a war m shelter miles away, but a tour of exp lora tion starting ri ght at h ome and offer in g the most splendid discoveries along the way. The ultim a te goa l of the method is to attain musical ind epe nd ence, enab ling children to "read" a new piece of mu sic and perform it together on the spot. To a large extent so lfège training is like teac hi ng them to read : both aim at brin ging p ieces of art - whether it be mu sical or literary withi n a chil d's reach, so that he or she no longer need s the help of others to enjoy it. If this is achieved, a ho st of new challenges unfold s: • shar ing the joy of makin g mu sic together • helping the voice develop its character

• refinin g interpretative skills bot h musi cally an d textua lly • expressing one self through music • responding properly to any conductor 's instructions • enco uraging musical init iative and responsibility The aim is not to s tud y a piece and si mpl y repro du ce it in the same manner time and again, but to exp lore the music to make it one's own, so that one feels confident enough to let the spur of the mome nt inspire the pe rformance. This way the music will always remain fresh and a joy for the childr en to sing, over and over again .

Wilma te11 Wolde is the nrtistic leader and co11ductor of both tire Nether ln11ds C!,i/dren's Choir n11dthe Netherlm1ds Yout!, Choir. She studied Choral Co11ducti11g n11d Clrurch Music nt The Hague and Rotterdam Co11servntories , n11dt/1eScie11ce of Music nt the U11iversity of Utreclrt. S!,e specinlised i11 the pedngogy of 11111 sicnl n11dvocal educntio11of yo1111gsters and /,as pr1blislredsevernl articles 011the subject. Te11Wolde is the director n11d nrtistic leader of tire Vivn ln M11sicnC/roir Sc/coolwhic/csirefo111rded i111987. She tenc/1es solfège n11de11semblesi11ging nt the Royal i11The Hague. Co11servntory (wi/111nte 11wolde@pln11et.11/)

Tire Netl1e rla11ds Clzildre11's Choir ,

fo1111ded i111989, co11sistsof c/1ildre11from 8-15 from al/ over the Netherlm1ds.They attend music classes in their 11eighbourhoods and gnt/rer for choir relrenrsnl s every mo11th.The choirhns deve/oped a largerepertoireof mostly a cappella works, bot!, sewlnr n11d sacred,from ni/ erns. They give regulnr co11certsn11dradio and te/evisio11perfor111m1ces, n11dhave recorded severa/ CDs. Tire choir hns nlso tnke11part i11productions of tire Royal Co11certgebouw Orchestra, the Rotterdam Phil/,ar111011ic Orchestran11dthe Dutc/1Nntio11nlOpera.

11zeNetl1erln11ds Yout/1Choir wnsfo1111d ed in 1996 as a sequel to the Net herln11ds Childre11'sChoir. 1t co11sislsof you11gwo111e11 betwee1116 n11d25 yenrs of age. The droristers prepnre their scores nt home n11dgnther for choir rehenrsnlsevery 111011th. O11cen yenr n is i11vited for n pnrticulnrchoral gczestco11ductor project (Bo Jolrn11sso11, Harold Lenseli11k, Dn11ie/Reuss, Bo Holten). Ill May 2002 tire youth choirwo11the 1st prize su111111n wm lnr1de i11tiresupreme cntegory of the Europen11 Music . At the music Festival i11Neerpelt (Belgi11m) contes/ Î/1 Tolosa (Spni11)i11November 2002, the choir won the 1st prize for its sew lnr programmen11d211dprizefor ils sncredprogrm11me .



FestivalArtisticDirector Founderand Artistic Directorof the Indianapolis Children'sChoir; Director of Choral Activitiesal Bu~erUniversity; lnternationallyknown specialistand dinician in choral techniques, the child'svoice and the boy's changing voice.


Hawai'i YouthOpera Chorus Nola A. Nëhulu, Artistic Director



July .luly • July

15 - 23, 2003 6 - 14, 2004 12 - 20, 2005

This 9 -day residential program is designed for Advanced Treble Choirs. Limited space is also available for lndependent Directors.


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Wando Gereben, ExecutiveDirector Tel: (808) 595-0233 • Fox: (808) 595-5 129 Email:info@PocRimFes www.PocR imFest

l nlc mali onal Chor al Bullclin • Oc lobcr 2003


new ltali an sty le. Zelenka's music is rigorous, but at the same time has a real melod ic elega nce (whic h can be discovered in the Salve Regi11a2135); he shows continuous inve ntiveness in d ramatic effects and audacious harmon ies (as in the first measure s of the Litm1ia e 2147), and he displays a refined sense of instrumental colours (as shown in the extract s of the Officiu111 deftmctom111 247, w hich make altern ative us e of a shawm, recorders and muted oboes) , The perform ance by Robe rt King and his faithful King's Consort and Choir is worthy of today's best p erform ance standa rd s on ear ly ins truments: acc u ra te temp i, an expre ssiveness that is just little reserved but still prese nt, an almost pe rfect techni cal realisation. With a pinch of temperament and generosity (as Frieder Bernius offers us in that kind of repertoire), the success would be complete (Hyperion 67350). As far as Joh ann Sebast ia n Bach is concerned there has been an important new release: the first recordin g of the complete mu sical ard1ives of the Bach family (publishe d in 1995), re corded by Ko nr ad Jun ghanel and his Cantus Colin ensemb le. It contains severa l cantatas , arias, motets and lamenti whim bea r wilness to the Baroque sacred ar t as it deve loped in Germany during the 17th C., but also to the remarkab le consistency of this prestigious family's inspirational qua lity, amo ng w hom above ail Jo hann Chri sto ph . The performance is br illiant and homoge neous, the polyphonie wo rks are well presented and imp eccably played by the instrumentalists. Sorne of the

soloists are not quite as good, but this is no reason not to discove r such a musica l treasure. (Harmonia mundi HMC 901783.84). In the field of Romantic mu s ic, the Germa n CPO labe l in vites u s to discove r Hermann Goetz (1840-1876), a compos er who passed away in his prime, but who left u s several we ll-writ ten orc hest ral and concertante pieces. There is no doubt that the publication of this album containing three CDs which had already been ava ilable separ ate ly, will contr ibut e to brin ging into the limelight this refined artist who remained faithful to the "classica l" formai mode ls of Beethoven, Mendelssohn, Brahms et al. Of cour se, ail thi s mu sic (concert os for violin, for piano, overtu res, symphonies ... ) is not of equal quality and inspiration, but it revea ls an authentic, generou s and sensit ive Romantic spirit. The success is par ticularly evident in his d1ora l works: Psa/111137 (By the River of Baby/011) and above ail, Nenie on a poem by Sd1iller, whi ch Brahms later also set to music. This later piece deserves unqu estionab ly to enter into the reperto ire of sym phony orchestras and d1oirs (Choir and ord1estra of the NOR of Hanover, conductor Werner Andr eas Albert- CPO 999939-2). Last but not least, Chandos has published a series of recor din gs devoted to the sy mphonie repe rtoire of the 20th C. Among these we find the re-release, in the SACD hybrid for mat, of one of the most beautifu l performances o f Benjamin Britten 's War Requiemconducted by Rid1ard Hi ckox w ith the Lond on Symphony Orchestra and Choir in Olympian form (Chandos CHSA

5007(2)), but also a new CD with rare or unpubl ished wor ks by Serge Prokofiev (2dra v itsa, /11 the Fa/1, Ha111l et, Egyptia11 Nights), rendered w ith convic tion but at times also wi th some excess by Va lery

Poliansky and his d 1oir and ord1estra of the State of Russia (Chandos 10056), and finally a recording of George Dyson' s Quo Vadis (1883-1964), a kind of immense dissertation on the spiritu al status of Man, between marve l a nd mys tici s m. It is Rich ar d Hick ox again who presents this vigorous and exciting int erpr eta tion of this hum anistic oratorio (Chandos 1006(2)). Contact: (j111.111arclrnl@cccbw.co111) (Tm11s.










GermcU1music publisher TONOS and Robe1t Eder's widow have been donatmg the annual Robert Edler Prize, endowed with EURO7.500,-, since 1 999 for outstandng achievements of choral music. This year's winner as been announœd dunng the 8th InternationalChamber ChoirContestin Marktoberdorf, is Australian composer and conductor StephenLeek! He will be presented with the price on the 10th of November in Heilbronn. Previous awardwinners have been Ténu Kaljuste, Maria Guinand, Fiieder Bernius and the World Youth Oioir .

Robert Edler' s complete œuvre (i ncluding t hose as published under the pseudonym Max Orrel) have been published by T O NOS !





More Information about the Robert EdIer Prize at

"" .. ........

td'-h! H


...... ....-, .."' ,.... , ...... ...:

www,tonos-on ljpç.de!

TONOS Musikvel"lagsGmbH H olzhofallee 15 D-64295 Dar mstadt Tel. +49 (0) 61 51 / 39 04-0 Fax 39 04-90 e-mail. mall@t onos-on lin~de




Please call or e-mail us for further information. no s-onlin e. de

"1vm jjiiïiiï

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l ntcrnnlio11,1ICh o r,11Bulletin • Octobcr 2003


Repertoire C"horal · scores with CD recordings Werner Pfaff ustav Mahl er, whose scores are well know n for their elaborate and detailed in struct ions for interpretation, once sa id that every thing could be found in the score, except what was ceaUy important. The statement see ms a il the more easy to concur wit h w hen one looks at present-day "Urtex t" editions of early music or else the many chora l arrangeme nts based on folk song, in wh ich one often enco un ters nothing apart from th e unadulterated musical text (notes, rests, bar lines .. .), not even a tempo indicat ion . Many other question s also remain u nanswered, for ins tance: foreign langua ges as they are pron ounced now adays or, in early music, Latin, as it used to be pronounced in different countries and in diff ere nt histo rical periods; sty list ic ques tions as to articu lation, phrasing, ornamentat ion, intonation or whethe r im provi sed emb ellishments should be added; instrumenta l do ubling of the voca l lines (bot h in scores of early and folk-based music indication of this is often abse nt ); what is the authent ic sound? -- par ticularly d ifficult in the area o f world-music -- for instance mu ch vibrato o r little vibrato, vowe l colour , use of overtones, use of unu sual vocal techn ique s s uch as nasa lity; whet he r the rhythm should be interpreted literally or freely (agogics, "inegali té", compare also jazz rhythm, sw ing, "Jay back" and so on). Today a refere nce recording gives a mu ch clea rer answe r to these and other ques tions than simpl y lookin g at the score. This is why some times a CD is now included with the score, for instance in the case of Ca11tem11s 3, n11lllt emntio 11a l Chora l Co ll ect io11, p ubli sh ed by th e Swed ish Choral Un ion Edition, Stockho lm. Either the CDs, specia lly ma de to accompany the score, are sold as an optio nal extra, for instance in the case of Hodie Christus Na tu s Est I & II , Eu ropean Christmas Carols for equal vo ices, a mix ed-choir pub lication from the Carus publishing house in Stuttgart, similar to Cn11tem11s 3 ment ioned above, or else the pub lishers offer record ings to sup p lement their scores and ind icate in th eir catalogues the wo rks for which a refere nce recor d ing is available. (for instance Ca ru s Edition, Stutt gart) . Usua lly w ith voca l jazz and cross-over the CD cornes out first and then, if we are lucky, the origina l number s are published as sheet music. Such is the case w ith for in s tance The King's Sin gers, Swing l e S i ngers, Singers U nl imited (Gene Puerl ing), Real Group, New York Voices, Oslo Gospel Choir, Th e Ritz, Rare Si lk among other s, publi shed by ed itions sud, as Geh rman s in Stock h olm, Sweden, Walton (Hal Leonard) in the US of A, UNC


Jazz Press, Colorado , USA, Swing le Music Philh armonie Charnber Choir conducted USA or Kikapust Mus ic, Lond on, UK by Tônu Kaljuste, ECM records, Munich , There is only one example in the area Germany, 1999 (, of Negro sp iritual: CDs from Moses order no. ECM 1687. Ho ga n are pub lished by MGH New Veljo Torrni s : Forgotte11 Peoples Orleans, USA and the original numbers by (Unustatud rahvad) 1970-1989, a series of Hal Leonard , Milwaukee, USA as sh eet six cycles: music. • Livo11in11 Heritnge (Liivlaste parandus) South America is a cont inent where it 1970, text: traditi ona l, in Livo nian , is unu sually hard to get hold of sheet muduration 16 minu tes, sic, but th ere is one small praisewort h y • Votic Weddi11gSo11 gs (Vadja polmalaupublis hin g house, namely Ediciones GCC, lud ) 1971, text: traditiona l, in Votic, duBuenos Aires, Argentina , wh ich, as we ll as ration 11 minutes 30 seconds, pub lish ing Sout h Amer ican colonia l ba- • Izlzorin11Epic (Jsu ri Eepos) 1975, text: roque, is spec ia lized in contemporary trad itiona l, in Izhorian, duration 31 Argen tin ea n music , sac red, profane and minu tes 30 seconds, "Mus ica popular". Following the exa mpl e • Ingrin11Eve11i11gs (Inger imaa ôhtud, of various North Amer ican publi sher s, Inkerin illat) 1979, text: traditional, in they have recentl y started supplying thr ee Ing rian-Finni sh dia lect, English, CD chora l recordin gs of works from their durati on 19 minute s, cata logue as "promot ion a l samp les" • Vepsin11Pntl,s (Vepsa rajad) 1983, trad i ( tiona l, in Veps ian, du ration 20 minutes, In spite of my pleas on beh alf of the • Karelin11Desti11y (Karjala saat us) 1986CD recordi ng as a genera l in terpretat ive 89, text: trad itiona l, in Kare lian. aid, particularly in the above-mentioned cases, l'd like to ,_ draw the re ader' s ,lrr=:l;~=ci attention to the poste .:•ro _se, kroo. mi, t;1_t;Oei_ni, u _r.:,a_nf, plu_ too_nf _ U -ffil ~ ?:)LJtLde sible dangers: it can ":li= 7,".'. lead to blind im.ita~~ "l" Ttion and the neglect te _ ra _ se, kroo ml, :.Ltoo_ni u, plu _ too.nt _ \,. rr.i )il ;nl .Jll J e of one's own imagi.1 !, .= nation and analyti cal powers. ,g-~~ In what follows br ~ 'f' 1 would like to te _ rô _ se, krOO ml. tJ., 1 u _ b :-ni, plu_ contribute to this PA l>j!: j!: - '~ -" • ~ J featu re article about lt,_ 1,. scores w ith CD re- ..,... 1ï - f • 1 cord ings a few of ·' my ow n review s of 00 p some excellent rare // o1ccclcrnnrlo record ings for Sh.ct, i r- r-1 r- r- r r 1i .1• r : f / lh/H!ettili1d1) (h) 'S/U ÎCJllyJ mixed cho ir. -~ Ve ljo Torrnis 1 -r 1' i' : ' (born 1930 in Ill ~ _"!". l 'i 1 "i Raun Esto ni a): lll. te'.s.w e _ le _ men_u _ de_go, te.ra . se,kr oo~ mi, tJ LOO 1:1. Needmine (Curs e !,"i..-r 1' "Î on Iron) for 4- to 16Ill vo ice mixed ch oir, 1 tenor, bass and s hamanic drum (Estonian), 1972, duration 10 minute s, publish ed by Fenn ica Gehrman, He ls inki , Finl and (formerly by Warner Chappe !! Music, Finland). ~ Reference recorOlrJos t l 1ov1ninh muu l uv ko rr.1p! ra l u lllku :-11int' ) (l11ooula, movomonl bocom lng mo10 an J mo ,e :iol1:11cidJ din g: Veljo Tormi s: Litany to Thu nd er, Estonian







.~ .,. =:r-~-=~1:1 ~ ,. -- - -~-=.,. ,. - -~t




Raua Needm ine



lnt crnn.tion.nlChor,11Bullc lin - Octobc r 2003

Copyr ight © 2003 by the>Internationa l Fcdcratio n for Cho ral Mus ic

Repertoire Duration: 26 minutes 30 seco nds; for mixed choir (four voic es with div isions and occasionally soloists from the choru s), Fennica Gehrman , He lsinki , Finland (forme rl y publi s hed by Warner Chappe ll Mu sic, Finland, and before that by Edition Fazer, Hels inki). Reference recor d in g: Velj o Tormis: Forg o tten Peop les, Estoni an Philh armoni e Chamber Choir conducted by Ton u Kaljuste , ECM record s, Munich, Germany, 1992 (ww w .ecmrecord s .com) , ord er no. ECM 1459/60. Veljo Tormis is one of the most prom inent creative personalities in Estonian musica l life. His works, and particularly his choral mu sic, are marked by a very intu itive and well-considered appro ach to their basis in folksong. Alongside the mus ical setti n gs of Es tonian fo lks ong s ("Estonian Ca lendar San gs " 1967), Tormi s became more and mor e interes ted in the folk trad ition s of nearby people s. The six cycles making up the work "Forgotten People s" are the res u lt of th e research trip s he mad e between 1970 and 1989 to the geograp h ic region s bordering on Es tonia, most of them to the east of the countr y, where langu ages now thr eaten ed with ex tin ction, but relat ed to Estoni an and Fin n ish are spoken . Ain Kaal ep o nce sa id "We, th e Es toni ans, Fins and Hun ga rians, ar e the Red lndi ans of Europ e". Tormi s comp osed one of his most ime (Cur se on po rtant work s, Raua 11eed111i11 Iron), in 1972, a piece which has since been perform ed b y ambiti ou s, non -Es tonian chair s and whi ch h as bee n reco rd ed o n CD. It eve n se rved as the basis for a televi sion film. Tormis ' own word s about h is work: "I i11e in my had had the idea for Raua 11eed111 head for a lon g time before I finally found the perfect mu sical form for it in a beaut ifu l rep etit ive os tinato, accomp ani ed by sh amani c drum . I co mbined th ese e le ments wit h modern choral technique. The compo s ition' s idea ha s its roots in shamanism: in ord er to acquir e power over somethin g either material or imm ateria l, on e assigns it se lf-aw areness . Lettin g iron itse lf describe and explain the or igin of iron belongs to the sham anistic proc ess . This supern a tural ritu a l will in itse lf suffice to tame th e evil s pirit s contained within the iron. Everythin g made by man can be turn ed against him when used withou t respec t for the living. The two contempo rary Estonian p oe ts, P a ul -Eer ik Ru m m o a n d Jaan Kaplin sk i, ha ve add ed elements from th e pr ese nt d ay to th e Au g u st Anni s t' s Estonian text, based on ritua l spells from the Finnish epic Kalevala. A koryak-shaman d rum from Kamtshatka in East Siberia was used at the first pe rforman ce, made ava ilable to us from Lennar t Meri's collection." Cha racteristics of Run e Sa ngs, from a pre-C hristian, five thousand yea r-o ld culture, a re to be founcl both in Raua neeclmine and in ma ny moveme nts of the Forgotte11 People cycle: Run e Sa ngs we re pe rfor rned as ca ll an d res po nse be twee n pr ece nt o r and choir. Ru ne Song melodies are bew it-


chingly repetit ive, short recitative s, the s ame chant being used for th e declamation of different rune poems. More than one line of verse usually fit s into the chant melody , so without a period ic structure. It is unbelievable how extreme1y inventive ly Tormis reworks the ever-repeating rune motives in a new harmonie garb at each reappearanc e. FennicaGehrman's publicat ions are prov ided with English texts nex t to the original languag e. However I urueserL.,...,J ved l y recomm e nd the original lan guage. The excellent CD y V recordings with Ka lju s te clarif y a il qu es tion s of pro nunciation, and give furthermore an important impre ss ion ., , L.,...,J of the right style, in particular wh en, as so oft en, th e cu sto mary classical st y le of s inging is inappropri ate. Rather a kind of "voce ordi nar io" is required, or, like the soloi sts in Raua needmine, the use of an at times forced voice production as they sing along, thre atenin g and tranc e-like, with the hypnotic sound s of the shamanic drum . Pë teris Plakidis (born 194 7): Korn Si111fo11ija NOLEMTfBA (Ch o ra l Symp h ony DESTINY), text by Oj ars Vacietis, for mixed choir (soprano and alt o divided up to 4, tenor up to 3, bass up to 6), 1985 (Lat vian) , durati on 25 minut es, publi shed by Mu s ica Baltika Ltd. , 1995, Briv ibas lela 85, Riga, Latvia, LV-1001, talr. 275575. This choral symph ony has five movements: • Piesauksana (The Namin g), 5 minut es 50 seco nd s • Izkal pakavu akmens z irgam (Hamm er a Horseshoe to a Stone Ho rse), 4 minut es 40 seco nds • Vajadzëtu (lt should be), 5 minutes 30 seconds • Apvardosana (The Convincing), 4 minut es • Zeme (The Earth ), 5 minu tes 40 seco nd s Ref erence recording: Jan is lva nov is, Pëteris Plakidis, Choir : Ave Sol, condu ctor Imant s Ko ka rs, 1995, ma nu fact ur ed by DCM Sweden, AG9505, Grind ex. Eve n th o u gh Plaki d is' and Tor mis ' com pos itional s tyles are very d issimilar, th ey h ave in comm on the imp or tan t in -

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fluence of folk trad itions on their work. In NOLE MT{BA (D esti11y), a symphon y for una ccompani ed choru s, Plak idi s fuses toge ther an ambitious symphonie struc tu re with straightfor wa rd melody and mak es a tremend ous spixited effect throu gh the use of diat onic simplicit y and m antr a-like repetition, both of the sm aller rh ythmi c motives and the larger formai period s. A choru s d es irou s of pe rformin g N OLEM T[BA ought not to be too small and should have p lent y of full vo ices and low ba sses . Th e ech o effects frequ entl y compo sed in th e upp er voices work part icularly we ll when the singe rs are spati ally positioned or eve n now and aga in d ivide d in to group s. Th e five movements are of course conce ived as a cycle (the fourth move ment, Apvardosmza for insta nce is like the sch erzo of an instrume ntal symph ony ), but it is certain ly possible and effective to perform them separately. The reference reco rdin g with Ave Sol is a grea t help, first for the pronun ciation of Latvian, and seco nd ly for se tting the standard of sono rity. After these wo rk s from th e Baltic reg ion fo llow now some exam pl es fro m Arge ntin a. Here the CD reco rdin gs are eve n more indi spe nsable. This time I wi ll go the ot he r wëty about and d iscuss first the CDs and then talk abo u t so me of the pieces in their publi shed fon11.

Tntcrnat ion,11C hor,,I Bulletin • Octobcr 2003


Repertoire Convidando esta la noche (Navidad Musical en la América Colonial), choir: GCC - Grupo de Canto Coral with instrumentalists, conductor: Néstor Andrenacci, 1998,available through Ediciones GCC, Buenos Aires, Argentina (Email:gcc®fiber The CD is a compilation of Christmas music from various South American countries from the baroque colonial period. · This music is first and foremost the prod uc t of a clear Eu ropean , especia lly Spanish and Portug u ese, influence , but also has it s own characteristic Latin American flavour . Jesuit m issionaries in particu lar, induding some ex traordinarily good composers, educated the indig enous stu dents in the New World, taught them to sing, to build instruments, to play them and to compose . Among the m ost we ll-known and best Latin Amer ican compose rs were Dom enico Zipo li (bom in the first ha lf of the 17th century), Juan de Araujo (ca. 16481712), Toma s de Torrejôn y Velasco (16441728) along with Gaspar Fern ande s (15701629) w h o ca m e from Port ug a l. Stylistically the colonia l works are of a simp le structure and no t very long. What makes them spec ial is the combination of deep reUgious conviction and ind omitab le joie de vivre, the latter expressed most of ail through rh y thm . Most of this mus ic was on ly di scove red r ecent ly. The "Archiva Musical de Chiquito s" in Bolivia brought out about s ix hundr ed manu scripts from th e colonial period, many of them anonymous. esta la 11och e is an The CD Co11vida11do excellent examp le of how lively this music can sound . At the time of the Jesuit miss ionaries, the solo parts used to be sung by the indigenous students, so s imilarl y Néstor Andrenacci ha s ail the s olos sung by mem bers of the choir; nearly all of them get their turn and bring it off with enth usiasm . From th e cho ir corne spo nt aneou s crie s of approva l in the sty le we know from Gospel music (these are of course not to be found in the sheet music!) . As we ll as the Spa ni s h language now and aga in lndian language s are also set. The inst rum ents are in part treated as obUgato solo instrument s, while the distribution of the continuo varies as it wou ld in European baroq ue practi ce. That diverse pe rcussio n ins trument s are to be u sed is on the other hand from a sty listic point of view certain ly correct and very imp ortant for the mood , but nowh ere to be found in the score. The reference recording makes it clear that there is a long way from the score's sober notation to the record ing's colourful sound scape, which radi ates joie de vivre. Of course we also ge t exemp lary he lp w ith the p ronunc iation of the South American acce nt in Spani s h and the co lour of the lndian languages. Most of the shee t mu s ic ha s already bee n pub lish ed by Edicion es GCC. The publi sher may we ll be able to provide the rest, or at least particu lars about where it can be ordered. From the sa me choir there is also a CD with tango s and Argent inean folk mus ic:



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Fior del pais. Ch o ir : GCC - Grupo d e Canto Coral, co nduct o r: Néstor Andrenacci, 2002, avai lable through Ediciones GCC, Buenos Aire s, Argent ina .nr). (Ema il: gcc@jibertel.co111 Most of the sheet mu sic is in p rint at Edicio nes GCC. Folk mu sic is a case in po int where it is imp ossible to notate how to sing it, just as it is imp ossible to notate the pronun ciation of Argent inean Spanish or in the case of the tango the accent of the Porteiios (the res idents of Bueno s Aires). Use of the Bombo (large drum) and how to impro vise on it is indi cated nowhere in the sc or e. Jt is eq uall y impossible to w rit e

Int e rnation al Chor,11Bulletin - October 2003


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clown the ch aracterist ic rh yt hmic dis tortions of the tango. The arra ngeme nt s are very demanding in term s of rh yt hm and harmony. They originate from the top rank of Argent inean composers, Javie r Zentner, Antonio Russo, Mar io Vitis, Hector Bisso, Néstor Zad off, Eduard o Ferra udi , Ricardo Mansilla, Oscar Escalada , etc. Finall y J'd like to recommend one further CD, which combin es Argent inean and Bra zilian folk mus ic w ith world-music: Coro d e la Facultad de Arquitectura, Urbani s mo y Diseno , Uni ver s id ad Naciona l de Cô rdoba , Argentina (coro vocacional) , cond u cto r: Gus ta vo Maldino,

Copyr ight © 2003 by the In ternational Federation for Cho ral Mu s ic

Repertoire 199 8 & 1999, obtainabl e throu g h the Univ ersidad Naciona l de Cô rdoba. Sheet mu s ic ob tain a bl e by re que st throu g h Gu stavo Maldin o. Th e arrangement s are by Marcos Leite, Ariel Ujaldôn and Gustavo Maldino himself , among other s . The choir is very good, consists exclusively of amat eur s, s in g s the entir e pro gramme live from memor y, doe s stage movem ent and provid es soloists from its own rank s. To begin with one hear s a perfect imit ation of the Brazi lian rainfor es t with bird and anima l noises and the soun d of tropical rainf all (fingernail s on woode n floo r). Special studi es were made of the aborigina l Kr ao p eople from the Br az ilian Am az on reg ion as well as oth er e thni e peopl es in ord er authentic alJy to be ab le to imitat e their style of singing. lt sound s ama z ing ly real! The impro v ised per cussion -- not notated -- is also excellent. The choir san g exce rpt s from thi s CD at the "Prim e r Concurso Nacion a l d e Interpr etaciôn Coral d e Mu sica Folklôrica y Popu lar Arge ntin a" (first nati onal competitive ch oral fes tival for folk mu sic) in 1998 in La Plat a, Arge n tin a a nd w as awa rd ed first prize. This mu sic is fascinatin g, th e perfo rm a nce s ex tra o rdin ary, scar cely su sce ptibl e to imit a tion by u s, eve n a fter man y h ea rin gs of th e C D. With out th e CD it is qui te impo ssible to translate the musical text into sound.

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P.S. Tltosc p11 blis/1crs I refe r to who provide CDs witlt ce of their scores nre 011/ye:rnmples, I mnke 110 prete11 providi11 g n comp/ete list. I wo11/ d be glnd to ltenr fr om n11y o11 e n11ywhere i11 the world witlt ndditio11 s to the Iist ect. F11rtl1 er nrticles 0 11 lite n11 d renctio11 s to this s11bj s 11/J jec t nre certni11ly co11ceivnble. 1 am similarly i11te res ted i11 receivi11 g suggestions a11drequesls f or book reviews. As yo11know I am respo11 siblefor the sectio11 wltere 11 ew reperloirc is i11tr od11ced. So as to be able to i1iform yo11with the greatest possible autltority nbo11t 11 ew p11blicatio11 s 0 11 off er worldwide, 1 regularfy ask exper ts to wr ile an articl e as "g ues t cofum 11ist ". However I am sure tltat 11,ere are large 1111m /Jers of /1igl1ly qunlifi ed people w/,om I do 11 o t k11ow pcrso11allyw/,o would be williug to write an article as guest col11n111i st about i11t ercsti11 g chornl works /rom tlteir own countries. 1 wo11/dbe ven; lmppy to ltenr from yo11 , either direct/y g lt /111/a (Email: Werner. Pf aff@g mx. ne/) or t/1ro11 Tngger / Emnil:j

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l11tcrn ali o11al C hora l Bu llclin • Oc tobcr 2003


Repertoire «Passio Secundum Joannem» by Antonio Marfa Russo Maria Elina Mayorga he fascinating and prolific work of Antonio Maria Russo places him among the most important Argentine a n composer s of our time. Hi s Passio Sec1111d11mToa1111em show s him at the h eight of his musical art in both i t s s plendid craft and i ts em ot ional intensity. Pr e mier ed in the Bu e n os Aire s M e tropolitan Cathedra! on 9 A ugu s t 2002, and repeated in La Plata Ca t hedr a !, it w as c ommi ss ioned by Mon signor Héctor Agu er, Archbishop of La Plata. It is ba se d o n t he G os p e l a ccordin g to St. John and other re lev ant texts, i.e. : 1. Prol og ue a capp e lla: C/zristus f act11 s est 2. At th e end of th e first part: Sacrifi cium et oblatio11e111, a ca pp ella (p sa lm 39-40). 3. At th e e nd o f th e second p a rt : Pap ule Meus (Go o d Frida y Improperia) 4. At th e end of the Third part: Te sœrnlorum Principem (fr om the Ves p e rs of th e So le mnit y of Chri s t th e Kin g ) 5 . ln the fo u rt h pa rt : Crux fide lis (from Pan ge Lin g u a, by Ve n a ntiu s Fo rtun a tu s, 6th C) 6. In th e fourth p art : Stabat Mater (fr o m Lib e r H y mnariu s) 7. A t th e e nd of th e fourth pa r t: Christe, amor cœgit te tuus, a capp e lla (from th e Ves p e rs of the Solemnit y of th e Sa cre d H eart of Jes u s ) 8. Do ubl e ch o ir a nd orch es tr a l Epil og u e : Salve, Rede111 ptor (Ter ce Hy mn for Goo d Frid ay) It is w rit te n for fo ur s ol o is t s (Th e Eva n ge li st, bar ito n e; Jes u s, ba ss; Pil a te, te no r, a nd a mezzo -so pr a n o s in g in g th e Stabat Mat er), t wo choi rs (a c h a m be r choir a nd a la r ge ch o ru s) an d full or ch es tr a. Th e o rch es tr a co n sis ts o f w o o dwind s (in cl u d in g a so p ra n o saxo ph o n e ), bra ss, timpan i, h arp, pi a no, ce les ta, p e rcu ss io n and st rin gs Th e ch a m be r ch o ir s in gs t h ree a cap pe lla pi eces w ith in se r ted tex ts; th ese a re a m o n g th e mo st e m ot ive a nd d ra m at ic mo m e nt s an d re pr ese nt th e Eva n ge lis t. Th e l a r ge choru s s i ngs w h e n ever th e r e is d ra mati c a ction a nd int e r ve n es in th e ot h er n o n-bibli ca l t exts, a lway s w ith th e o r ch es tra. Th e pie ce con sists of fi v e p a rt s:


"human " pain, while th e second sets the atmo spher e of the garden. There is a s trong fee ling of drama with r egard to the guard's viol e nce and Chri st's se renity and maje sty . Jesus gives himself up to the Pa ssion.

2. Tes 11sbefor e tlze Hi gh Pr ies t A1111as Thi s scene contains the questioning of Peter and his denial. It is mark e d b y de e p contrast s: Peter 's denial, Jesus' confession a nd, in the centre, the slap in the fac e by o n e of th e officers a s a symbol of th e reje c tion of Jesus' tea ching s . Th e ch o ir sin gs Papule 111 eus 3. Central Scen e: Tesus before Pilat e A hi g hl y e laborat e pi ece follo w in g Pil a te's a cti o n : hi s di scu ss ion w it h th e Jew s; th e fir s t encount er with Jes u s a nd hi s ro y al s tatu s ; the choice betwe e n Jes u s and Barrab as; Jesu s bein g g iv e n th e cro w n o f thorn s a nd , fin ally, a lar ge ch o ru s cl os in g th e s ce ne a nd proclai min g C hri s t' s sove re ig nt y .

4. At Cal v aru D esc ri bes th e w ay to C alv a r y a nd th e crucifi xio n. Th e h y mn Cruz Fidelis tak es a p ro mi ne nt pa rt . Th e ch o ir s in gs thi s p rai se to the cro ss as the t ree of lif e . Th e pr ese n ce of Mar y is e mpha sise d b y the Ev an ge li s t, a n d Jes u s p r a is es M a ry a s th e m o th e r o f red ee me d hum anit y (Stabat Mater) The part fini sh es w ith a noth er a cappe ll a,, c h o ru s : Cl-tris te, amor coeg i t te tu us .. .

5. The E11to111b111 e11t Final scene, again in th e garden . This time the at mosphere is one of de ep p eace. It is the new Pa radi se , th e Garden of Re surr ection , the g arden that sy mboli ses

life. The bi g final ch o ru s e pitomi se s both God 's g lory and the reque st for redempor, plasma t1111111 nobile. tion: Salve, Rede111pt

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Christ ' s suff e rin g in th e first scene is pre sented b y the or ch es tra in a th e m e which is pick e d up aga in and de velop ed at th e e nd o f th e fourth p a rt , durin g Je sus' ago n y a nd d eath . (ex. 1) Uniqu e th e m a tic m a te ri a l, w ith o ut an y pre v io u s o r lat er re fere n ces, is u se d in the Sta b at M at er , sung b y the m ezzosop rano so lo ist and th e fem a le v o ices o f th e lar ge choru s. (Ex . 2) Eve ry tim e Jes u s m oves, the mu sic become s like a so rro w ful funer ea l mar ch: (ex. 3 ) Th e two cho ir s co m e to ge th e r for th e ferve nt e ndin g . T h e th e m e is tak e n fr o m th e third s e c ti o n of th e a ca pp el l a

Prologue: (ex . 4) Th e sa m e them e is a lso u sed for th e seco nd sec tio n o f th e Epil og u e, thi s tim e co mpo se d fo r doub le ch o ir a nd o r ch es tr a .

Ejemplo 1

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It s tarts w it h a n a cappe lla ch o ra l in t rod u ct io n, w h ic h rai ses th e que s tio n of C hri st' s deat h a n d re surrect ion a n d a nti ci pa tes Ma n 's sea rch fo r re d e mp tio n. At th e end, t he o rc h estra p lays two th emes . The fir st one ad d resses C hri s t's

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Intc rnntional Choral Bulletin• October 2003

Copyr ight © 2003 by the Interna tiona l Fcdcra tion for Chora l Music

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Not hin g can rep lac e a live h ea ri ng Sec1111du111Joa1111e111by of Passio Antonio Ru sso; it is a rea l ma ster pi ece . I hope that th ese humbl e comm ents will be a sincer e tri but e to th e man who ha s been and will always be my ma s ter.


A11to11ioMarra Ru ss o Bom i11Italy, a ,wturnlised Arge11ti11en 1,1 A11to11io Marin R11sso lins lwd a /011g11 11d s 11ccessful cnreer as a clzoir n11dorchestral co11d 1c1tor, ed11cntor n11dco111 poser. H e hns co11ducted tlze Clzoir of the Wng11e ri11 11Associatio 11, the Bac!, Clzoir, /Ize Nn t io 11nl Poly plzo11ic Clzoir n11d the Per111 n11 e11t Chorus of tlze Co/611Tlzentre of B11e11osA ires. t For 111 ore thn1130 yenrs Ize lins t1111gh g nt /Ize 111ostprestigious clzornl co11ducti11 ed11cntio1111 / i11sli l11tio11si11Bue11osA ires. He stnr ted worki11g as n11orclzestrn co11d11ctor i11 19 74, co11d11cti11g /Ize 111ost i111 por tn11/ orc lzestrns of A rge11t i11n, Uruguay a11d Chile. Si11ce1992 he lins i11te11 sified his activihJ as a co111pose r. for a cappella He lins wri t te11 11111sic clzoir, pin 110, voice a11d pin110, clz11111be r groups a11d sy111 plzo11yorclzestrn. A 111 011glzis dis ti11 guis/1ed sy111p/1011 ic clzornl pieces are: M ag11ific a t for orclzestrn, clzoir y soloist; Ca11tata Prof ana fo r clzoir, orclzestrn n11dsoloisl; Mi s a de Corpu s Christi , for choir, orclzestrn n11dfou r so/oists (premiered in B11e11os Ai res n11di11Ro111e, /t a/y, 1111der the auspices of tlze / 11ter11 ntio1111/Associatio11 of Frie11ds of Sncred Music), C1111ta ta Peque,ios, bla11cos amor es fo r childre11's clzoir, two soprn110 soloists 111 1d orchestra. He /1115rec eived 1111111y prizes a11d awa rds for his artistic a11d ed11catio11a/ work. /11recog11 itio11of lzis acade111ic 1111d artistic Ho11orary ach ieve 111 e11ts Ize wa s 11a111ed Pro/essor of the Cath olic U11ive rsity of Cuyo al Sa11J11a11, A rge11ti11a,i11Augu st, 2002. The Association of Mus ic Criti cs of Arge11ti1a1 lias awarded Pa ss io Secu11du111 Joa1111e 111/Ize disti11ct io11 as "The best Arge11ti11e1111 co111positio 11of the year 2002"

Co11tacts a11dmore i11 for11111/io11:A11to11io Maria Russo (a11to11io11111 ri11rn sso@yahoo.co111)



(Tra11s/ at i o 11r ev i sed by JT a 11d la11 Jo n es)

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International C Bullet in • Oc tobc r 2003




Musica Mundi


Concert Tours

"Th e Arti s tic A lternati ve"


PERFORMANCE TOURS BA~DS,CHOIRS, ORCHESTRAS Pe,for111 a11 cesarmnged.Erptrima tl 1011r111 a11ag m . An;•whe re i11 the world. Sightm ing andji m. l11r/11d e 1111 y 111 micJesti/lal e.g.:

• Festival 500,St. Johns , Newfoundl and, June 29-July6, '03 • WorldChora l Festivals,Vienna , June27-July 1, '02, June'03 • Shrewsbury lnt'IMusicFestival,June28-July5, '02, June'03 , Vienna, July6-9, '02, July '03 • lnt'IYouthMusicFestival • Bavaria lnt'I YouthMusicFesti val, July 18-25, '02,July '03 • Otherfestivalsin Europe andNorthAmerica . TORONTO INTERNATIONAL CHORAL FESTIVAL April 23-27, 2003, • April 14- 18, 2004 2003 Co11d11rror: Strphm/·/111[,e/d

CANADIAN TULIPMUSIC FESTIVA L • Ottawa (International Choirs, Bands, & Orchestras)

Experience the Tradition! Tuscany International Children's Chorus Festival* Henry Leck, Conductor/Clinicinn 2003, Jtme 30 - July 8, Florence/Rome , Italy Jean Ashworth Bartle, Conductor/Clinicinn 2004, July 5 - 13, Florence / Rome , Italy

* See detnils in the Festivals listing of this ICB. Musica Mundi Concert Tours 101 Firs t Street , Suit e 454 • Los Altos, CA 94022 Phon e +1650949 1991 • 1800947 1991 Fax + 1 650 949 1626 Email: tou rs®mu sicam undi. com

www.musicamundi .com

May 16- 19, 2003 • May 21- 24, 2004


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NIAGARA INTERNATIONAL MUSIC FESTIVAL (for chairs, bands & orchestras) July 3-7, 2002 • July 2- 6, 2003 • July 7- 11, 2004 2002 Co11d11r1or: Stephm1-! atjield CANTERBURY (UK)INTERNATIONA L CHORAL FESTIVAL

vanguard6if . U remieres

July 10- 14, 2002 • July 9- 13, 2003 2002 Co11tlur1or: BahChilcott 2003 Co11d11rror: Dr.DoranRao

Choral Composition Contest

INTERNATIONAL SOCIETY FORMUSIC EDUCATION ISME.'1 Norway,August 11- 16, 2002 • Spain 2004 t)

ENGLISH HANDBELL FESTIVAL En masse. on ownand with U.K. ringers in Carhcdrnls and Fcsrivals July 4- 13, 2003

Contact: Lois Harper , BA,M.Ed,ARCT Arts Bureau for theContinents 350Sparks Stree t - Suite207A Ottawa , Ontario,Canada, K1R 7S8 Phone : 613-234- 3360 Fax:613-236-2636 E-mai l:

Two $1,000 Prizes Entry Deadline:

Sp o n ~o recl by,1,4

April 2 , 2004


11// vang uard voices For a p p lica tio n. con ta ct : 3 13-3 17-6566 o r vvp re mie res@ao m

In tern ational C horill Bu lle tin - Oclobcr 2003

Cop yr ight © 2003 by the lnh .' nhl li onal fcdcr.1 tion for Chor ,1I Mu sic


The Composèrs' Corner


Composer Interview : Jorge CĂŠrdoba Valenc ia Sixth World Sympos ium on Choral Mus ic Kathy Saltzman Romey

m e to do it, ca lled me to work with an idea that was ve ry sincere and ve ry much from th e heart. It was very hard for me K R: It is a plensure lo spenk with com- to find text for this event. Unfo rtu nate ly, poser Jorge C6rdobn Valencin about his 11ew what happene d on Sept ember 11th coinwork - The Divi11e forage, commissio11edby cided with the tim e in wh ich I found th is the Sixth World Choral Symposi11m,n11dpre- tex t. A nd th e text moved me so muc h, miered nt the Sy mposi11m by Det Norske So listkor, u nder the direction of Cret e The Div ine Im age Pedersen Helgernd. Wo11ld you tnlk nbo11t why you like writing so muc/1fo r the voice? To Mercy, Pity, Peace, an d Love, JCV: It ca nnot be anyt hi ng othe r than Ali pray in the ir d istress . that for th e s ing er, it is the way we are And to these virt ues of de light ab le to acco m p lish two forms of art istic Retu rn the ir thankfu lness. express ion at the same tim e: poetry an d Fo r Mercy, Pity, Peace, and Love, music. And I think the vo ice is the mo st Is God our Fathe r dea r; exce llent, d ivi ne instrument. And Mercy, Pity, Peace, and Love, KR : And is there a difference betwee11 Is man, H is ch ild an d care . how you write for the voice n11dhow you wriFor Mercy has a hum an heart; te for instrum ents? Pity, a human face; JCV: Yes . W he n I wri te for choir, I And Love, the human form divi ne; feel th e pro cess of the vo ices as if I wer e And Peace, the h uman dress. s ingin g them because singe rs are very Then every man, of every dime , u ni que art is ts . Th ey feel. Th ey fee l it That prays in his distress , when so met h in g is n ot we ll written for Prays to the human form divine: th e vo ice. And the way in w h ich one Love, Mercy, Pity , Peace . writes for a s in ge r th e n re son ates w ith And ail must love the human form , one's ow n body as one is wr iting, w hen it is we ll wri tt en . It is mo re viscera l. In ln heathen, Turk, or Jew . Where Mercy, Love, and Pity dwe ll, instrumenta l mu sic, the re m igh t be more There Cod is dwelling too. forma i aspects that in terve ne , or perhap s not. Bu t th e ra nge of eac h in strum ent is William Blake com p lete ly d iffe re nt to tha t of the vo ice. K R: Wo11ldyo11tnlk nbo11tsome of the 11111 sic you have wriIten for chair? JCV: Since I am a sin ger - I fini shed a that I decided to use it not ju st becau se of degree as a singer and we nt on to bec ome w h at occu rr e d h e re o n Se pt e m ber 11th , a choir dir ecto r - I know w hat it is to use but beca use th is is a wo rl dwide ev il. 1 th e vo ices o f sin ge rs. 1 start ed w ri tin g th ink it is the mo st horr ible th in g that lmsho rt p iece s w ith th e id ea of nev e r re pea- m anit y can expe rience, thi s terr orism . In tin g any o f th e tec hnica l approac h es in th e po e m by W ill iam Blake, 1 found in th e las t ve rse the m ea ni ng w ith w h ich I pieces I h ave written. I hav e co mpos ed for ma le vo ices, fema le choru ses , mi xed a m in agreement. I th ink when I un der schoirs a cappe lla, and for choir accom pa- tood this, it put a ny d isti nc t relig ion to the side. Relig ion do es not matt er. Skin ni ed by an orchestra. KR: And when did you fir st stnrt wri- colo ur do es not matt e r. It is a ca ll to ail human beings that w e can not ask God to ling for chairs? be w it h us if w e ours e lves do not h old JCV: About 1980. KR: Si11ce tirai fir st pi ece, hns lh ere [t o ] th e se four v irtues [M e r cy , P it y, bee11n11ychn11 ge ilz your compositionnl sty le? Peace, a nd Love]. You r at ti tud e shoul d be one of bro th er ho od a nd s isterhood, JCV: I d on't kno w . I try to co mp ose di ffe rent [type s of] pie ces . But thi s sp e - a nd not ju st w ithin the con text of a chora l cial piece, The Divine Ima ge, bas ano ther sympo siu m. KR: So this is a piece about 1111i versnl Firs t, it tr eat m e nt - ano th e r approach. trnths, n11dperhnps nlso about reconcilintio11 wa s a com mi ss ion at a special time and w ith a po e m in Eng lish. I thi nk the style fo llowing a tragedy ? JCV : lt is not the reconciliation betwe en ca n then eme rge but it is not th at one decide s that. In th is pie ce, 1 tri ed to creat e a hu man b e ing s but rat he r th e human wo rk tha t wa s ve ry tra nspar ent. Because be in g w ith him or he rse lf. Becau se if a hu m an be in g is not ri g ht wit h o nes elf the poem an d circum sta nces that moved Jorge C6rd ob a V ale nci a (JCV ) Ka thy Rorney (KR )


Copyr ig ht <D2003 by the lntcrna.tional Fcdcrat ion for Choral Mus ic -----





and does not have pea ce, then tha t per son cannot give peace to others, even if their rel ig ion sa ys that it should. Tha t was the idea. K R: W/zen you first begn11writi11gThe Divi11eImage, lzow did you star/? Yo11hnd the poem b11Ihow do you work with the text, and whnt wns yo11rcrentive process? JCV: I th ink whe n I repeat ed and re pe ated the tex t, I felt the ide a. The firs t line became an obsess ion . K R: So you spenk the tex/ over mzd over ngnin to yourself? JCV : Som etimes in a loud vo ice, and so m etim es in my in ne r vo ice . Beca u se I first need to feel the emotional par t of the poem. A fte rwards, I w r ite th e who le idea of th e p iece. The n I choose the tech n ica l m ea ns to actu ally car r y it out . I g round m yse lf in th e s tru ctu re of the poem and u se th is as a g uid e . K R: So tlze struct11re of the poem is reflecled in the 11111si cnl strn cture of the piece? JCV: Yes. T he po e m has five pa rt s . And fo r me , the t hi rd and the fifth stroph es a re the mo st emotional pa rts of the poem beca u se of the ana log ies that a re mad e in th e th ir d verse, and th e conclus ion, which Blake m akes in the fifth . KR : fil wri ti11 g vocal music, is there a compositi o11nle/eme11Ior eleme11ts, whic/1 do mi 11nte -- the melodic li11e, hnrm o11ic ln11g11n ge, or perlznpstextur e? JCV : I do n't think th a t the re is ju st one. Ther e are passages that requ ire one or oth er of th ese. And there are mo men ts durin g w hi ch I wa nt to p rovide some textu re reinfor cing the poet ic con ten t. In the ha rm on ie aspect, it allows m e to prov id e an em otive reaction througho ut the p iece. K R: A11d your v isio11for The Divi11e Image? JCV : Very strong, ver y emot ional because that is th e way Blake's poem is. I want it to be a reflection - an u rgent call for cha nge . KR : A 11dif yo11 tlzi11k about ail th e pieces thnt you have writte11fo r chom s, are there n11ythnt are especinlly sig11ificn11tto you ? JCV: I think each one re flec ts a m omen t of m y life . But this one in pa rticular is very sp ec ia l to me . First, because I wa s g oin g to p ar ti cip a te in thi s Sixt h World Chora l Symp osium , w h ich for me has bee n marvell ous . Second ly, becau se 1 w a nt to con tribu te to a ne w ch an ge in hu ma nily . T don't repeat that just because it [Se pt e m be r 11th ] was in t he Un ite d

Inte rnat ional C hora l Bulletin - Octobcr 2003


Sco·res - Partitions- Partitu ·ren - Partfturas- ScoresThe Compose rs' Corner

States and th e Sympo sium wa s to take p lace here . Bu t rath er bec au se it w as ve ry p ainfu l that thi s [a ttack ] happ ened to th e Uni ted Stat es - thi s was like th e las t wa ll. It was the thing we leas t expec ted to h ap pe n . Th at mad e m e as k my self, "After thi s, what is go ing to happ en?" And so, I was ve ry afra id and I hop e Th e Divin e Im age is of som e u se ... I wo uld like to say th at it has been won d erfu l to be her e. Th is Symp os ium ha s end ed up bein g exe mp lary for ail humanity du e to the way in whi ch it has be en brou g ht toge th er -- ail of th e techn ical achi eve ment s toge th er w ith ail of th e sentimen ts that ha ve bee n brou ght toi t.

The followin g scores have been received at the Interna tional Center for Chora l Music. These are avai lable for cons ultation in Namur (Belgium) and on the electro ni c ch ora l data b ase, MUS ICA o n h ttp:/ /www. mu Pa rti tion s re çu es à la bibli o th èqu e du Cen tre de Cha nt cho ra l à Namur dep uis le 1er ma rs 2003. Ce11tre de doc11111 e11/:11tio11. Musiqu e en W111/011i e, Ai11effe Rochu s, A., Florilège. Folklore, Danses. U11io11 S11i11te Cécile. Strasbourg Andr é, J.R., Pâques de Jésus Chri st, SATB,

use s27

Simon, D., Béni sois-tu, toi le seul Dieu, U, chœur ou asse mblée, USC 826 Bohn , E., H y mne au Ch ri s t, solS, SAB, Jorge C6rdob11 V11/e11ci11is a 11ntive of USC8 25 Mexico City n11dhns gni11ed pro111 i11e11ce as Andr é, J.R., Voici qu e s'o u vren t pou r le a co111posern11dco11ductor, perfor111i11g ro i, use 828 tlzroug lzout his lzomelnnd, Europe n11dthe Robert, P., Chr ist es t ress u scité, reço is la U.S.A. Si11ce1984, Ize hns bee11producer of vie, USC8 29 the recordi11 g series "Co11 tempornry Chnmber Andr ès, E., 0 cro ix dr essée sur le mond e, d is coordi11n tor of the U11i versity Mus ic", n11 0041 Chairs of the Nnti o11nl U11ivers ity of Editio11sA Cœur Taie, L11011 Mexico.(nlebrijes55@lrot111 Hausa m ann , 1., Le mant eau de fou -ri re, 3voix d'e nfan ts, chœur se ul. Th e Di v in e I11111 ge sets a poem by Bern ar d, P. 10 pe tit s choe u rs po u r vo ix William Blake i 11 a multi-metered work for éga les, n° 9165 8-pnrt chorns n11dchoral soloists. fi is a Béca u d, G., h arm. Jo u rdan, J., Ch an te, drnmnt ic prnyer focus i11g011 the tex/ "To SAH, 11° 083 mercy, pih;, pencen11 d love" with an exte11ded Ha r m . Jou rd an, J., Re fle ts -de France, 8 nvivo setti11gof thefo ur wordsfrm11ed by a 111 chansons popul aires, SATB, n° 2009 11 g n11 d 111 editntive closi11 g /e11to. jestic ope11i H arm . Car ie, Y., Ber ceuse berri chon n e, SAT, n°2010 Kntliy Salt z 111a11 Romey is n11nssistn11t Janequi n, C., Le chant des oisea ux, SATB, pro/essor of choral music nt /Ize U11iversity versions longue, version cou rte, n° 6024 of Mi1111esotn n11d /Ize nrlistic director of the Hill, P.S., har m.Gau ffriau, J., Happy birthMi1111 esotn Clzornle. Titis i11terview is n11 day to you, SATB, p iano, n°720 ger disrnssio11whiclz wns excerpt from a /011 Balavo ine, D., arr.Verny , P.G., La v ie ne part of a resenrclz projec/ e11/itled "From m'app rend rien, SMAH, p iano, basse, bat Page to Stage - Tite Docume11tntio11 of Te11 ter ie, CA 100 World Premieres". Tite resenrc/1forn sed 011 Bechet, S., ar r ;Ga uf fria u, J., Petite fleur , /Izecrentive process of te11i11temntio11nllyreSATB, piano, CA 101 11ow11ed composers, wlzo were commissio11ed Editions Alp/ro11seLeduc, Paris to wr ite 11ew works as part of the 2002 Six tlz Jolas, B., Enfantillages, SMA, flûte, réf. L World Sy mposium offerings . Clzose11fo r Fa ur é, G., Messager, A., Mess e d es pêtheir u11iq11 e styles, the fentured composers cheurs de Villerv ille, SSA, réf. O. came from Lati11A111ericn,Cn11ndnn11dthe ECS P11blishi11g. Boston USA n11dwere i11reside11ce for tlze pre111 iere arr .Bass, R.A., The kin g of lov e, SA TB, p erfor111n11 ces, prese11ted by some of tlze piano, rbm-001 wor/d's fines/ chairs. (ro111 eyOOl@u11111. edu) arr.Bass, R.A., W e w is h you a m erry Christma s, SATB, p iano, rbm-008 arr.Bass, R.A., Jin g le bells, SATB, piano, rb m- 010 De lo ng, R., Immo rta l lov e for eve r fu ll, SATB, N°4856

Pinkh am, D., Of God be for us, SATB, organ, 11°5049 Arna tt, R., Ps al m 100, SA TB, o rgan, 11°56460 Wh ite, D.A., The eyes of ail, SATB, 11°5767 Wa lker , G., H a rle m sa ngs 1 Sp ir itu als, SATB, piano , 11°5769 Walker, G., Harlem sa ngs, 2 Harlem night san g, SATB, p iano, n°5770 Walker, G., Har lem sa ngs 3 Tam bour ines, SATB, piano, 11°5771 Bell, L.T., Songs of inno cence and experience 1 Int roduct ion SSA, p iano, 11°5788 Bell, L.T., Sa ngs of inno cence and experience II The Lamb, III The nur se's songs, SSA, piano, 11°5789 Bell, L.T., Songs of inn ocen ce an d experience, IV In fant joy V Spr ing, SSA, piazno, 11°5790 Bell, L.T., Sa ngs of inn oce nce an d expe rience, VI Intro du ction, SSA, p iano, 11°5791 Bell, L.T., Sa ngs of inn oce nce and expe rience, VII The ga rden of love, SSA, pia no, 11°5792 Bell, L.T., Sa ngs of inn oce nce an d experien ce, VIII The s ick rose IX Th e tyge r, SSA, p iano, n°5793 Bell, L.T., Sa ngs of inn oce nce and experience, X Th e vo ice o f th e anc ient ba rd , SSA, p iano, 11°5794 Wach ner, J., Aa ronic bened iction, SATB, 11°5806 Hailstork, A., Tr iumph in my sang, SATB, 11°5854 Ho ff ma n, S.M., Yih y u l'ratso n, SATB, N°5864 Mars ha ll, J ., Wo rds from two wo me n , SATB, 11°5872 Mooney, D., Roisin du bh, SATB, n°5931 Mooney, D., The cat's ramble to the child 's saucer, SSA, pia no, 11°6019 Mooney, D., Beid h aonac h, SSAA, pia no, 11°6020 Mooney, D., Ph il the flut her's ba ll, SSA, flute, piano, n°6023 Cha tma n , S., Ti me pieces: 1 Temp u s, 11°7.0417 - 2 Com e, my Celia, N° 7.0418-3 I saw ete rni ty, +violin, 11° 7.0419 - 4 Cloks, n° 7.0420, SATB. U11io11 Sainte Cécile. Strasbour g An dré , J.R., Pleine d e grâce réjou is toi !, SATB, org ue, USC 830 Andr é, J.R., Grâce te soit rendu e, SATB, orgu e, use 831 Boh n, E., Dieu notré pè re, SATB, Chanh ·e, Assemblée, org ue, USC 832 Vona rb, F., Et Toi, Seigne ur , mon espé rance, SATB, USC 833 Andr é, J.R., Dieu est à l'œuvre en cet âge, SA, orgue, USC 834

AmWeingarten 3 · 0-35415 Pohlhe1m Gemiany phone: +49(0)6403-956525 · fax: +49(0)6403- 956529 1


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MIIH...:..'i UnD i

Choir OlympicsChoirMeetingsConcert Tours l ntcrnationnl Chornl Bulletin • Octobcr 2003

Co pyrig ht © 2003 by the lnlc rnat-ional f cdcrJ lion for Choral Music

Festivals - Workshops--Competitions- ·.Festivals··.: Workshops- Competitions 7th International Choir Contest of bershop . Contact: The Sligo Internationa l Flanders, Maasmechelen , Belgium, 24- Chora l Festival, 16 Quay Steet, Sligo, 27 Oct 2003. International choir contes t li- Irel a nd. Tel: +353-71 -70733, Fax: +353Inti Fede ration for Choral Music mited to ense mbles from 6 to 45 vo ices . 71-70733, "Email: sligocl1orai(es t@eirco111.11et Nadine Robin Three categor ies: voca l ensembles, equal - Webs ite: Villa Gadea • Pda Olla de Altea voices and mi xed choirs. Apply before: 1 E-03590 Altea, Spain Jan 2003. Contact: International Choir "Days of New Choral Music" (Tage Fax: +34-96-6882195 Contest of Flanders, Gert Vanderlee, der Neuen Chormusik), Aschaffenburg , H eistraat 239, B-3630 Maasmec h e len, Germany, 30 Oct-2 Nov 2003 . Concerts, Belgium. Tel: +32-89-769668, Fax: +32 - conducting and interpretation wor kshop, Vislt also : 89-769672, Emai l: reading-sessio ns etc ... Contact: www. cho Website: Musik in der Jugend AMJ, Adershe imer Str. 60, D-38304 Please note 7th International Choir Competition, Wolfenb ü tte l, Ger m any . Te l: +49-5331that this list is based on informationsent to us Riva del Garda, Italy, 26-30 Oct 2003 . 46016, Fax: +49 -5331-43723, Emai l: and has been compiledto the best of our knowledge. Competition in different categories and AM TM 11siki11der[11ge11d@t-011/ difficulties . Contact: Interkultur Website:www.tageden11!11l!l1d10111111si/..-@t-<mli11e .de 14th S. Simkus Choral Competition, Foundation, Am Weingarten 3, D-35412 Klaipeda, Lithuania , 17-19 Oct 2003 . Pohlheim, Germa n y. Te l: +49-6403International Symposium on Male 956525, Fax: +49-6403-956529, Ema il : Voice Choral Singing, Uppsala, Competition open to ail cho ir groups mail@11111 sica-m1rnd i.co111 - Website: min. 26, max. 45 singers. Contact: Sweden, 31 Oct 2003 . In conj u nction w ith www.11111sica-1111111di.co111 Regional Choir Society "Aukuras", th e 150th annive rsary of Orphei Drangar , Done laicio str. 4, LT-5800 Klaipeda, symposium on ma le-voice chor al sing ing , Lithuania. Tel: +370-46-398766, Fax: 35th International Choir repertoi re and the futur e of ma le cho irs. +370-46-398702, Email: 111fprodek@111(k11.ltCompetition of Tolosa, Spain , 28 Oct-2 With Pr . Eric Ericson (S), Erik Bergman Nov 2003. Compe tition for mixed choirs, (FIN), Bo H olten (D) and Sven -D av id The Eric Ericson Award , Uppsala equa l vo ice choi rs, children's choirs and Sandstrôm (S / USA). Contact: Orphei and Stockholm , Sweden, 21-25 Oct 2003. vocal groups . App ly before: 15 May 2003. Drangar, Vastra Strandgatan 7B, 753 11 For young cho ir conductors aged 20-32 Contact: Certamen Coral de Tolosa, Uppsala, Sweden. Te l: +46-18-103144, years . Competit ion he ld in connect ion Centro de lniciativ as de Tolosa, Apartado Fax: +46-18-121194, Email: mai/box@od.sewith Eric Ericson's 85th anniversary and Postal 100, E-20400 To losa, Spa in. Tel: Website: in cooperation wi th the IFCM. The num+34-943 -650114, Fax: +34 -943-698028, ber of participants is limited to 16. App ly Email: i11fo@cittolo sa.co111- Website: 2nd International Choral Fe s tival , before: 31 Marc h 2003. Contact: www.cittolosa.co111 Salta, Argentina, 2-8 Nov 2003. Concerts , Rikskonserter, Nybrokajen 11, SE-11148 workshops on German Romantic ism, Stockho lm, Sweden. Tel: +46-8-4071600, 16th Sligo International Choral contemporary and popular mus ic, comEma il : - Festival, Ireland, 30 Oct-1 Nov 2003 . munity s ing ing, voca l technique, confeWebs ite: www Competitions for mixed choirs, male voi- rences, ch oi r conducting. Contact: 2nd ce, female vo ice, youth folksong, madriInternational Chora l Festiva l, Zuvirfa n° gals, sacred music, gosp el choirs and bar- 246, CP 4400 Salta, Argentina. Tel: +54-



Cop yright © 2003 by the Internationa l Fcdc ration for Chor,11Mus ic ---------

lnl crna lionu l C hora l Bullc lin • Octob cr 2003


Festivals- Workshops- Competitions- :f.estivals:-~--·workshops- Competitions 387 -421 59 48, Fax: +54 -387 -42 15948, Email : coropol ifo11icodesa/ta@sal11 et.co111 .ar o r silkre@sal11et.co111 .ar or i111 ago_ar@cuidad.co111 15th Anniversary of Cantapueblo, Mendoza , Argentina, 12-16 Nov 2003 . Choral ce lebrat ion of A m e ri ca . Co n tac t: Can ta Pu eblo, la Fiesta Co ral de Am éri ca, Cas ill a P os ta l 27, 55 01 Go d oy Cru z, Me ndo za, Arge ntin a. T e l : +54 -26 14203793, Em ail: ca11tap11ebl Website: International Schubert Choir Competition, Vienna, Austria, 13 -16 Nov 2003. In te rn atio n al Schub er t fes tivities in Vien na. Choirs m ust be non-pro fessional a nd consist of a minimum of 16 singers. Appl y before: 15 May 2003. Cont act: ADM Blaguss, Schl eifmüh lg asse 1/14, A1040 Wien, Austria. Tel: +43-1-5853939, Fax: +43-1-5853939-39, Ema il: Website: www.scl111 Choral Workshop with Prof . Georg Grün, Bonn, German y, 14-16 Nov 2003. Co urse for Ge rman -spea kin g expe ri enced sin ge rs, co n d u cto rs an d mu sic stud e nts w ho w ill observe exe mpl ary rehea rsa ls of a hi gh profess ional artistic leve l. Co ntac t: CANTA Bon n, Chora l works h op, Kar in Fre ist-Wiss ing, Krok u sweg 4, D-53229 Bo nn , Ger m a n y, Fax: +49 -228 -43 165 1, Em ail: kari11.freist-wiss ing@g111x .de

2003. No n-com petit ive fest iva l for ch oirs in a il ca tegor ies. Progra m : A d ve nt an d C hri s tm as Sa n gs . A ppl y before: May 2003 . Contact: MSW Fes ti vals c/o TM In co T ravel, Il . Ra k6cz i F ut 216, 1214 Bud ap es t, Hun ga ry . Tel: +36-1-4270740, F ax : + 36- 1-42 04796, Ema il : mws{ - We b s i te: www.111wsfes tiva/s.co111 4th Internat ional competition fest ival of Christmas music, Prague , Czech Republic , 12-14 Dec 2003 . Competi tion for childr en 's an d ad ult s' choi rs, folk lore e nsem bl es. A p p ly befo r e : 15 O ct 2003. Cont a c t: Club T ou rs Agent u r, Pave l _ varc, Na H ajku 367, 180 00 Pr a h a 8, Cz e ch Repub lic . Te l: +420 -2-84826608, Fax: +420-2-84826608, Email : We b s it e : www or 21st Century International Choral Festival , Genting Highland , Malay s ia, 15-19 Dec 2003 . Com pe titi on w ith a nd w ithout se t pi ece, d iff ere n t deg rees of di ff iculti es a nd age groups. Co n ce rt s, wor ksh op s and masterclass . Art istic d irecto r : Ne lso n K we i. C o nt ac t: 21st Centu ry Cultu ra l Art s Deve lo pm en t, 46 Eas t C oas t Ro ad, #06 -06, Eas tgate, Singapore 428766, Sin gapo re. Te l: +65 6342 -1 94 1, Fax : +65-6449 -6566, Email: ace99cp - Website:

App ly befo re: 30 Jun e 2003. Co n tact: Tova Res h ef, Music Dir ec tor, Atz m on, 20170 M isgav D.N . , Israel, Fax: +972 -49909176, Ema il: reshef@atz111o11 11th Sacred Music Choir Competition "G .P. da Pal estrina" , Rom e and Vatican City, Italy, 15-18 Feb 2004. For male, fema le, mixed, yo u th a nd chil d ren's ch oirs . Reper toire of catego ries w ith an d without com pul sory p iece inclu ding sacred a cap pe lla mus ic only am ong w hich at leas t one p iece of G.P. da Palestr ina, one piece from the 19t h Ce ntur y and one co nt emp ora ry p iece com p osed a ft e r 1920. Con tact : Asso ciazio ne In te rna z io nale Amic i d ella M u sica Sacra, Via P aolo VI, 29, 00193 Rom e, Italy. Te l: +39 -06-688058 16, Fax: +39-06 -688058 16, Em a il: Website: www.a111ici111 11 sicasacra.co111 International Festival of Young Choirs and Orchestras 'Young2004Prague", Pragu e, Czech Republic, 25 -28 March 2004 . Fo r k ids (5-12 years) a nd yo u ng peop le age d 12-26 w h o h av e an act ive in teres t i n mu s ic a n d ch oir s in ging. Contact : IFB Bohemia, a .s ., Jiri Pokorny, Na m es ti Miru 15, 120 00 Prague 2, Czech Rep ubli c. Tel: +42 0- 222-511683, Fax: +420-222-5 14073, Ema il : ipokorn11@ifbbohe111ia.c z - Webs ite: www McLachlan International Choral Workshop , Stellenbosch, South Africa, 26-31 March 2004. Main Clinician : Kare H an.ken from Norway Contact: South African 0 1oral Society, Anne Mar ie Van de r Walt, PO Box 31950, Fichardt Park, Bloe m fontein 9137, South Africa. Tel: +27-51-4473194, Fax: +2751-4482003,Email: sac/rora

15th Anniversary of Cantapueblo, 24th Annual National Condu ctor s ' Quito, Ecuador, 20-26 Nov 2003. Ch ora l Sympo sium , Vancouver, Canada , 19-24 ce lebrat io n of A m e r ica. Contac t: Jan 2004 . Six a p p lica nt s w ill be chose n CantaP ue blo, la Fiesta Cor al d e Am ér ica, from across Ca nada, the United States and Cas ill a Pos t a l 27, 550 1 Godoy C ru z, overseas to part icipate as Cond ucto rs, reMe nd oza, A r ge n t in a. Te l : +54 -261ce i v in g s ig ni fica n t time w ith th e 4203793 , Ema il: ca11taecu@11io.sat11et.11et - Va ncouver Ch a mb er Ch o ir in re hea rsa l 7th Hawaii Internation a l Choral Website: an d pe rform ance. As man y as ten addi tio- Festival, Honolulu, Hawaii, USA, 26 na l app licants w ill b e se lected as Marc h-4 April 2004. Festiva l featuring stu Jazz Workshop with Anne Kohler, Obse rvers an d be involved in ail aspects of d y, rehea rsal an d pe rforma n ce of Carl Vivid Voices (Hannov e r) , Bonn, the Sympos ium , incl ud ing one oppo rtu n i- O rff's Carm in a Bu rana. For m ixed choi rs . Ger many , 22 Nov 2003. ln Ger m an for ail ty to co n duct. Co nt ac t: Joan n e Gee h a n, Apply before: 1 March 2004. Contact : singe rs and co nd uctors w ho wou ld like Ma na ge r, Pro du ction & Co mmuni catio ns, Josep h McA li s ter, Execu ti ve Dir ecto r , to have a tas te of thi s field of chora l muVancou ver Cham ber Choir, 1254 West 7th Hawai i l n t'l Cho r al Fes ti va ls, 32 15 Pa li s ic w ith it s la r ge reper to ir e. C on ta ct : Ave nu e, Vancouver BC, Canada. Tel: +1- H igh way, H onolulu , H awa ii 96817, USA . CANT A Bonn, Jazzwo r ks h o p , Pe te r 604-7386822, Fax: + 1-604-7387832, Em ai l: Tel: + 1-808-52408 15 ex t 257, Fax: + 1-808He nn , Alter Heerweg 25, D-53347 Alfter, igeeha n@va nco11vercha111b erclzoir.co111 - 5241507, Ema il : oa/111clrora/@aol.co111 Ger m an y, Fax: +49-228-748 1973, Em a il: Webs ite: www.vn11co11v ercha111b erchoir.co111 Webs ite: www.oa/r11cl1oral.co111 peterhenII boka@t-011I i11 World Festival of Women's Singing, 14th Internation al Festival of Sacred International Choral Fes ti va l "Creo Salt Lake City, Utah, USA, 4-7 February Music , "B. M. Cernohorsky's Days" , en la Paz", Santiago de Cub a, Cuba, 23- 2004 . Ope n by in v itatio n to indiv id ual Nymburk , Podebrady, Prague, Czech 30 Nov 20 03. Fest iva l dedicated to th e wome n singe rs and to college, commun ity, Republic , 1 Apr- 30 June 2004. Concerts, peace . Contac t: Electo Silva, Director de l chu rc h and hi gh sc hoo l wome n 's chai rs. wor kshop s, meet in gs. Con tact: IPOS -ARcoro Orféo n Sant iago , P residente de l Daily re hearsals w ith festiva l conductos T AMA, Dr. Jaros lava Modroc h ova, Fest iva l I nt' l De Coros de Sa nti ago de D iane Loomer and Maria Guinand. Bla ni cka 4, POBox 12, 120 21 Pragu e 4, Cu ba,, Cuba, Emai l: orfeo@cultstgo.c11 / Co nt act : T h e A ll iance for Art s & Czech Repub lic. Tel: +420-221-507961, Fax: or Understanding, Carol Stewart, Ar tist ic +420-221-507955, Ema il: arta111a@ipos -111k. cz Di rec tor, 34 Fox Cree k D r., Waukee , IA Website: 13th Intern ational Festival of Advent 50263, USA. Tel: + 1-515-9871405, Fax: + 1and C hri stmas Music, Prague, Czech 515-9875480, Email: carolstewart@qwest.net4th America Cantat Festival, Cuid ad Republic, 28-30 Nov 2003. Co m pe tition, Website:www.allim1cefomrtm1d1111dersta11dù1g.co111 d e México, Me xico, 5-14 Apr 2004 . co ncerts, wor kshop s . Conta ct: IPOS -ARRenowned choi rs of loca l and in ternatioT AM A, Dr. Ja r os lava Modrochova, 6th Pa'amon Festiva l, Jordan Vall ey, na l pres tige engag ed in artistic and acad eBlan icka 4, POBox 12, 120 21 Prague 4, Israel, 12-14 Feb 2004. Equ al voices, ch il- m ic a ct ivit ies . Contac t: Mexican Choral Czech Repub li c. T e l: +420-22 1-507961, dre n 's & youth chair s (ag e group 11-21) Foundation. Te l: +52-55-55432321, Fa x: Fax: +420-221-507955, Ema il: arta111a @ipos- wi ll work together on a common reper+52-55 -5543 2321, Ema il: 111k. cz - Webs ite: www.ipos-111k .cz/arta111a toi re of Engli sh co ntempo rary composers a111 ericnca11 tativ@f1111dacio11coral 11 1exica11a .co111 at the beautifu l site of the Sea of Ga lilee, - Website: www.f1111d acio11 coral111exi ca11a.co111 3rd Advent and Christmas Songs in a warm and no n-compet itive atmosFes tiva l, Budap es t, H ungary, 5-8 De c ph ere. G u est co nductor : Bob Ch ilcott.

l 11t crn:-1ti onal Chornl Bullet-in~Octobcr 2003

Copyright © 2003 by the Internationa l r-cdcrillion for Choral Music

Festivals - Workshops·: ·cQmpeti.tions ~ Fe.siiva1s·-:: Workshops - Competitions 6th Rhodes International Music Festival , Greece, 14-17 April 2004. Choir competition and lyric so loist compet ition . Open to mi xed, male, female, chamb er, yo uth , children's choirs and folklor e voca l e nse mbl es as we ll as ly ric so loi sts . Appl y b efo re: 30 Nov 2003. Co nt act: Polifornia Athenaeum , 2, Spa rti s str., GR153 42 Agia Para skev i - A thens, Greece. Tel: +302 10-6014 741 , Fax: +302106009204, Email: i11{o@inter-f 111or choir_co111peti tion@hot111ail .co111 Toronto International Choral F estival, Canada, 14-18 Apr il 2004 . Massed rehearsals and concerts, choristers interaction, sightseeing, .... Guest Conductor: Jean Ashworth Bartle. Contact: Toronto International Choral Festival, Arts Bureau for the Continents, 350 Sparks Street, Suite 207 A, Ottawa, ON KlR 7S8, Canada. Tel: +1-6132343360, Fax: +l-613-2 362636, Email: - Website: http://www 7th Internationa l Festival of University Choirs "Universitas Cantal 2004", Poznan, Po land, 21-25 April 2004. Meetings of university choirs from ail around the world in order to st imulate co-op erat ion and cultural excha nge. Noncompetitive festival. Final concert induding a Poli sh cont emporary piece performed by th e mas sed choir s (600 singers) , symp hony orche s tra and soloists. Apply before: 5 Dec 2003. Contact: International Fes tival of Uni ve rsity Choirs "Universitas Cantat", Beata Kornatowska, Ul. Wieniaw s kiego 1, PL-61712 Poznan, Poland. Tel: +48-604-277072, Fax: +48-6182944 12, Email: fest iwa l@a11111. Web site: /zltp:l/mai11.1111w .a11111. pll-fest ival 4th International Choir Festival, Szc ze cin , Poland , 21-24 May 2004 . For mixed, male and female choir s with max. 45 s in ge rs. Apply before: 3 1 Jan 2004. Contact: Festival Office, th e Pomeranian Duke s' Castle, Zamek Ksiazat Pomorskid1, ul. Korsar z y 34, PL-70 540 Szczecin, Poland. Tel: +48-91-4347835, Fax: +48-91ek.szczeci11. pl 4347984, Email: zamek@za111 Internation al 7th Chora l Comp etition "Maribor 2004", Slovenia, 23-26 April 2004. For up to 12 se lect ed female, mal e and mixed choirs with 16-48 singers. Folk songs (non -competitive) and thr ee competing pro gra ms (compul so ry, fr ee and Grand Pri x) . Appl y before: 24 Nov 2003. Contact: JSKD (Republic of Slove ni a Public Fund fo r Cultural Activities), _tefanova 5, SI-1000 Ljubljana , Sloven ia. Tel: +386-1-2410525, Fax: +386-12410510, Email: mih Website: Wo rld C h ora l Fes ti va l Sa lz b urg & V ienn a, A u s tria, 24-26 Apr il 2004. A "Once in a Lifetim e" oppo r tunity to perform in Sa lzbur g and Vie nna w ith the world renowned "Vienna Boys ' Choir" and th e "Vienna Male Chora l Society" in Salzb ur g at the "Grand Hall" of th e "Mozart e um " and in Vie nna. Contac t: H a rin g KEG Chora l Fest iv a ls, M icha e l Har ing, G ruen ento rgasse 10 /7, A-10 90


Wien, Aust ria. Tel: +43-664-1811180, Fax: +43-1-3)75460, Email: World.C/1oral.Festiva - Webs ite: www.a11stria11{ 51st Cork International Choral Festiv a l, Ireland , 29 Apr -2 May 2004 . Fleischmann Int'l Troph y Competition, participation by non-competitiv e int ' l choirs; national adult and school choir compe titi ons. Special features: ni ghtly gala concerts, se minars on contemporary choral music, fringe events, w ide range of activities for visiting choirs. Contact: Cork International Choral Festival, P.O. Bo x 68, Cork, Ireland. Tel: 353-214847277, Fax: 353-21-4847278, Email: c/ Website: 54th European Music Festival for Young People, Neerpelt, Belgium, 30 Apr-2 May 2004 . Competition for children's and yout h choir s from a il over Europe and beyond. Contact: Europ ees Muziekfestival voor de Jeugd, Postbus 56, B-3910 Neerpelt, Belgium. Tel: +3211-662 339, Fax: +32-11-665048, Email: e111i@tiid.co111 - Website: www. 52nd European Music Festival for Youngsters, Neerpelt, Belgium, 30 Apr-2 May 2004 . For Children's and Youth choirs from Europe. Contact: European Music Festival for Youngsters, Postbus 56, B-3910 Neerpelt, Belgium. Tel.: +3211-662 339, Fax: +32-11-665048, Email: Website: 9th International Festival of Contemporary Music with Z. Lukas prize "THE SPRING 15 OPENING", O strava, Czech Republic, 7-9 May 2004. Competition w ith Z. Lukas prize, concerts, works hops, meetings. Contact: IPOS-ART AMA , Dr. Jaro s lava Modrochova, Blanicka 4, POBo x 12, 120 21 Pragu e 4, Czech Republic. Tel: +420-221-507961, Fax: +420-221-507955, Email: arta111a@i - Website: /arta111a International Choral Festival "Canticum Novum", Caracas, Venezuela, 11 -25 May 2004 . Chora l concerts and wo rkshops for equal voices, childr e n' s, yo u th and adu lts ch o ir s. Cont ac t: Gaudeamus-Socieda d Venezolana De Can to, Guntar s Gedulis, Apartado 17421, 1015A Caracas, Venez uela . Tel: +58212-5752874, Fax: +58-212-5741228, Emai l: gaudea11111 s@ethero11.11 et Europ ean Fes ti val of Youth Choirs Bas el, Switzerl and, 18-23 May 2004. For invited yout h and children' s cho irs (agelim i t 25) . Non-competitive event. 12 cho ir s from Europea n countrie s an d 6 from Sw itzerla nd. Work shop s and cho ral concerts in Base! and its reg ion. Contact: Europaisc hes Ju ge ndchor Fes tival Base !, Kathrin Rengg li, Auf der Wa cht 6B, 4104 Ob e rwil, Sw it ze rl and. Te l: +41-614012100, Fax: +41-61-4012104, Emai l: k.re11gg li@eic(clz - Website: www.eic( ch 1st Swedis h Int erna tion a l C h o ir Competition, H elsingborg, Sweden, 1923 May 2004 . In cooperatio n w ith the

Copy right © 2003 by the International Fcdcration for Choral Mus ic

Swedish National Choir Competition. Kor Centrum (the Swedish Choral Center), Fred Sjoberg, Nybrokajen 11, SE11148 Stockholm, Sweden . Tel.: +46-84071679, Fax: +46-8-4071727, Email: - Website: Contact: Interkultur Foundation, Am Weingarten • 3, D-35412 Pohlheim , German y. Tel: +49-6403956525, Fax: +49-6403-956529, Email: 111ai/@11111 sica-111 1111di .co111 - Web s ite: www.11111sica -1111111di. co111 Canadian Tuljp Music Festival, Ottawa, Canada, 21-24 May 2004 . For internat ional choirs, bands & orchestras. Contact: Canadian Tulip Music Festival, Arts Bureau for the Continents, 350 Sparks Street, Suite 207 A, Ottawa, ON KlR 7S8, Canada. Tel: +1-613-2343360, Fax: +1-613-2362636, Email: abc.@abc.caWebsite: Podium 200 4 National Conference "Sonora Borealis", Winnipeg, Manitoba, Canada, 20 -23 May 2004 . Contact: Association of Canadian Choral Conductors, Patricia Abbott, 49 rue de Tracy, Blainville, QC J7C 4B7, Canada. Tel: +1-450-4305573, Fax: +1-450-4304999, Email: accc@ca.i11ter.11et - Website: 5th Parnu Int ernat ional Choir Festival, Estonia, 26-30 May 2004 . Festival, concerts and folk so ng competition for mixed, chamber, male and female choirs. Contact: Estonian Choral Society, Suur-Karja 23, EE-10148 Tallinn, Estonia. Tel: +372 -6441849, Fax: +372-6449 147 , Email: Website: www.koori1// 33rd Florilège Vocal de Tours, France, 28-31 May 2004 . Int ernat ion a l Choral S ingin g Competition limi ted to ensembles from 12 to amateur chori sters. Three rounds: qualifications (a cappe lla), final round (including one piece with piano) and closing ga la. Four categories: mixed choirs, mal e or female voice choirs, mixed vocal ensemb les, free program / and a spec ial children's choir int ernational comp e tition . App ly before: 30 Nov 2003. Contact: Florilège Vocal d e Tours, B.P. 1452, F-37014 Tours CEDEX 1, France. Tel: +33-2-47216526, Fax: +33-247216771, Email: f/ Musica Sacra Intern ational Festival, Ma rk toberdorf, Ger man y, 28 May-2 June 2004. Choirs, instrumen tal and dance ensemb les give a g limp se into the fascina ting mu sical wea lth of different relig ions . Co n ce rt s, lectures and workshops . Contac t : Musica Sacra Int e rnati o nal, Ku rfür ste n straBe 19, Baye ri sc he Musikakadem ie, D-87616 Marktoberdorf, Germany. Tel: +498342-961856, Fax: +49-8342-40370, Email: i 11fo@11111 s ica-s acra-i II te rn a t io11aI. de Website: 11 th I n ternat ion al C hoir Festiva l "O rlando di Lasso ", Camer ino , Sar nano, Recanati and Loreto, Ita ly, 30 May- 2 June 2004. For ma le, female and mi xed

Int erna tional Choral Bulletin - Oc tobcr 2003


Festivals- Workshop$- Competitions·- .Festivals._ Workshops- Competitions choirs, voca l groups with ma x. 12 s ingers, fo lk so ng choirs , you th and chil dren's choir s. Repertoire of sacred and sec ular a cappella mu s ic, wit h one piece o f folk music from th e ch oir's country of or ig in. Ap ply before: 15 March 2004. Contact: Assoc iaz io n e lnterna z ionale Amici d e ll a Musica Sacra, Via Paolo VI, 29, 1-00193 Rom e, ltaly. Tel: +39-06 -68 8058 16, Fax: +3906-6880581 6, Email: in fo@aiam s. it Webs it e: www.a111ici11111sicasacra.co111 10th Niagara International Music Festival, N iagara region , Ca nad a, 6-10 June 2004 . Sightseeing at N iaga ra Fa lls and work ing in ma sse d num bers wit h g u est co ndu ctor Bob Chi lcott, g iv in g their own co n cer ts in St . Cat h ari n es, N iagara Fa ll s and Gr im s b y. Contact: N iagara In ternatio n al Music Festiva l, Arts Bur e au for th e Con tin e nt s, 350 Sp arks Str eet, Suite 207 A, Ottawa, ON KlR 7S8, Ca nada. Tel: +1-613-2343360, Fax: + 1-613-2362636, Email: abc@abc.caWebs ite: 2nd International "Midsummer F es tiv a l" for Choirs , S to ck holm , Sweden , 17-20 June 2004. Non-compet itive fest iva l for choir s in ail ca te go ri es. Co n tact: MSW Festiva ls, c/o TM ln co îave l, II. Rak6 cz i Fût 216, 1214 Bud ap est, Hungary. Tel: +36-1-4270740, Fax: +36-1-4270740, Emai l : 111 ws{estivals@axe lero .h 11 - Webs it e: www.111wsfest iva/s.co111 47th Internation al Festival of Choral Art Jihlava with 7th Int e rnation al Compo sers' Competition "Jihlava 2004", Jihlava, Czech Republic , 25- 27 June 2004. In ternat iona l compo se rs compet iti o n , concerts, works h op s, m eet in gs. Contact: IP OS-A RTAMA, Dr. Jaros lava Modroch ova , Blanicka 4, POBox 12, 120 21 Pra gue 4, Czec h Repub lic. Tel: +420221-507961, Fax: +420-221-507955, Email: arta111a@ Webs it e : www. ipos-

111k .cz/arta111a Europa Cantal Int 'I Singing Week , Tartu an d Tallinn , Es toni a, 26 Jun e-4 July 2004 . Fo r m ixed ch oirs and ind iv idua l s inge rs. Open s in g in g w ith Rau l Ta lmar and Hirvo Su rva (Eston ia). App ly before: 1 March 2004 . Contact : Eston ian Choral Soc iety, Su ur -Kar ja 23, 10148 Ta llinn, Eston ia. Tel.: +372-6-441849, Fax : +372-6-449147, Ema il: Webs ite : www .koorii{l1i11g. ee 6t h Int erna tional Choir Festiva l "Summ er Song s, Sopron, Hu ngary , 1-4 Jul y 2004. No n- competi ti ve fest ival for choi rs in a il categor ies . Co n tact: MSW Festiva ls c/ o TM In co Trave l, II. Rak6cz i F ut 216, 1214 Bu dapest, Hungary. Tel: +36-1-4270740, Fax: +36-1-4204796, Ema il: 111wsfestiva/ - Webs ite:

WWW.lllîVSfes tivals.co111 22nd Int 'I Choir Fest ival of Prevesa, 10th Int'I Competition of Sacre d Music, Prevesa, Greece, 1-4 July 2004 . For mixed, equa l voices, children's, chamber, mi xe d yout h cho i rs a nd choirs o f

Byzantine chant. Apply before: 28 Feb 2004. Contact: Chora l Society "Armo nia " of Prevesa, Par thena gog iou, 14,, 48100 Pr evesa, Hell as, Greece . Tel: +30 -682024915 / 29852, Fax : +30-6820-29852, - Website: Ema il : ar111o11ia4@ote11 http:If!-a n 11 011ia4/ Tuscan y Intern a tional Children 's Chorus Festival , Flor e nce, Italy , 5-13 July 2004. In t'l Childr en' s ch oruses totallin g 300 -400 singers w ill jo in Jean Ashwort h Bartle for d aily rehea rsa ls culmin at ing in ga la festiva l concert in Florence. Ind ividu al ense mble concer ts in Florence and Tuscany. lnclu des two-days po st-fest iva l exte nsion to Rom e and participation in m ass at St. Pete r' s Basil ica. Contact: Musica Mundi Concert Tours, 101 First Street, Sui te 454, Los Altos, CA 94022, USA. Tel: +1-650-949-1991, Fax: +1-650949-1626, Email : to11rs@ 11111 sica1111111di. com Website: www.11111 sica11 11111di .com 11th Int er national Choral Kathaumixw , Powell Ri ver, Canada, 610 July 2004. Join ch oirs from around the w orld in 20 conce rts, se mina rs, comm on s ing in g, soc ial eve nt s and compe titi ons on the sh ores of Ca nad a's Pac ifie Coast. Gue st artists and !nt'! jur y. App ly before: 1 Nov 200 3. Co n tact: Powe ll Ri ver Academy of Mu sic, 7280 Kemano Street, Powe ll River, BC, V8A 1M2, Ca n ada. Tel: + 1-604-4859633, Fax : + 1-604-4852055, Emai l: i11{o@katha11111i xw.o rg - Website:

www.katha11111ixw .org Pa c ifie Rim Children' s Chorus Festival , Honolulu , Hawaii, 6-14 Jul y 2004 . An advent u re and exp lorat io n of distinct ive mu sic from count ries around the Pacifie Rim. Artistic Dir ecto r: Henry Leck. For treble choirs on ly. Part icipants wi ll interactive ly explo re Polyn esian mus ic, dance, instrum ent s, language an d story telling w ith nat ive spea kers and in s tru ctors. Contact: Wa n da Ge rebe n, Execut ive Dir ec tor, 159 La imi Road, H onolu lu, H awa ii. Tel: +1-808-5950233, Fax : +1-808 -5955 129, Email: i11fo@PacRimFe st ival.or g - Web s it e:

5th In ternat ional Choir Competition 2004, Miltenberg , Bavaria, Germany , 811 Jul y 2004. Two categor ies : Sympho ny of Voices (cho ir compos iti on s w ith one compu lso ry co mp ositio n ) an d Folksongs,spi ritua ls & jazz. App ly before : Jan 31, 2004. Co nt act: Ku lturreferat de s Landkreises Mi ltenb erg, Brückenstr : 2, 63897 Miltenb erg, Germa ny. Tel: +499371-501503 , Fa x : +49-937 1-50179503, Email: kultu - Webs it e: www. chorwet tbewe rb-111 i 1te11be rg. de or www.voca/e11se111ble 5th Int ernational Choral Festival of Puebla , Mexico , 9-15 Jul y 2004. For any kind of choi r. Contact: Jav ie r Cameno, c/Manuel Iradier 35-5°, E-01005 Victoria Gasteiz, Spa in , Fax: +34 -945-252112, Em a il : ca111 e11o@e 11ska/11et.11e t - Webs it e : www.coro11orma /ista.co111.m x World Singin g Fes tiv al for Men and Boy s, Hradec Kralove and Prague, Czech Republic , 9-16 July 2004. Ope n by in v itat ion to boys' choir s and to m en 's ch oirs from the world. This festival specializes in teaching methods, repertoi re, men torin g and choir role model ing for singing men and boys w ith spec ial emp ha sis on chan ging and new ly d 1anged mal e vo ices. Contact: Th e All iance for A r ts & U nd ers tanding, Caro l Stewa rt, Arti s ti c Dir ector, 34 Fox Creek Dr. , Wa uk ee, IA 50263, USA. Tel: + 1-515-9871405, Fax: + 1515-9875480, Ema il: carolstewart@qwest.11etWebsite:www.allim1œ/iJm rtm1d111 1derstm1dù1 g.co111 Cond uctin g Sy mpo si um , Hradec Kralove and Prag ue , Czech Republic , 10-16 July 2004 . Thi s symposium provides op por tuniti es for a limited numb er of d eve lop in g choral co nductor s of ail ages an d stages to conduct an d learn at th e pod ium fro m skilled , int ernationally re now ned m aster co n d u ctors. Contact: Th e Alli ance for Ar ts & Unde rstanding, Caro l Stewar t, A rtis tic D irector, 34 Fo x Creek Dr., Wau kee, !A 50263, USA. Tel: + 1-515-9871405, Fax: + 1-515-98 7548 0, Em ail: al/ia11ceforarts11@qwest.11et Websit e:

www.allia11ceforarta11du11d ersta11di11g .co111 41 s t Intern at i o n a l Cho ra l Compe tition Schloss Porcia , Spitt ai an der Drau, Austria , 8-11 Jul y 2004.For art an d popular songs. Contact: Kultur amt , Burgplatz 1, A-9800 Sp itta i an der Drau, Tel: +43-4762/5650 -223 Fax: +43 4762/3227. Email:

3rd C hoir Olympics , Breme n and Bremer h aven , Germa n y, 8-18 Jul y 2004. For ail kind of cho irs from ail around the world. Competition, encou n ter, fri end s hip , concerts, ch o ir festivals, lect ur es and workshops, discussions wit h composers and choral exper ts, ga la concerts and ex hibition s. Contact: Cho ir O lympics, c/ o lnterku ltur Foundatio n, Am Weingarten 3, D -354 12 Po hlh eim, Ge rm an y. Tel: +496403-956525, Fax: +49-6403-956529, Emai l: mai/ @11111si ca-1111111di. co111 Webs ite : www.cl1oiro/11111 pics.co111

Internati on al Ch oral Bulletin • October 2003

Europa Ca nt at Int 'l Singing Week for Children '·s Cho ir s , K6pav o gur, Ice land , 12-18 Jul y 2004. For Chi ldr en' s an d girls' ch oirs, also les s exper ienced ones (equa l voice s aged 12 to 18). Open singing w ith Michael Cohl. Apply befo re: 15 Feb 2004. Co nt act : Sing ing Week, c/ o Thorun n Bjornsd6tti r, K6pavogsbraut 18, IS-200 K6pavogur, lceland. Tel.: +354 5544548, Ema il: 111art Int erna tion al Choir and Orchestr a Fes ti va l "Ca ntus Sa li sburge n s i s ", Sa lzb u rg, A u st ria , 15 -19 July 200 4 . Kaleido scope of Na tions. For cho irs and orc h es tras . Speci fic pieces to be perfo rmed. Co ntac t: Cu ltours Austr ia, Choir & Orchestra Concert Tours , Ho g lwor th weg 10/4, A-5020 Salzb ur g, Austria . Tel: +43662 -8213 10-0, Fax: +43 -662-8213 10-40, E mail: o( - Webs ite:


Copy right © 2003 by the International Fcdcr.ition for Cho ral Mus ic

Festivals - Workshops··_ èompetitio~s _- -F~stivais·~ Workshops - Competitions 50th Internat i o nal C hor a l Competition of H aba n e ra s and Polyphony of Torrev i eja , Ali cante , Spain , 18 -25 July 2004 . 7 days of out doors habaneras and pol y phony in the au ditorium "Eras de la Sa l" on the Medi terranean Sea coast. Apply before: 31 Jan 2004. Contact: Certamen Int'l de Habaneras d e Torrevi eja , Cf Patrici o Perez, 10, 03180 Torrevieja - Valencia, Spain. Tel : +34-965-710702, Fax: +34-965712570, Email: dtor - Website: Canterbury International Choral Fest ival , United Kingdom , 22-26 July 2004 . Rehearsa ls, choral workshops, and conductjng ma s tercla sses. Guest Conductor: Stephen Hatfi eld. Optional Post Fest iva l Extension to London. Contact: Canterbury Int erna tiona l Choral Festival, Arts Bureau for the Contin ents , 350 Sparks Street, Suite 207 A, Ottawa, ON KIR 7S8, Canada. Te l: +1-61 3234336 0, Fa x: +l-613-2362636, Email: Web site : /rttp:! 5 th Taipei International C hor a l Fes ti va l, Taipei , Taiwan R.O .C. , 25-31 July 2004. Open to a il kinds of ch oirs an d voca l ensemb les (max . 40 member s). App ly befor e: 31 Oct 2003. Co ntact: Taipei Int ernat ion al Chor al Fes tiva l, Bl, #28, Lane 233, Tun Hua South Rd . Sec. 1, Taipei 106, Taiwan R.0 .C.. Tel: +886-227733691, Fax : +886-2-277 33 692, Email: mai/ - Website: Europa Ca nt at l nt ' l S ing in g Wee k, Nevers , France, 25 -31 J uly 2004. For mixed choir s, childr en's choir s and ind ividua l s inge rs. Ap pl y befo re: 31 Marc h 2004. Contact: Sema in e Cha n ta nt e Europ a Cant at, Ville de Nevers, H ôtel de Ville, F-58036 Nev er s Cedex, France. Tel.: +33-3-86684562, Fax: +33-3-866 84563, ille-11evers.{r Emai l: iean-clar1de.bo1(er@v Website: www 21st "Bé la Bart6k " Internat i o n a l Choi r Competit ion, De brecen , Hun gary, 28 Jul y-1 August 2004 . Com peti tion in contemporary chora l mus ic for six cate go ries . The "Grand Prize" w inn er w ill be in vited to the "Gra nd Pri ze of Europ ea n C h ora l Mu s i c" co m pc lili o n h e l d in

Arezzo, Debrecen, Gorizia, Tolosa, Tours and Varna. Contact: Bart6k Béla Nemzetkbzi K6rusverse n y Ir o d aja, Debreceni Kultur alis és Fesz tiva lkozpo nt Kft , P e tbfi tér ] 0, H-40 25 D e brecen, Hu ngary. Tel: +36-52-525270, Fax: +3652-525280, Em ail : debrece11@fe sz tivalko zpont .h11- Website: www.bbcc.h11 5t h International Youth C h a mb er C h oir Meeting, Usedo m Is land (Ba ltic Sea ), G er ma n y, 29 July -8 Aug 2004 . 7 European youth cham ber choirs; sin gers and accompan y ing perso ns: ma x. 35 per sa ns, max. age: 25 years. Work s hops by Oscar Boa da (equa l vo ices), A nd reas Lbnqui s t and Pr. Chri st ian G rube (m ixed voice s ). Contact: Arbeitskr e is Musik in der Ju gend AMJ, Aders heimer Str. 60, D38304 Wo lfenbütte l, Germ any. Te l: +495331-46016, Fax : +49-5331 -43723, Ema il :



AM [Mu sikinder[ r1ge11d@t-011/in Website: www! 1s t International Choral Festival of Negro Spirituals , Detroit , USA, 29-31 July 2004 . Th e fes tiva l entit le d "Reclaiming the Traditi on" of the Sp iritua l will bro aden the awareness of the choral community about spiritual s and will pre serve thi s beautiful mu sic by sharin g the genre with chora l ensemb les from ail over th e world. In the memory of Mo ses Hogan. Contact: N at ional Association of Negro Mu s ician s (NANM), A. Maxine O'K ee fe, P.O . Box 27934, Detroi t; MI 48227, USA, Fax: +1-313-8648963, Email: amaxi11eokeefe@sbcgloba/.11et 4th International Chor al Fes tival "San Juan Coral 2004", A rgenti na , Aug 2004 . Concerts an d workshops. No n-competitive chora l festival, for 8-10 se lec ted non-profe ssiona l, mixed, female, male and chamber choirs. Selecti on on the basis of audition tapes. A ppl y before : March 15, 2004 . Contact: Marfa Elina M ayorga, Pasaje Cervantes 1625, Ml , Casa 7, Barrio SMA TA, 5400 San Juan , Argentina. Te l: +54 -264 -4234284, Fax: +54-264-4234284, Email: ,rraria e/i1ra1nm1orga or eli11ama 1(orga@/ or ex/ensio11@ucw

Chora lies d e Vaison- la -Romaine , France, 2-11 Aug 2004. Contac t: A Coeur Joie Fra n ce, Les Passerelle s, 24, Avenue Jo annès-Masse t - CP 317, F-69337 Lyon Cedex 09, France. Tel: +33-4-72 198340, Fax: +33-4-78434398, Email: Web s it e : Irttp:!/aci.m 11sicmret.o rgl

applications) is at http: //c hora cat/ mchch.html (in English) or h ttp: //c hor al net.o rg/ cat/ mchchde.html (in German). Contact: Mon ika Fahrnberger, Quellenstr. 18/38, A-1100 Wien, Austria, Emai l: Viv ace Int ernat ional Choir Fe s tival 2004, Vesz prem , H un gary, 6-9 Aug 2004. Specia l combinat ion of festiva l, competi tion and mini concert tour focused on th e joys of life. Contact: c/o Varos i Müvelbdési Kbzpont, D6 zsa Gybrgy u 2, H-8200 Veszprém, Hun gary. Tel: +36-88 429693, Fax: +36-88 -429 693, Em ail: v mk1 @veszpre111.lr11 Website: www.v111k.veszprem./111/eve11/ / 3rd Intern at ional "Waterford Sin gs !" Festival , Ireland, 12-15 Aug 2004 . Noncomp et itive fes tiva l for choirs in ail catego ries . Contact: MSW Festiva ls c/ o TM In co Tra ve l, Il. Rak6czi F ut 216, 121 4 Budapest, Hung ary . Tel: +36-1-4270740, Fax: + 36 -1- 4204796, Email: mw sfes ti v a/s @axelero.lr11 - Website: www.111wsfestivals.co111 Europa Can tat Int ' l Singing Week , Ljubljana , Slovenia , 15-22 Aug 2004. For mi xed ch oirs, voca l groups and indi v idual singers. App ly befo re: 14 May 2004. Contact: Zavod sv. Stan is lava /S t. Stan islau's In s tituti o n, ·tul a 23, SI-12 10 Ljub ljana - ·entv id, Slovenia. Tel.: +386-15822200 or 5822202, Fax: +386-1-5121065, Email: gregor.lotric@guest.arnes .si We bsite: www

3rd I nt e rna tional C hor a l Fest iva l 20th Z im r iya , Mount Sc op u s , M ar io Baeza, La Se rena and Santiago , Jer us a l e m , Is rae l, 2-12 A u g 2004 . Chi le , 20-30 A u g 2004 . O pen to mix ed, Wor ksho ps, open singin g, ch oir to choir male, fema le and cham ber cho irs. Apply sess ions, co ncerts. Works h op co n d u c- befor e: 3 1 Oc t 2003 . Co n tact: Waldo tor s: S im o n Carr in g ton, Jür ge n A r ang ui z-T h ompso n , Cas il la 3 133, Fassbender, M ichae l Go h l, Gary Gra d en, Santi ago, Chil e. Tel: +56-2-2259977, Fax: Maria G uinand and many o th ers. +56-2 -2 233240, Ema il : Co nt ac t : Z IMRIY A, 4 Reh ov A h aro n ow it z, Te l Av iv 63566, Israe l. Tel: +972-3-5280233, Fax: +972-3V ocal Ja z z D ays , Soesterberg, 6299524, Ema il: / - Ne th erland s, 21-27 Aug 2004. Fo r in ter Webs ite: www.zi111r .il mediate and adva n ced s in ge rs . App ly befo r e: 3 1 Ma y 2004. In coo per a t ion 12t h M ult in ationa l Chamb er Choir , w ith Europa C a n tilt. Co n ta ct : Du tch Vienn a and A ust rian Alps, Au stria , 4-18 C h o ra l O r ga ni sat io n , KBZON, Felix Aug 2004. Mu ltin at iona l project for INDI- Timmerman sst r aat 50, NL-5751 LS VIDUAL SINGERS (capab le of singing in Deurne, The Net herlands . Te l.: +3 1-493very sma ll ense mbl es and/ or one on a 3 111 00, Fax: +3 1-334-70 1622, Ema il: part at times as we ll) to be selected from wa l t erf @wor ld o11/irre.11/ - Website: the ava ilab le app licatio ns to form a new www.debiltstars.rrl!vocaliazz rlm1sli rrdex./rt111 I ch amb er ch oir here in A ustria and work on a plenary select ion of sac red mus ic as In the Foot steps of Anton in Ovorak , we ll as in a st udi o g roup fo r sec ular Prague and Boh emia, Czec h Repub li c, Renai ssa nce works and ano th er on va- 24-30 A u g 20 04 . In coopera ti on w ith rio us light mu sic items. The reh ea rsin g Eu ropa Ca nt at . Appl y before : 31 March pa rt of the meet ing w ill be he ld in the 2004. Contact: VUS Cho ir, Vo rs ilska 1, Au stria n A lps, r e co rdin gs and 11008 Prague 1, Czech Republic. Fax: +420concerts in Aust ria, Vienn a, at the end in- 224219607, Emilil: iak11b. zic/ra@ceutrn111. cz or cluded. Mu s ical d irec to r: Mag . Herman n si1111111ek@letenk 11.a s P latzer, Aus tr ia; Orga ni za tional Chair: Mon ik a Fa hrnb e r ge r, A u str ia . A l p e Adria Cantal lnt ' l S in g in g App licati on dead line: March 1, 2004; first We e k, Lido di Je s olo, Venic e, ltaly , 29 corne, first se rved - accordi ng to places Au g-5 Se pt 2004. For mix ed choir s, chilava ilab le in the voi ce pa rts. Fu ll informa - dr e n 's choi rs and indiv idu a l s in ge rs . tion (including exact rul es for indi vidu al App ly befor e: 30 Ap r 2004 . Contact: Alpe

Copyr ight © 2003 by the Inte rna ti on al Fodcration for Chora l Music

Internatio na l Choral Bull etin • Octobcr 2003




Festivals - Workshops - Competitions - Fe~tivals -·Workshops - Competitions Adr ia Ca n ta t, Via Ca stell ana 44, 1-30174 Ve n ez ia/ M es tr e, lt a ly. Tel.: +39- 0419589 18, Fa x : +39 -041 -950074, Em a il : nsnc.cori@ 11s n.11et o r {e11inrco@ti Webs ite: 23rd International Choral Wee k of Alava , Spain, 3-10 Sept 2004 . For an y kind of choir s. Conta ct: Jav ier Came no, Manu e l !radi er 35-5°, E-0100 5 Victoria Gas teiz, Spain. Tel: +34-94-5268441, Fax: +34-94-5252112, Email: cn111 eno@e11skn /11et. 11 et - Website: Magic Mozart Moments World Chorus Festival, Salzburg, Austria , 1012 Sept 2004. For indi vid ua l chora l sin gers ch oi r s w h o want to jo in th e Mozart-C ho ir w ith hundr eds of vo ices fro m ail over the worl d and e njoy th e wo n de r ful at m os ph e r e o f Sa lzburg. Com pul so ry piece : Grea t Mass in c-min or KV 427. Choice pi eces (eac h p arti cipant s m a y ch oose 3 pi eces to s ing ): Mi se ri co rdia s D o mini KV 222, Ve nit e Po puli KV 260, Alm a De i Creator is KV 277 and In te r Natos KV 72. Di rected by Jan os Cz ifr a, dir ecto r o f th e Sa lzbur g M u sic Ca th ed ra (, O rc hes tra a nd Ch oir. Apply before : 1 Jun e 2004. Co n tact: Cu lto u rs A u s t r ia, C h o ir & Orc h es t ra Conce r t To ur s, H ôg lw ort h weg 10/ 4, A5020 Sa lzb ur g, Au s tri a. Tel: +43 -662821310-0, Fax : +43-662-8213 10-40, Em ail: ofjice@c - Webs ite: www.c11lto 11r

7th International Youthchoir Festival, Veldhoven, N etherlands, 23-25 October 2004. For yoÙth choirs and vocal gro up s lik e st u den ts, gos pel en se mbl es, p op choir s inclu d ing singe rs aged 13 to 30. Co n tac t : In te rn a tio na l Yo u th ch o ir Fes tiva l, Ka rin H aze nb erg,, Kometenl aa n 4, NL-5505 PP Veldh ove n, Ne th erland s. Tel: +31-40-2785449, Ema il: i1(f@dse.11/or knri11.hnze 11berg@plzili 111- We b s it e :

10th International Choir Competition, Budape st, Hungary , 20-24 March 2005. Compe tition in d ifferent categor ies and difficulti es for mixed, fema le, male, cha mber choirs & voca l ensembl es, child ren's & yout h choirs, and folklore ensembles. Con tact: Jnterkultur Hun gar ia Kht, Ro tt e nbill er u 16-22, H-10 74 Bud ap est, . Hu ngary. Tel: +36-1-4621330, Fax: +36-13429362, Em ail: bncs@nxelero./111- Website:

WWW. Îl((ll/1

www.11 111.co11!1 111 c e11 /i11dex./1t111/

1st International Showcase for Choir Singing Polyfollia 2004 , La Manche, Normandy, France , 28 Oct-1 Nov 2004. A re fere nce mee ting po int between the best amat eur choirs and pro moters and org anizers of fest iva ls, mu s ic seasons, etc .... Pl us a "ch ora l fes tiv e par ty" ope n to ail ch o irs. C on tact: Po lyfo lli a, Jac qu es Van h e rl e, Ave nu e des Canad ien s 16, 1411 1 Lou v ig n y, F r ance . Tel : +33 -23 174774 0, Fax : +33 -2-3174 7740, Em ail : pol1([

9th International Choir Fe s tival "Tallinn 2005", Estonia, 21-24 April 2005 . Ch oir Festiva l in clud in g a con tes t for mixed, fema le, ma le, ch am be r a n d chil dre n's choirs and a ser ies of concerts in t h e ch u r ch es a nd co n ce r t hall s o f Tallinn . Con tact: Estonian Cho ra l Socie ty, 23 Suu r - Ka rja St., EE-10148 Ta llinn , Eston ia. Tel: +372-6-441849, Fax: +372-6449 147, Em a il : koo ri11lzi11g@k11/.ee Website: www.koorit{i1 i11~ .ee

10th Athens International Choir Festival, Ath e ns, Greece, 10- 14 Nov 2004 . Choi rs co m pe titio n/l y ri c solo ist comp et ition . Ope n to mi xed, male, female, chamb er, yo uth an d chil dren's ch oirs as we ll as folklore ensemb les . Ap ply befo re: 29 Feb 2004. A rtis tic Dir ec tor: Dr. Th rassos Cavo u ras. Co nt act: Po li fo n ia A th ea n eum , 2, Spa r tis s tr ., GR -153 42 Ag ia P a ra s kev i - At h ens , Greece. Te l: +3 0210- 6080119 , Fax: +3 02 10-69 18841, Em a il: i11fo@i11ter-fest .co111- We b s i te :

8th Internation al da y s of Choral Music "Caja de Burgos", Sp ain, 11-15 www .111 usicweb.11 k.11etlsn11 dhl Se pt 200 4. Fo r a ny k in d of ch o ir s. 3rd "Prof . Ivan Spa ssov" Composer's Contact: Jav ier Cameno, c/Ma nuel Irad ier Plov d iv , Bulg a ri a, 19-21 35-5°, E-01005 Victoria-Gaste iz, Spain, Fax: C ompetition, +34-945-252112, Ema il: cn111 e11o @e11skn/11et.11 et N o v 200 4 . Co nt act : Pr of. Vass ik a Spassova, P res ide nt , 2, T. Samo d umov - Website: www.cnindeb11rgos .es Str., 4000 Pl ovd iv, Bulga ria. Te l: +359 6th In tern ation al Fest i val of 32-6283 11, Fax: +359-32 -63 1668, Em ail : Rom a ntic M u s i c, V l achov o Bfi ez i, spnssov@111ni l.co111- Websi te: www.spnsPrachatice, Vimperk , K ra tochvil e Cas tle , sov.l10111es tend.co111 south of Bohemia, Czech Repub lic, 8-10 Oc t 2004. Co nce rts, wor ksh op, compe ti13th Int ern ation al Fes tiv al of A dve n t ti o n . Co n tact: IP OS- A RTAMA, Dr. and Chri s tma s M u s ic, Prague , Cze ch Jaros lava Mod rochova, Blanicka 4, POBox Repu bli c, 26-2 8 Nov 200 4. Peter Ebe n 12, 120 21 Pr ague 4, Czec h Republi c. Tel: Prize. Comp et ition , work sh op, concert s +420- 221-50796 1, Fax: +42 0-22 1-507955, in the Prag ue ch urc hes. Co ntact: O R.FEA Em a il: - Webs i te : Pr ag ue, , , Czec h Repu b li c. Tel: +420 www .ipos-111k .cz/nrtn111 n 224-8 14458, Fax: +420-224-8 12612, Ema il:

i11co111 i11g@o Interna tional Chor al Esp oo Fes tiv al, Espoo , Fi nl and , 13-19 Oct 2004. Cho irs fro m near an d far are work in g on n ew music w ith th e compose rs, the aud ience w ill play an active par t as we ll. Co ntac t: Ch ora l Es p oo, He le n a Vii r ri, A h ert aja nk uja 4, 02100 Espoo, Finl and. Te l: +358-9-8 1657504, Fax: +358-981657500, Email: hn111 Webs ite : www 6th International Choir Festival & Comp etition "I sola d e l S ol e", G rado , lta ly, 20-24 Oct 2004. Compe tition in different categories and d ifficu lties. Co ntact : Interkul tu r Found ation, Am We ingarten 3, D-35412 Po hlh eim , Ger many. Tel: +496403 -956525, Fax: +49-64 03 -956529, Ema il: 111ni/@111usicn -111u11di.co111 - Webs ite: www.111usicn-111 11 11di.co111


4 th A d ve nt and C hri s tma s Songs Fest iva l, Budapest, H un gary, 3-6 Dec 2004. No n-compe titive fest iva l for choirs in a il catego ri es . Program: Advent and C hri st m as Songs . App ly befo r e: May 2004. Cont act: MSW Fest iva ls c/o TM In co Trave l, II. Rak6czi F u t 216, 1214 Budapes t, H un ga ry . Te l: +36-1-4270740, Fax : +36- 1-4204796, Em a il : mwsfesfivnls@nxel ero./111 - Webs ite: www

International Chamber Choir Festival and C ompetition, Pécs , Hungary, 28 April -2 May 2005. Co ntact: Pécs i Neve lôk Haza, Sze n t Is tva n tér 17, H -7621 Pécs, Hunga r y . Te l: +3672-3 15679, Fax: +36-72 -315679, Em a il : 11evhnz@111nfnv 11e t. /111 We b s it e: www.cklz.i11i.h11 6th International Choir Fe stival 2003, Bad Isch!, Austria , 28 April-2 May 2005 . For chil d re n, fem ale yo u th, m a le y outh , m ixe d yo uth , fe m a le, m a le and mixed vocal ense mbles or choirs. App ly before: 31 Dec 2004. Contact: Salzkam mergu t Tou ristik, lncomin g Reisebü ro, Gôtzst ra8 12, A-4820 Bad Isch!, Au st ria. Te l: +436132-4000-0, Fax: +43-6132-24000-44, Ema il: o(fice@snlzkn111111erg

2nd Int ern ation al M al e Vo ice Ch oral Festi va l, Co rn wa ll , Unit ed K in gdom , 28 April-2 May 2005. Fes tiva l ga la con certs, in t ' l ma le vo ice ch ora l co m petit io n , concerts, works hop s, s igh tsee ing . Ap p ly b efo re: 1 Nov 2004. Co n tac t: Co rn wa ll Int ernatio na l Ma le Voice Fes tiva l Ltd ., Mr. Pe te r Gou ld , G lyncrest, 34 St. Mi ch ae l's Road, Po n sanoo th , T r u ro, Co rn wa ll TR3 7EE, U n it ed Kingdom. Te l: +44- 1872 -86 4243, Fax : +44- 1872 864243, Ema il : gl 1111 c res t@nol. co111 Website: www.tncro.co111/orgn11isntio11.l1t111 13th Fest iv al Internatio nal de Chant Ch oral de Nancy, France, 4-8 May 2005. Co nt act: Fest iva l Int 'l de Chant Cho ral de Na ncy, BP 3335, F-54000 Na ncy, Fra n ce. Tel: +33-3-83275656, Fax: +33-3-83275566, Em a il: {estivnl-chorn l@wn11ndooJI Webs ite: www.{est.clznntc/

Tamp e re Vo ca l M u s i c Fes tiv a l , Fin land , 8-12 June 2005. Choru s review and ensemb le s inging con test. Concer ts Madeto ja International Ma le Choir present ing lnt' l ar tists. Tra inin g courses Compet iti on , Lahti , Fin land , 12 March for ch o ir leaders and s in gers. Lec tu res 2005 . Contact: M ieskuorol iit to ry, and works hops by in t' l experts. App ly Fredrikinkatu 51-538, FIN-00100 He lsinki, before Marc h 21, 2005. Contact: Ta mpere Finland. Te l: +358-9-41361137, Fax: +358- Savel, Tampe re Voca l Mu s ic Fes tival, 9-41361122, Emai l: Tu llikamarinaukio 2, FIN-33100 Tampere, - Website: www.s11 Fin land. Tel: +358-3-31466136, Fax: +358-

l ntcrnn tionnl Chor,11 Bu ll et-in . Octobcr 2003

Copyrig ht © 2003 by the Internatio nal Fcdcration for Music

Festivals- Workshops: Competitions- -F~ 3-2230 121 , Em a il: m11sic@ta111pere.fiWebsite: www 3rd Inte r nat ion a l " M id s u mmer Fes t ival" for Choirs , Stockholm , Swede n, 16-19 June 2005. Non-competitive festiva l for choirs in ail categories. Contact: MSW Festivals, c/ o TM IncoTa ve l, II. Rakôczi F tit 216, 1214 Budap est, Hungary. Tel: +36-1-4270740, F ax: +3 6-1- 427 07 40, Ema il: - Website: World Chora l Festival Salzburg & Vienna, A u st ria , 23 -25 Jun e 2005 . A "Once in a Lifet im e" opportunity to perform in Salzburg and Vienna with th e wor ld re nown e d "Vienna Boys' Choir" and the "Vienna Ma le Choral Society" in Salzburg a t the "G rand Hall " of th e "Moza rt eum " and in Vienna . Contact: Haring KEG Choral Festivals, Michael Haring, Gruenentorgasse 10 /7, A-1090 Vienna, Austria. Tel: +43 -664-18111 80, Fax: +43-1-3175460, Ema il: - Website: www .a11strian[ 7t h International Choir Fes t iva l "Summer Songs", Sopron, Hungary , 30 June-3 July 2005. Non-competitiv e festival for choirs in ail categories. Contact: MSW Fes ti va ls c/o TM Inco Trave l, II. Rakôczi F tit 216 , 1214 Budapest, Hungary. Tel: +36-1-4270740, Fax: +36-14204796, Ema il: mwsfes Web s ite:

vals - Workshops- Competitions

H onolulu, Ha wa ii. Tel: +1-808-5950233, Fax: + 1- 8 08- 5955 129, Email : i11fo@PacRi111Festiva(org - Website: Internat ional Choir a n d O rch es tr a Fes ti va l "Cantus Sa li s burgen s is", Sa l zburg, Austria, 14 -18 July 2005 . Kaleidoscope of Na tions . For choirs and o rch es tra s . Specific pie ces to be performed. Contact: Cultours Au stri a, Choir & Orchestra Concert Tou rs, Hôglwôrthweg 10/4, A-5020 Salz burg , Austria. Tel: +43662-82 1310-0 , Fax: +43-662 -82 1310-40, - Website: Email: o( www.c 7th World Sympos ium on Choral Music, Kyoto, Japan, 27 July-3 Aug 2005. Co ntact: WSCM, c/o Japa n Choral Asso ciat ion, Yagunimuna bldg. 6F, 1-5-8 Ebi s u , Shibuya-ku, To kyo 150 -0013, Jap an, Fax: +8 1-3 -5421 7 151 , Email: ws7@icanet .or.ip Website: www. ica11et.or.iplwsc 111 V ivace International Choir Festiva l 2005, Veszprem , Hungary, 5-8 Aug 2005. Special combination of fes tival , competition and mini concert tour focu sed on the joys of life. Cont ac t: c/o Varos i Müvelôdési Kôzpont, Dôz sa Gyôrgy u 2, H- 8200 Veszp rém, Hun gary. Tel: +36-88429693, Fax: +36-88 -429693, Email: vmk 1@veszp Website: tml 4th International "Waterfo rd S ings! " Festival, Ireland, 11-14 Aug 2005 . Noncomp etit ive festiva l for choirs in ail catego ries. Co nta ct: MSW Festivals c / o TM Inco Trave l, II. Rakôczi F tit 216, 1214 Budapest, Hungary. Te l: +36-1-4270740, Fax: +36 -1-420 4 796 , Email: mws festivals@axelero .hu - Website: www.mwsfes

Tuscany International Chi ldr en 's Chorus Festi v al, Floren ce, Italy, 4-12 Ju ly 2005. Int'I Childr en's cho ru ses tota lling 300 -400 s in ge r s will join Joa n Gregory k for daily reh ea rsals culminatin g in ga la fest ival concert in Florence . Individu al ensemble concerts in Flor ence and Tuscany. Includ es two-d ays po s t-fes5th Advent and Christmas Songs tiva l exte nsion to Rome and participation Festiva l, Budapest, Hungary, 2-5 Dec in mass at St. Peter's Basilica. Contact: Mus ica Mundi Co n cert Tour s, 101 First 2005. Non-competitive fes tival for choirs in ail ca tegories. Progr am: Advent and Street, Su ite 454, Los Altos, CA 94022, USA. Tel: +1-650-949- 1991, Fax: +1-650 - Chri st m as So n gs. Apply b efo re: May 949-1626, Emai l: to11rs @11111sicamundi.co111 - 2005. Contact: MSW Fe s ti va ls c/o TM In co Travel, Il. Rakôczi F tit 216, 1214 Web site: www.11111 sicamundi.co111 Budapest , Hun gary. Tel : +36-1-4270740, Fa x: +36- 1-420 4796, Ema il : 5th Internationa l Johanne s Brahms 111w s [es tivals@axe/ero./111 - Website: Choir Festiva l & Compet ition, Wernigerode, G ermany, 7-10 July 2005. www.mwsfestivals .com Competi ti on in different categories and World Choral Festiva l Sa lz burg & difficulties. Co nta ct: Inturkultur Foundation, Am Weingarten 3, D-35412 V ienna , A u stria, 22- 24 June 2006 . A "Once in a Lifetim e" oppor tun ity to perPohlheim, Ge rmany. Te l: +49-6403for m in Salzburg and Vienna w ith the 956525, Fax: +49-6403-956529, Email: 111ail @m11sica-111 1111d - We b s ite: wor ld ren owned "Vie nn a Boys ' Choir" and the "Vienna Male Choral Society" in www.11111 sica-mundi.co111 Sa lzbu r g a t the "Gra nd Hall" of th e Pacifie Rim Chi ldren' s Chorus "Mozarte um " and in Vienn a. Co nt ac t: Fes tival , Honolulu, Hawaii, 12-20 July Haring KEG Chora l Festivals, Michae l 2005 . An adventur e and exploration of Haring , Gruenen torgasse 10 / 7, A-1090 Vienna , Austr ia. Tel: +43-664 -1811180, d is tin cti ve music fro m coun tr ies around the Pacifie Rim. Ar tistic Director: Henry Fax: +43- 1-3 175460 , Ema il: World.C/10ral.F - Webs ite: Leck . For treb le choirs only. Participants w ill interactive ly explore Polynes ian mu- s ic, dan ce , in s trum en ts, languag e and 6t h Intern at ional Choir Competition s tor y tellin g w ith n at iv e s p eak ers and in s tru ctor s. Contact: Wanda Ge reb en, 2006, Miltenberg , Bavaria, Germany, 6-9 Exec ut iv e Dir ec tor, 159 Laimi Ro a d, July 2006 . Two categories: Symp hony of


Copyrig ht © 2003 by the Jntc mationa l Fcdcrati oq for Choral Mus ic --------


Vo ices (choir com po s ition s w ith one com pul sory composition) a nd Folksongs,sp iri tua ls & jazz. Ap pl y before: 31 Jan 2004. Contact: Kulturreferat des Landkreises M iltenberg , Brückenstr. 2, 63897 M il te nb erg, Germany. Tel: +499371-501503, Fax: +49-9371-50179503, Email : kultur @lra-mil.d e - Webs ite: www.chorwettbewerb- milt or www .vocale11se 111 International Choir and Orchestra Fest ival " Cantus Sa li sburgensis" , Sa lzb u rg, A ustri a, 13 - 17 July 2006 . Kaleidoscope of Nations . For choir s and orche st ra s. Specific pieces , to be perfo rmed . Contact: Cultour s Austria, Choir & Orchestra Concert Tour s, Hô glwôrt hweg 10 / 4, A-5020 Salzburg, A us tria. Tel: +43662-821310-0, Fax: +43-662-821310-40, Email: office@culto urs .at - Webs it e: www Vivace Internat ional Choir Festival 2006, Veszprem, Hun gary, 11 -14 Aug 2006 . Sp ecia l combinat ion of festiva l, competition and mini concert tour focu se d on the jo ys of lif e. Co nt act: c/ o Varosi Müvelôdé s i Kôzpont, Dô zsa Gyorgy u 2, H-8200 Veszprém, Hun gary. Tel : +36-88- 429693, Fax: +36-88 -42969 3, Emai l : v111kl@veszprem.lt11 - Website: www.v111k.veszp rem.l111leve11ts .ht111/ 6th Internat io nal Johannes Brahms & Competition, Choir Fest ival Wernigerode, Germany, 5-8 July 2007 . Co mp et iti o n in different categories and diffi cultie s. Contact: Inturkultur Foundation, Am Weingarten 3, D-35412 Pohlheim, Ger m a ny. Te l : +49-6403956525, Fax : +49-6403-956529, Em ai l: 111ai l@mu sica-111u11di.co111 - Website: www V ivace International Choir Fest iva l 2007, Veszpre m, Hungary, 3-6 Aug 2007. Sp ecial combination of fes tival , compe tition and mini concert tour focused on the joys of life . Conta ct: c/o Varos i Müvelôdési Kozpont, Dôzsa Gyo rgy u 2, H- 8200 Veszprém, Hun ga ry . Tel: +36-88429693, Fax: +36-88-429693, Email: v mk1@v eszprem .im We b s ite: www.vmk.veszpre111 ,h11leve11ts .html

Int ernational Chora l Bulletin - Octobcr 2003


G E R MA N Y J U L Y 8TH- 18TH

Please ask fo r f urth er inform ation : Choir Olympics 2004 Am We ingarten 3 ¡ D-35415 Pohlheim, Germany Phone: +49-(0)6403 - 956 5 25 â&#x20AC;˘ Fax: +49 - (0)640 3-95652 9 E-M ail:

Profile for International Choral Bulletin

eICB 2003-4  

The International Choral Bulletin is the quarterly magazine of the International Federation for Choral Music

eICB 2003-4  

The International Choral Bulletin is the quarterly magazine of the International Federation for Choral Music


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