ISSN 0896 – 0968
Volume XXIX, Number 1 – 1st Quarter, 2010
International Choral Bulletin
Choral Music in China
International Federation for Choral Music The International Choral Bulletin is the official journal of the IFCM. It is issued to members four times a year.
New Managing Editor! Mr Andrea Angelini Via Pascoli 23/g 47900 Rimini, Italy Tel: +39-347-2573878 - Fax: +39-2-700425984 E-mail: firstname.lastname@example.org Skype: theconductor
Former Managing Editor (now Assistant Editor) Jutta Tagger
Editorial Team Michael J. Anderson, Philip Brunelle, Daniel Garavano, Lupwishi Mbuyamba, Theodora Pavlovitch, Fred Sjöberg, Leon Shiu-wai Tong
Regular Collaborators Dr. Marian E. Dolan - Repertoire (email@example.com) Cristian Grases - World of Children’s and Youth Choirs (firstname.lastname@example.org) Emmanuel Noisette de Crauzat - Choral Music Recordings (email@example.com) Nadine Robin - Advertisement & Events (firstname.lastname@example.org) Dr. Cara S. Tasher - Composers’ Corner (email@example.com)
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Help with Texts and Translations English: Michael Anderson (coordination), Diana J. Leland, Irene Auerbach and Graham Lack (text and linguistic editing and revision) French: Isabelle Métrope (coordination), Florence Récoursé (linguistic editing and revision) German: Anne Stahl (coordination), Dr. Lore Auerbach (linguistic editing and revision) Spanish: Maria Catalina Prieto (coordination), Juan Casasbellas (linguistic editing and revision)
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Additional copies: Euro 7.50 each Publisher
Layout Nadine Robin (IFCM Secretariat)
Template Design Marty Maxwell
Cover Dolf Rabus, 2005 World Children's Choir Festival, Hong Kong China
ICCM - IFCM Avenue Jean 1er, 2, 5000 Namur, Belgium Web: www.ifcm.net
ChoralNet Merges with ACDA Tim Sharp
Dossier: Choral Music in China
News from the Latin-American Association for Choral Singing
What Makes a Volunteer Of Their Own Free Will Kellie Bates
Guest Editor: Tong Shiu-wai Leon, IFCM Vice-President p7
The Current Choral Scene in China Tong Shiu-wai Leon, Wu Lingfen, Tian Xiaobao, Meng Dapeng
IFCM News p 15
From the Editor of ICB…… Andrea Angelini
Obituaries:Kan Ishii, Gustavo Becerra Schmidt
America Cantat VI, Brazil - Extended deadline
Order of Merit for Günter Graulich
Celebrating 20 Years! World Youth Choir Anniversary Celebration Vladimir Opačić
Composers’ Corner p 35
World of Children’s and Youth Choirs p 39
Europa Cantat General Assembly in Sofia Brigitte Siebenkittel
Ars Choralis 2010: Artistic and Scientific Symposium on Choral Music in Croatia Branko Stark
Let the Peoples Sing the EBU choral competition 2009 in Oslo Walter Vorwerk
Let’s Talk Method Leadership Cristian Grases
Choral Music Recordings p 43
Patagonia is not so Far Away, the Symposium is Getting Closer and Closer Alejandro Daniel Garavano
Choral World News
Risk-taking in Programming Ways to Explore New Music Dr. Cara Tasher
opusChoral The New On-line Choral Music Boutique is Open! Emmanuel Noisette de Crauzat
Repertoire p 45
Choral Collections: A 'sound' investment Dr. Marian Dolan
Compiled by Nadine Robin p 49 p 50 p 62
I. Conferences, Workshops & Masterclasses II. Festivals & Competitions III. Sponsoring Index
Next Dossier Choral Music in Brazil
New registration deadline 28 February 2010!
Editorial Lupwishi Mbuyamba Photo: Dolf Rabus
A message from the IFCM President Lupwishi Mbuyamba to the Winneba Youth Choir on the occasion of its 20th anniversary It is a real pleasure for us to express our sincere congratulations to the Winneba Youth Choir on the occasion of its very significant anniversary: a distinguished choral ensemble, coherent, dynamic and very promising for the future of choral music on the African Continent. The International Federation for Choral Music was lucky to identify this elite choir
to serve as the nucleus for its African Children Sing! project. It is our duty to thank the patron and the leadership of the choir for all its successes. Let us hope that the celebration of its 20th anniversary will boost the Choir members and consolidate the work in progress taking advantage of numerous IFCM projects on the continent and in the
world for further demonstrations of the Winneba Youth Choir’s ability and commitment to excellence. With our best wishes
Lupwishi Mbuyamba, IFCM President
Happy New Year! Gutes neues Jahr! Bonne Année! Próspero Año Nuevo!
Choral Music in China
Guest Editor: Tong Shiu-wai Leon, Vice-President
The Current Choral Scene in China Tong Shiu-wai Leon, Wu Lingfen, Tian Xiaobao, Meng Dapeng
The Current Choral Scene in China Tong Shiu-wai Leon, Wu Lingfen, Tian Xiaobao, Meng Dapeng
Introduction China’s recent and rapidly growing importance attracts worldwide attention in all manner of different sectors, thus also in the choral movement. The current status of choirs in China is a hot topic. We intended to publish articles on the above topic long ago, but I cannot complete this task on my own because of China’s huge territory. Therefore, I invited Prof. Wu Lingfen, Prof. Tian Xiaobao and Mr. Meng Dapeng, three renowned and reputable choral experts in China, to analyse the Chinese choral scene comprehensively from various perspectives.
Within today’s choral music in China, we find very artistic choral pieces as well as many choral versions of revolutionary songs from different generations. At the same time, the choral pieces most popular with the public are folksong arrangements from the more than 60 minority tribes, all with different cultures. As opposed to many other countries where choral singing is well established thanks to the influence of the Christian churches, China lacks a common religion to promote choral singing to the masses. Choral singing takes place for the purposes of cultural activities and entertainments, and therefore the choral
Development and Historical Background Multi-part-singing embedded in folksongs from many national areas in China goes back more than thousands of years. The recent choral development was generated by the introduction of Western culture into China. Our choral history of about the last 100 years has been developing in front of the backdrop of many years of wars, revolution and reform in China, which give rise to the distinguishing features of modern Chinese choral music. It was only in the mid-20th century that China started to concern itself with, and accept, choral arts. But during the late 20th and now the start of the 21st century, Chinese choral pieces and performances have been rapidly developing and yielding fruitful achievements. This can be seen from Li Shutong’s Chunyou, the earliest choral pieces to Lu Zaiyi’s Yuhou Caihong, written during the 1980s and 1990s. These large-scale historical choral masterpieces such as Huanghe Dahechang signify the achievements of the last century.
million people in China participate in choral singing. They have been jointly pushing forward choral development in China. There is only a small number of professional choirs in China - they were once the best choirs in China. But they gradually closed down because of financial difficulty in the recent revolution. There are many choirs in primary and secondary schools and universities, about 1/3 of which practise regularly. Youth palace choirs which supplement music education in schools are usually stable and of a high standard due to their members of a wide range of ages. The number of community choirs and choirs for the elderly is enormous. There are more than 1000 of them in Beijing alone. They do well because their members have adequate time for rehearsals. Supported by corporate leaders, some corporate and employee choirs has been established for more than ten years and are of a high standard, but some of them folded after change of corporate leadership. Similar to the situation in Hong Kong, school choirs in China are so popular that professional choirs appear relatively less splendid. But there are only a few choirs for the elderly or corporate choirs in Hong Kong.
development so far lacks depth and stability, though there has been wide public participation.
Distribution of Choirs As estimated from 500 registered choirs in the Chinese Choral Association and other kinds of choral organisations in all the provinces and cities, roughly more than 10
It is not difficult to conclude that the unsatisfactory standard of performance of adult choirs is the result of the lack of indepth music education in primary and secondary schools in China. As seen from Guangzhou, Beijing and Shanghai where choirs have been better developed, choirs composed of students from primary and secondary schools (“school choirs”) generally perform better than adult choirs. Choral singing should be an important part of education. Our musical education in primary and secondary schools seldom
Dossier ...The Current Choral Scene in China
systematically practises pitch-interval and chord-linking, which is the most important and fundamental training in music lessons at schools in the West.
Renowned Musical Schools in China There are many music colleges which contribute to choral development in China, including the Central Conservatory of Music, the China Conservatory, Shanghai Conservatory of Music, and Wuhan Conservatory of Music, etc.
Activities China has supported many types of choral activities, whether professional, semiprofessional or part-time. However, almost all large-scale activities are choral competitions. All organisers and participants are passionate about competitions. From youth to elderly – all promote choral development by competitions, which may also entail a strong sense of materialism.
China Choral Festival
High level competition in China
Chungshan Cup National Choral Conductors’ Competition China Children’s Choir Festival China International Children’s Choir Festival Co-organised by Hong Kong Treble Choirs’ Association (“HKTCA”) and International Federation for Choral Music (“IFCM”) “Xiyanghong” Choral TV Competition for the Elderly National Youth Singer TV Competition
Organised by the largest national media CCTV
Hong Kong International Youth & Children’s High level international competition and Choir Competition Festival festival
China Folk Song Choral Performance
12th November at Zhongshan City, Guangdong Province
Jinghua Zhi Sheng Choral Music Concert
Organised by China Choral Association (“CCA”) continuously for 14 years
Jinfan Xingqi Concert Yongyuen De Huihuang China Choral Festival for the Elderly The 1st National Socialist New Countryside Choral Congress 2008 World Youth Choir Concert Tour (China Station)
In August 2008, HKTCA invited renowned choirs from 33 countries to form a World Youth Choir to deliver a concert tour in Guangzhou, Macau and Hong Kong
Exchange Conference for Chamber Choirs
Organised by CCA at Beijing in 2008
Choral Arts Academic Conference
In March 2007 at Zhongshan Choral Base, CCA invited national conductors and musicians to analyse the development and problems of current choral singing in China
China Choral Creative Development Forum Co-organised by CCA and Tianjin City Education Committee International Federation for Choral Music Asia-Pacific Choir Summit
In September 2009 held jointly by IFCM, Wuxi Government and CCA
International Choral Exchange Activities In the new century, experienced choirs from China have regularly performed to the world. In 2000, seven choirs from China participated in the 1st Choir Olympic Competition in Linz, Austria. The China Phoenix Inner-Mongolia Youth Choir conducted by Yalun Gerile and Guangdong Province Secondary School Choir conducted by Xie Jinming respectively won the trophies for choral folksongs with and without instrumental accompaniments. Many strong national choirs like Guangzhou Youth Palace Choir, Shenzhen Secondary School Choir and Shenzhen High School Choir have demonstrated their skills to the world. Furthermore, led by Prof. Ren Baoping, the Beiyang Choir of Tianjin University was awarded the title of “World Choir” as well as $10,000, sponsored by the IFCM at the 2008 Hong Kong International Youth Competition Festival. Hong Kong school choirs such as the Diocesan Boys’ School and the St. Paul’s Co-educational School also had outstanding achievements in international competitions.
Many provinces and cities in China now regularly hold international choral festivals so as to be better linked to the world. The Panyu Xinghai International Choral Festival was held in December 2008. Many kinds of choral exchanges have taken place as well. For example, in March 2008, CSA hosted cultural exchange concerts which were performed by California University (Los Angeles Division), USA, and the Orchestra of Zhongyang Minzu University at Minzu University Concert Hall and Beijing Concert Hall.
CCA aims at promoting choral knowledge and choral activities, raising choral standards, recommending choral pieces, strengthening choral theory and academic study, promoting international choral arts exchange, and developing choral arts among different ethnic groups in China. CCA issues two publications – Choral Arts and Choral Newsletter. It is a platform on which choral groups within and outside China exchange information, share news and academic research and learn from each other. Website: www.cca135.com
Important Choral Organisations
• Chinese Musicians Association Choral Alliance (“CMACA”) CMACA was recently established in Beijing to promote the establishment of choral groups and choral development. CMACA serves national choirs by organising activities, direct contact, advice, training, recommending music, information exchange, appreciation and analyses, performances and competitions, so as to nurture musical ethics and the standard of choir members, enhance team awareness and self-esteem. Website: www.chorus-china.com.cn
• China Chorus Association (“CCA”) Established in 1986 under the Cultural Department of the Chinese Government, CCA consists of conductors, choir members, choral composers and choral organisations. It is a first-class national organisation which has sub-committees for conductors and treble choirs. For the past 20 years, it has significantly impacted on Chinese chorus, from its hard early days till the present. CCA now has more than 600 corporate and 3000 individual members spread over 25 provinces, cities and autonomous regions.
Dossier ...The Current Choral Scene in China
• Music Education Professional Committee of the Chinese (“MEPCC”) Established in 1987, MEPCC is a national music education and academic organisation for tertiary, secondary and basic music education. It is a sub-organisation of the Chinese Education Academy under the Ministry of Education of the PRC Government and a member of the International Music Education Association under the United Nations Educational, Scientific and Cultural Organisation (UNESCO). The professional committees for music education within the education authorities of all provinces, autonomous regions and municipalities are members of MEPCC and consult this body for advice on their activities. Website: www.csmes.org • Hong Kong Treble Choirs’ Association (“HKTCA”) Established in November 1997, HKTCA is a registered charitable art organisation aiming at promoting children’s and youth singing and music education in Hong Kong, bringing harmony to every family, strengthening the connection among choirs and encouraging international cultural exchange. HKTCA has also successfully organised international events such as three China International Children’s Choir Festivals and World Symposiums on Children’s Choral Music, in 2005 a World Children’s Choir Festival, and it has invited renowned treble choirs and choral professionals to perform in Hong Kong and major cities in China. In 2006 and 2008, HKTCA hosted the biennial Hong Kong International Youth and Children’s Choir Festival with the vision of it becoming one of the best international choir festivals. From time to time, HKTCA
introduces composers and choirs from China and Hong Kong to the world in order to promote world harmony and fraternity in music. Website: www.hktreblechoir.com • Macao Chorus Association Established in 2006, the association aims at promoting choral music development in Macao, carrying out choral exchanges with China and the world. The association has also successfully organised the First International Chinese Chorus Centennial Concert in 2007, the 9th Chinese Macao Chorus Festival in 2008, and in 2008 hosted the World Youth Choir. The association will present the 2010 IFCM Asia Pacific Choral Summit. • Taipei Philharmonic Foundation for Culture and Education (“TPF”) Established in 1988, TPF aims at promoting musical activities and further raising the cultural standards of Taiwan. The foundation created and supports groups such as the Philharmonic Children’s Choir, Youth Choir, Philharmonic Chorus, and Philharmonic Chamber Choir. TPF has been making great efforts in introducing outstanding foreign performers, cultivating native talented musicians, bringing local music to the international stage by organizing numerous music festivals, master classes, cultural exchange programmes and concerts. TPF continues to hold the “Taipei International Choral Festival” which already took place in 1996, 1998, and 2000 and 2002, establishing a brand-new vision to local music-lovers and continually bringing stimulation to the local music fields. Website: www.tpf.org.tw/english/index.html
Repertoire Western choral music started to spread in China since the start of the 20th century. Chinese choral arts gradually developed from nothing to something, from simple and tiny songs to huge and complex forms. Chinese choral music demonstrates Chinese choral features in different aspects: it learns from the characteristics of Western music; and it organically incorporates the elements of Chinese traditional music and culture into Chinese modern choral compositions. There are six different forms of Chinese choral pieces: • The first form has been traditional to choirs since medieval times. The early forms originated from “organum”, “missa”, “motet”, “madrigals” and “chanson de geste”. • The second form consists of choruses from Western operas of the 19th century, after its birth in the 17th century. • The third form is a new, modern Chinese choral piece that is based on traditional organum and opera music from the west and accompanies these with elements of Chinese traditional opera, sound projection skills and chords in Chinese folk songs. Huanghe Dahechang and Changzheng Zuge are examples of this form. They represent the major stream of Chinese choral life. • The fourth form is supplied by the multi-part folksongs in Chinese traditional folk music. This form is historical and originated from minority tribes’ daily lives. They have never been influenced by any modern choirs from the West or China and keep their natural and original forms. Kamzu Dage from Guizhou is one example.
traditional style. Learning theories and skills from foreign countries is for the purpose of singing our own songs, expressing our own affections, showing our own way of life and development, our own choral style. International choral singing is no longer satisfied with the style of simple folksong or bel canto singing, but pursues a huge variety of tune, timbre and sound projection and a new era of “orchestracised” choruses
• The fifth form is choral singing by a “band” in pop-songs. This form demonstrates basic features of choral work and many of its skills, though its scale is relatively small compared to a proper choir. • The sixth form is general and uses massive choirs originating from plaza culture, people go to plazas or parks for some leisure and cultural activities like singing and dancing. It is in fact unison singing. Since the Revolutionary War, Reform and Open Door Policy that began 30 years ago and continues till now, it is the most popular choral form in China. These six genres have been changing, developing and are being modernised, and they are the current splendid and brilliant choral forms in China.
Standard Chinese choral development faces a number of problems: first, there is little repertoire for choirs to choose from, leading to a lack of breakthrough in the style of performance. Secondly, choir members have not acquired sufficient skills and means to vividly express the affections and the story behind the songs. Thirdly, Chinese choirs sometimes pay too much attention to exterior matters like costumes, make-up, basic skills or technique which have no affections, but neglect internal elements such as the emotions of a repertoire and thorough understanding of the lyrics, rhythm and melody which bring resonance. The performance style of Chinese folksongs could be traditional, plain and solo; but choirs have to demonstrate its multi-part character. The expression of Chinese folksongs in choral work does not need to stick to the original and its
The Chinese choral development has been left behind by western countries. There are few masterpieces in Chinese choral music. With the cultural reform in China, choral improvement is a trend of cultural development. Entering into the 21st century, Chinese choral arts have no reason to reject modern music pieces that express the feelings of Chinese people and should not stop at the expression of classical music from the 19th century. Regarding the adventure of Chinese choral development, first, Chinese conductors must be open to new ideas, understand the contemporary choral situation and trends in the world, calmly listen to modern choral pieces, and accept the ideal of variety in modern choral work. Secondly, they must bravely confront traditional and modern arts, be creative, and actively try various methods of choral practice so as to prepare for promoting and performing modern pieces. Further, they need to strengthen the originality of new modern choral pieces. Bright, creative and interesting tiny choral pieces should be respected when compared with that large-scale but boring music. Our modern Chinese music in the 21st century should keep the core of our own history and culture and develop our unique style.
Dossier ...The Current Choral Scene in China
Our skill for choral development lies at the heart of the long history of our Chinese culture and the diversified styles of different ethnic groups. If the Chinese choral scene utilises its strengths of diversity and folk styles, excellent and creative pieces that can represent China will be forthcoming. Of course, I should not generalise and deny that Chen Yi who lives in the United States, Se Enkhbayar of Inner Mongolia, Cao Jiangping of Guangzhou, Zhang Yida of Beijing are internationally renowned and first-class Chinese composers.
Current Choirs in China Must Diversify Regarding music education policy and sustainable development, the PRC Government should formulate a systematic education policy which is appropriately linked and set up with an independent fund to subsidise brilliant young composers for further study. We have to promote the passion and support for choirs by the public, focus on the linkage of music education among children, youth, university students and the elderly so as to achieve life-long learning, update ourselves on contemporary choral ideas in the world, and widen our horizons.
Of course, training the talents is important. Besides training young conductors, teachers and leaders to take up their roles, we have to train administrative staff to promote choral arts to ensure the comprehensiveness of choral music development. At the same time, individual and corporate sponsorships are crucial to choral development in the present world. Our national cultural policy directly affects the Chinese choral development. Choral singing should be one of the creative industries in China. We hope that our national leaders would further support choral development through education, media and politics, for example, supporting our excellent choirs when they wish to participate in a concert tour at a foreign music festival, and hosting international choir festivals in China. The Government should also allow tax exemption to companies that sponsor choral development. To conclude, current Chinese choirs must first step onto the road of popular aesthetic culture and then upgrade themselves from popularism to elite choral work. I believe contemporary Chinese choirs must go through all these steps - an historical process to achieve sustainable prosperity and development.
Prof. Tong Shiu-wai Leon Vice-President of the International Federation for Choral Music President of the Hong Kong Treble Choirs’ Association Artistic Director and Principal Conductor of the Hong Kong Treble Choir email@example.com Prof. Wu Lingfen Advisor of the International Federation for Choral Music Professor and Director of China Conservatory, Conducting Department Vice-chairman of the China Chorus Association Member of Ministry of Education, Arts Committee, Professional Group firstname.lastname@example.org Mr. Meng Dapeng Executive director of the China Choral Association Director of the Chinese Treble Choir Permanent conductor of the Central Junior Broadcasting Choir Member of the World Choir Council email@example.com Prof. Tian Xiaobao Professor at Huazhong Normal University, Music Department Director of Huashi Chinese Choral Arts Research Center Vice-Chairman of Chinese Musicians’ Association, Choral Union Executive director of the China Chorus Association Email: firstname.lastname@example.org
International Federation for Choral Music
IFCM From the Editor of ICB...... Andrea Angelini, Editor of ICB
Obituaries: Kan Ishii, Gustavo Becerra Schmidt America Cantat VI, Brazil - Extended Deadline! Order of Merit for Günter Graulich Celebrating 20 Years! World Youth Choir Anniversary Celebration (21 - 25 October 2009, Örebro, Sweden) Vladimir Opačić
Patagonia is not so Far away, the Symposium is Getting Closer and Closer 3 – 10 August 2011, Puerto Madryn, Argentina Alejandro Daniel Garavano, IFCM Board Member
From the Editor of ICB…… Andrea Angelini Editor of ICB
The first thing the new Editor of a magazine must do, of course, is to introduce himself to his readers. And I should hate to break this rule! I am the new Managing Editor of ICB; I begin my task with this issue and hope to continue for many more issues. And what a task! A huge responsibility, bearing in mind that ICB has readers all over the world and that the Editor’s decisions will be carefully scrutinised and evaluated and, I hope, appreciated in all five continents. Let me first express my warmest good wishes to Jutta Tagger who has been fulfilling this task (incredible but true) for all of seventeen years! A record, I’m certain. How can we possibly thank someone who has devoted almost twenty years of her life, with infinite patience, to coordinating musicians scattered all over the world? It is thanks to her, and to her perseverance, that ICB has
become one of the most valued magazines on the choral scene today. Needless to say, my thanks extend also to all the collaborators and translators who have made this venture possible. Warmest thanks to the IFCM Editorial Team who had faith enough in my capabilities to entrust the editorial management of the magazine to me. I shall do my best not to disappoint them, and hope to surprise you all with ever more interesting articles. And now let me introduce myself: I am a full-time Choir Conductor and I am already the Editor of an Italian Choral Magazine. End of story! From now on, I would like you all to think of me just as “the friend of all Choirs and Choral Associations”. ICB will do everything in its power to be “a home for all”, a window opening on to the international scene through which you can
Obituary Mr. Kan Ishii, past President of the Japan Choral Association, former IFCM Board member and one of its founders (together with Paul Wehrle (Germany), Royce H. Saltzman (USA), Claude Tagger (France) and others, passed away on November 24, 2009. Kan Ishii was born on March 30, 1921. He graduated from Musashino Academia Musicae in Tokyo and from the University for Music and Performing Arts in Munich. He studied composition under Carl Orff. He wrote works for opera, ballet, orchestra, chamber music, chorus, concert band and films.
The Chilean composer Gustavo Becerra Schmidt passed away on January 3, 2010. He lived in Germany since 1973 and taught at Oldenburg University since 1974. Becerra was the most prolific Chilean composer. His catalogue includes hundreds of compositions that goes from the most traditional to the most avant-garde, from popular songs to large scale cantatas, symphonies and oratorios.
all take a look at what is happening in the world of choral music. I expect the maximum from all our collaborators, because a magazine is only a good magazine when each and every one of us does our very best to make it good. You can write to me at my e-mail address to ask for advice or submit intellectual contributions, and also to criticise or disagree with what we publish. Many thanks to you all.
Andrea Angelini Email: email@example.com English version by Gillian Forlivesi Heywood, Italy
AMERICA CANTAT VI, Brazil Extended Deadline! We inform that the deadline for applications has been extended up to February 28th, 2010. We regret to inform that the Secretary of the Festival passed away last December 2nd. Roberta was the daughter of the President of the America Cantat VI Festival, Dr. André Pires. You are welcome to visit our web site at www.ufjf.br/americacantat Argentine Association for Choral Music AMERICA CANTAT (AAMCANT)
Order of Merit for Günter Graulich Günter Graulich, Senior Partner of the German publishing house Carus-Verlag has been awarded the Order of Merit of the Federal Republic of Germany (Bundesverdienstkreuz) for his life-long work in the service of choral music. Congratulations!
ICB IFCM News
Celebrating 20 Years! World Youth Choir Anniversary Celebration (21 - 25 October 2009, Örebro, Sweden) Vladimir Opačić World Youth Choir Project Manager
“There is no greater task than to support somebody’s development; help the human being in its striving!” Ivo Andrić, Nobel Prize winner From Signs beside the road
The World Youth Choir is a genuine educational and social experience that draws on many vocal traditions and aims to work at the highest artistic level. For 20 years now, the World Youth Choir has built bridges between young singers from diverse cultures. Many articles and reports have been written about this project, many stories told, and many videos recordings made over the last two decades. These tell of the philosophy of the ensemble, and document its value in the choral world from an artistic, social and human point of view. The question is always raised regarding how to present the various projects and events undertaken by this choir. Also, how to present its current role. So how should this “child”, born in 1989, be described? It came into being through the efforts of a group of choral music enthusiasts, who were led by the ideas of equality and an historical quest for multicultural diversity. This diversity is a peace found deep within our soul. It is an inner legacy, given to all of us by birth, and to be experienced during our short lives as a kind of personal balance held between our external self and our internal one. Diversity in this sense is a “country” inhabited by the World Youth Choir for some 20 years now. It is where we have “lived” during this time, and has helped over 1000 young people all over the globe to subsist. Over 1000 singers, conductors, organizers and choral music enthusiasts have worked within its “borders”.
This is the World Youth Choir at the end of these two decades, our dreams, hard work, constant belief, artistic professionalism and enormous enthusiasm for remarkable idea. It is our lives before the dream, and remains our lives whilst we are still dreaming! The World Youth Choir has been the meeting point for young singers from around the world, and many individuals have taken part and left an indelible mark on the ensemble, imbuing it with their unique talent, personality, creativity, warmth and humour. From October 18-25, 2009, for the first time in the history of the ensemble, over 200 former singers, conductors and organizers throughout the globe were reunited in order to celebrate the choir’s birthday. This was a true anniversary celebration, simple in its greatness, and the best possible present to the World Youth Choir. “Happy birthday, World Youth Choir”, this was said so many times! “Happy birthday to you all”, people said to each other! One simple sentence, so innocent, yet one that recalled thousands of memories for us all. Singing, laughing, we gazed at many a fading photograph from the 1980s. We looked at singers and their families, little children running around, people hugging each other, and remembered this and that. Plus the conductors and their stories, and the emotional moments when the quality of the performance was broached. As for concert uniforms…do you remember him….or remember her? And so on in this vein for ten whole days and nights. A veritable beehive of activity. This is how the celebration started, thanks to the collaboration of the International Center of Choral Music and Swedish International Choral Center, Örebro, for these were the organizers of the Anniversary celebration together with the
International Federation for Choral Music (IFCM), Jeunesses Musicales International (JMI) and Europa Cantat (EC), the World Youth Choir patron organizations, who were all proud to present a week of celebrations in Sweden, the first host country of the World Youth Choir. Concerts were given by: • The World Chamber Choir anniversary ensemble, gathering singers from 22 countries, with Nikolaj Znaider and the Swedish Chamber Orchestra performing two works by Johannes Brahms. • “The World Sings for you” show, an international showcase presenting past and present World Youth Choir members, soloists, instrumentalists, vocal groups: Kaori Tsushima, Japan; “Jazz trio” presenting David Izard, piano, Ryan Andrews percussions and Zachary Lane, double bass, all from USA; Hildegunn Coucheron, soprano, Norway; “Cherry Blossoms” vocal group Japan; “VOXTET”, Czech jazz vocal group, founder Martin Mikes former WYC member; Fabienne Carlier, France, solo voice, piano and accordion accompanied by violinist Radoslaw Pawel Stawarz and “Witloof Bay”, jazz vocal ensemble, Belgium. • “GALA” Anniversary ensembles and tutti ensemble gathering more that 200 singers from 45 countries, conducted by María Guinand, Venezuela; Nobuaki Tanaka, Japan; Fred Sjöberg, Sweden; Sidumo Jacobs, South Africa and Steve Zegree, USA, presenting choral music and traditions of five continents: The world on stage.
Photos: Andrea Angelini
When singers from various past sessions meet
Whoever was with us in Örebro would have felt the joy of this gathering. Generations of singers from 1989 to 2009 made it happen. They made a huge effort and built up a unique international group of people with special musical and communication skills, people so different in their sound, lives, and minds but so similar when their expression, human and musical emotions are the main actors on the stage. If you were not there with us, there is no better way to feel and hear how great was the impact of this project and its 20th anniversary. It impinged on all our lives and still does. This is documented in the lines written by founders, organizers and singers of that first summer session of 1989. (More than 20 singers from the first summer session were present). This then was the face of the World Youth Choir. For humans exhibited a certain simplicity felt at every corner of the globe. The 2009 anniversary will be one more “stone” in the foundation will underpin the World Youth Choir for future generations, and is an investment for all of us, for the next 20 years.
1989 World Youth Choir singers and Thomas Caplin
“Global Unity and Future Hope” Facebook: Comments from some of the early World Youth Choir Singers “Dear friends! The World Youth Choir was once a dream and a vision shared by many in a time where it was extremely difficult for many countries all over the world. In this year of 2009, we have celebrated two strong and symbolic events that took place in 1989 - the realization of the dream World Youth Choir and the breaking down of the wall symbolizing the Iron curtain. For Stefan Sköld and myself who poured our hearts in the process with the ground work, it was a dream come true to help out in the birth process of this wonderful vision - to unite young souls and voices from all over the world. We are today grateful for the wonderful work that IFCM, Europa Cantat and Jeunesses Musicales together have done bringing this child up to what it represents today - the very sound and strong sounding symbol for the ideology that music is all about humanity! It means the world to us! We
hope that all the children of the vision with World Youth Choir will adopt that vision and relentlessly work for humanity with music as the instrument - thus we can make a difference! Meeting all wonderful singers from WYC - and particularly from the very first WYC in Örebro - made a great impact on me. You all reminded me of the beauty of humanity and music in perfect harmony. Let's hope for another reunion very soon! Thank you! I would like to finish with two verses from a poem sent to us in 1989 after the first assembly of the World Youth Choir by Alec Jackson - our wonderful English tenor.” United, we rise A melody A lyric of greatest depth The most beautiful song We are the hope We are the unity We have the love We are the new seeds in the heart of our countries We will last forever Stefan Sköld, Thomas Caplin, Founders of the World Youth Choir
ICB IFCM News
IFCM News ...Celebrating 20 Years!
“What an emotion in Örebro... so many faces I hadn’t seen for 20 years... and how strong the friendship and network has remained! I was far from imagining how the project would develop when I decided in 1990 to take over the management of World Youth Choir, a project that Jeunesses Musicales Sweden had started in 1989. I am very proud of the work accomplished and I am also very moved by the real worldwide network the World Youth Choir has created among young very talented singers. I wish that the project will continue for the next 20 years to be a place for high-level music education, intercultural exchange, global unity and factor of arts development. May the alumni of the 20 past years, together with the patrons help to contribute to those goals and aims. Long life to the World Youth Choir!” Jean-Claude Wilkens, Belgium Founder and manager of the World Youth Choir, 1990-1999 “I'm a system administrator with an engineering company in Germany. In Örebro I had the chance to escape my nutshell and share my voice with friends from all over the world, which I had last seen 20 years ago. Singing in this choir on that high level is amazing. Feelings overwhelming. These are the real big moments of my live, I'll never forget. It feels like another world. A world of unity and freedom, nations joined. These projects and celebrations must continue for the next generations. Give all singers the chance to unite the world.” Christoph Jandek, Germany World Youth Choir 1989 “For me this meeting was one of the greatest events in my life. I never have been crying so many tears of joy in my entire life. It maybe
was not just the choir. I sometimes did have some emotionally very hard times in the last 15 years with lots of changes and crises, especially in the last year. So, probably it was a mixture of emotions that came over me and it often overwhelmed me. Nevertheless now something came up again that had completely occupied my heart 20 years ago. And on the one side there was this paradiselike atmosphere. I felt this optimistic and idealistic power of youth again. On the other side I met so many new singers and realized that I’m not that young anymore. But nevertheless: the fantastic thing was, that we sang together. It wasn`t just a meeting with stories of old times. It was a meeting to continue in what we have done before: sing on an extraordinary good level and meet lovely people from all over the world. That is fantastic and it has to go on! It can help to build up a network of former singers who may support the organization and performance of the WYC sessions all over the world and keep the idea of the World Youth Choir running!” Heiner Geerlings, Germany World Youth Choir 1989 Music teacher, secondary school Otto- Hahn- Schule for children of 50 different nationalities, Frankfurt, Germany “The World Youth Choir is still The World Youth Choir, 20 years later! - With its professional sound made in peace and harmony, from young people around the world. A joy to see, for a former participant, that the choir is in its good shape, as it was when it started in 1989. This also means, the management behind is doing its job to make this choir alive. The world needs this choir! Not only for the music aspect, but to show the world and the young singers themselves, that its possible to come together in this way, though there are conflicts and maybe even
war between the countries the young singers come from. Creating music makes peace between humans and in us. So it’s even a greater joy to see that the WYC has become UNESCO Ambassadors for Peace. Many of us former singers had been waiting for this reunion, simply because, the very beginning of the World Youth Choir was such a great experience in our lives, when we were young singers. Coming together in this way, with people you don’t know anything about, to make wonderful music, travel the world and share social time, is THE BEST thing you can ever do in your life. You feel FREE! I joined for the World Youth Choir for 5 summers, from 1989 till 1993. For me, coming from a small island in the North of Norway, it made a huge impact on my life. I’m now a professional singer, do I need to say more? Of course the WYC fulfilled its purpose in my choice of career. I’m also helping young singers to develop as a singer, and that gives me great pleasure. It was so good to see my old friends again. We decided, 20 years later, that it would not be 20 years till next time. It will actually probably happen already next year. Maybe the world needs another choir? - With old World Youth Choir singers? - Who knows, only the future will tell? But for sure, “we’ll meet again, don’t know where, and don’t know when…!” Hildegunn Coucheron, Norway World Youth Choir 1989 “To reunite with those I first met 20 years ago was like coming home to the place where you have the happiest early memories. I couldn't help but feel like we were just picking up from where we left off 19 or so years ago. It was also wonderful to sing with the group which continues to provide high quality training and development for singers from around the world. Still I felt a little
When singers, conductors and founders meet
hand in this project over the last 20 years has helped to create an institution of world cooperation and creativity. Not many international projects can claim that when they get together they speak with one voice. The WYC and the people I have met through the project will remain close friends for the rest of my life and hopefully we will all help to enrich our world through these wonderful experiences.” Alec Jackson, United Kingdom World Youth Choir 1989 “Music and singing is my whole life, but my profession is businessman, entrepreneur and manager, so my point of view will be a little bit different than opinions of active and professional musicians. As at the beginning in 1989, the quality of a choir, conductors and chosen musical substance, is at an excellent level. The main vision of World Youth Choir /global unity and future hope/ and its social aspect is equally important, beautiful and courageous, as it was 20 years ago. World Youth Choir ’89 was an amazing experience of freedom, which is written in my memory for the rest of my life. For me, the WYC 20th Anniversary was a proof that in case of friendship time is not important. And in case of good music time has no role. The opportunity given to all musicians from 45 countries all around the world, which can communicate and be together for one week, is a wonderful experience for their further professional life. The fact, than in this way all musicians from 45 countries can communicate, including the fact that there is a generation gap between them, is an experience which value we can’t evaluate. The idea of organizing the 20th Anniversary is absolutely great. If it could be up to me, I would organize this type of anniversary every 5 years as during past 20 years of my life I have outlasted a lot. I have got a wonderful
wife and three beautiful children. I had 2 serious diseases. Each day is a gift for me! The WYC 20th Anniversary, the meeting with people and the musical experience is a great gift for me too. Every time I think about memories from this meeting, I have got a big smile on my face. And I would like to say thank you all” Oliver Salon, Slovakia World Youth Choir 1989 “I am one of the "very first" singers of the World Youth Choir. I sang in 1989, 1990, 1991 and 1992. In 1991 I was also the project manager for the Prague portion of the tour. I am having a hard time finding words to express what the World Youth Choir experience means to me. I never imagined I would be a part of such talented group of people. I was sad once I became "too old" to be a member anymore. I would miss my friends; I would miss the incredibly high level of music we were making together. I often thought about us "old" members singing and spending time together again, so
Photos: Andrea Angelini
melancholy that so many of our old friends still didn't manage to make it. One of the most wonderful aspects was finding and chatting with our friends before the event started. I think that had emails existed when the choir began in 1989 we would all have been in contact much earlier. Since the event I have managed to contact about 50 former members who hadn't managed to attend and we are trying to set up another reunion next year. The anniversary project really re-kickstarted my love for these people and the WYC as a melting pot for international talent and choral coaching. Now the event is over I feel the same I did 19 years ago when I couldn't attend any more WYC meetings and that is great loss and a feeling that this must never end; and it must not end. 20 years ago we didn't know where the project would go, or where it would end up. Possible the best thing that happened was the cough and splutter of the first year, thankfully someone took up the project and breathed new life into the project and kept it alive. Regardless though, everyone who has had a
Jean-Claude Wilkens and Eli Belgrano
ICB IFCM News
IFCM News ...Celebrating 20 years!
I was ecstatic to find out that there will be an anniversary reunion. I knew I would do everything I could to be there. I wasn't the only one, apparently. Even in the time of the economic downturn, World Youth Choir former members from all over the world turned up at the Stockholm Central Station looking for the train to Orebro! The reunion was marvelous and way too short. Seeing my friends and catching up was priceless. So was singing together again. And yes, we were crying at the end, just like we did every year. Thank you, Thomas Caplin and Stefan Sköld for the World Youth Choir and it's first year, thank you, Jean-Claude Wilkens for keeping it alive till today, thank you Vladimir Opacic (and everyone else) who made this anniversary possible. And some of us 89'ers are already planning World Youth Choir Alumni sessions for 2010 and 2011.” Jamila Hla Shwe, Czech Republic/USA World Youth Choir 1989 For the past 20 years many volunteers have worked to keep the World Youth Choir running. All of them, all over the world, will recognize themselves in this article. The World Youth Choir simply says thanks to all of them, to those people around the world who recognized the importance of choir’s
existence, and who believed in its future. We hope you and others will continue to believe for the next 20 years! On behalf of the International Center for Choral Music, which oversees the project, gratitude must be expressed to: Stefan Sköld, Thomas Caplin the founders; Jean-Claude Wilkens founder and previous World Youth Choir manager; Benoit Giaux and Jean-Marc Poncelet, executive directors and previous managers; Alessandro Cortese, former singer and previous manager of the choir; former and present employees/trainees of the ICCM and IFCM Véronique Bour; Nadine Robin; Maria Catalina Prieto; Victoria Liedbergius; the management and editorial team of the ICB, Jutta Tagger, managing editor; International Federation for Choral Music, Jeunesses Musicales International and Europa Cantat, patron organizations of the World Youth Choir; the members of the World Youth Choir Committee, and of course to the Province of Namur, Martine Jacques, and Ville de Namur with their appointed representatives, for their support through all these years. Special gratitude must also be expressed to more than 40 renowned world conductors
of the choir in past 20 years, and hosts/organizational teams of Sweden, Belgium, Hungary, Spain, Norway, Uruguay, Canada, Estonia, Japan, Taiwan R.O.C., Slovenia, Venezuela, United States of America, Switzerland, South Korea, Israel, South Africa, P.R.O. China, countries which welcomed the World Youth Choir on its tours at more than 25 summer and winter sessions since 1989. Finally a big thank you to Christina Kühlewein, IFCM programme coordinator for her immeasurable, invaluable work on the 20th Anniversary Celebration, as well as to Fred Sjöberg, president of the Swedish International Choral Center, and his wife, Gunnel Sjöberg, the producer, for their tremendous work and devotion in hosting the 20th Anniversary celebration within the frame of the “Raise Your Voices” choral festival, Örebro, Sweden. Vladimir Opačić, Serbia WYC singer 1999-2004, WCC singer 2004, 2009 World Youth Choir project manager since 2004/05 Conductor, music teacher Email: firstname.lastname@example.org
Photos: Melody Rönnlund (www.melodypics.com)
When children and World Youth Choirs meet
Gunnel and Fred Sjöberg,producer and manager of the 20th Anniversary event
IFCM News Patagonia is not so Far Away, the Symposium is Getting Closer and Closer 3-10 August 2011, Puerto Madryn, Argentina Alejandro Daniel Garavano Photo: Dolf Rabus
IFCM Board Member
Updated News New and important advancements have taken place in the organization of the 9th World Symposium on Choral Music to be held in Puerto Madryn, Patagonia, Argentina, from 3 to 10 August 2011, some of which were explained by the Symposium’s Executive Director, Daniel Garavano, in the General Assembly of the IFCM held in late October in Örebro. Thanks to cooperative agreements celebrated with the founding members of the IFCM including Europa Cantat, A Coeur Joie and Japan Chorus League, it was possible to send information to every region of the world. Tim Sharp and Daniel Garavano recorded a video, which was uploaded to the ACDA website, to encourage choirs and conductors to come to Patagonia for the coming Symposium. As had been established, November 1 was the registration deadline for choirs interested in being considered for the Symposium. A hundred and nineteen choirs from forty countries of the five continents registered at www.wscm9.com. The registered choirs were from Australia and New Zealand to Estonia and Canada, from South Africa through Spain to Finland and from China and Philippines through Hungary, to Cuba and Venezuela. Argentina and the United States were the two countries with the biggest number of registered choirs. November 15 was the deadline for the reception of Conference and Round Table proposals, with the presentation of eightyfive projects coming from more than thirty countries, with topics for conferences, workshops and round tables. The 9th World Symposium on Choral Music Artistic Committee met in Puerto Madryn from 18 to 23 November 2009 to analyze and discuss the presented material. Theodora Pavlovitch,
Artistic Committee members during the last meeting
Lyn Williams, Philip Brunelle, Nestor Andrenacci and Daniel Garavano, members of the Artistic Committee, worked through a huge amount of material, previously organized by Diego Lenger, general secretary of the Artistic Committee. By the end of long sessions carried out in a friendly and relaxed atmosphere, the general programme for the Symposium was determined and, to that end, twenty-five ensembles from twenty-one countries with a total number of seven hundred and sixty-five singers were chosen to constitute a beautiful mosaic of the World Choral Singing. In addition, the Committee appointed four Maestros in charge of the four master classes in choral conducting, two conductors for the Common Singing, and thirty lecturers and other participants in the round tables. More news: three of the six composers commissioned to create new choral pieces for the Symposium have already finished their work and their beautiful compositions are ready to be sent to the selected choirs. Once more, the World Symposium on Choral Music will demonstrate the magnitude of the choral movement in the world and the high quality of choirs and maestros who will lend their prestige to the greatest of the IFCM activities.
The Organizing Committee is now working to contact the choirs and lecturers to confirm their participation; all of them will be announced during the second half of February 2010 on the Symposium’s website www.wscm9.com. On the same site, individual participants will also find updated information. Costs for accommodation and food at various price levels will be available together with tourist services offered by Argentina Visión, the event’s official tour operator. The website will offer interesting side trips as well as the essential APPLICATION FORM for participation in the 9th WORLD SYMPOSIUM ON CHORAL MUSIC. Patagonia is not so far away, the Symposium is getting closer and closer. WE ARE WAITING TO WELCOME YOU! Email: email@example.com Translated from the Spanish by Maria de la Mercedes Zavala Tello, Argentina. Revised by Philip Brunelle, USA
Choral World News
World News Europa Cantat General Assembly in Sofia Brigitte Siebenkittel
Ars Choralis 2010 Artistic and Scientific Symposium on Choral Music 8-10 April 2010 in Zagreb, Croatia Branko Stark
Let the Peoples Sing The EBU choral competition 2009 in Oslo Walter Vorwerk
ChoralNet Merges with ACDA New from the Latin-American Association for Choral Singing What Makes a Volunteer Of Their Own Free Will Kellie Bates
Europa Cantat General Assembly in Sofia Where Theodora is at Home
Brigitte Siebenkittel Vice-President of AMJ*
Europa Cantat New Board
It was a long held wish of long-time board member Theodora Pavlovitch, to host the EC general meeting in Sofia. And one could see how happy she was to greet us at the HochhausHotel Moskva, 15 minutes from the Sofia airport. Afterwards the Bulgarian Union of Choirs hosted about 100 people from 20 countries at the opening reception. In 2008 in San Sebastian, we heard Basque words and choral sounds at the greeting, which weren’t understood by anyone except the locals. This time it was the Bulgarian language we were hearing, with its soft, vocally rich sounds, similar to Russian and Czech. We traveled by bus into the center of the city for the first evening concert, encountering Friday afternoon traffic jams. We heard the Academic Female Folklore Choir of the Academy of Music, Dance and Fine Arts from the city of Plovdiv, Kostadin Buradjiev, dir. Unfortunately they didn’t dance in their pretty costumes, but their voices made a powerful, unusual impression. It was amazing and a little disconcerting to hear how they could carry their chest voices up to the high register without visible strain. But in every piece, primarily folk songs from renowned composers, the choir showed their power, experience, and perfection. This was also the impression made from the Saturday concert: the very good Youth Section of the Sofia Boys’ Choir, Adriana Blagoeva, conductor; the wonderful legato of the St. Trinity Church Choir, Sofia, Elianka Mihaylova, conductor; and the wonderful, lively and radiant singing of the Sofia Chamber Choir Vassil Arnaudov, under the director of our hostess for the weekend, Theodora Pavlovitch! Many thanks, Theodora, it was a special experience to hear your choir! The Saturday morning general session made two resolutions with importance for the future: 1. Sante Fornasier from Italy was elected as President of the federation as successor of Jeroen Schrijner whose mandate ended after a nine-year period on the Europa Cantat Board. The General Assembly elected a Board of 13 persons from 12 European Countries. The President will be supported in his work by three further Executive Board members: • Gábor Móczár from Hungary as 1st Vice-President • Fred Sjöberg from Sweden who was confirmed as 2nd Vice-President / Chair of the Music Commission • Jean Smeets from Belgium as treasurer.
Sante Fornasier, new elected President of EC
• Further Board members are Séverine Delforge (Belgium), Montserrat Gual (Spain), Guido Helbling (Switzerland), Mihela Jagodic (Slovenia), Reijo Kekkonen (Finland), Jan Schumacher (Germany), Kaie Tanner (Estonia), Thierry Thiebaut (France), Daphne Wassink (The Netherlands) 2. The General Assembly also approved of the program of activities for the coming years and decided on a merger of the two major European choral organizations, Europa Cantat – European Federation of Young Choirs and AGEC (Arbeitsgemeinschaft Europäischer Chorverbände) into European Choral Association – Europa Cantat.
ICB Choral World News
Choral World News ...Europa Cantat General Assembly in Sofia
The merger shall be prepared in 2010 and the organization shall be merged at the beginning of 2011. With the fusion the two organizations wish to bring together the knowledge and experience of two important European organizations, offer the choral world the best possible service, form one major European Choir Federation in Europe and strengthen the position of choral music within Europe. On Saturday afternoon, there were stimulating workshops on singing as a blessing for body and soul, of the effect it has
on health and about the beauty of bel canto. We heard about singing with handicaps, about practical and healthy practices in vocal technique, and from Theodora Pavlovitch about 1200 years of music in Bulgaria. I asked some of the soloists she’d brought along if they could also sing in head voice, and they responded by singing a beautifully sung madrigal. The sopranos, whose voices were particularly multifaceted, told me they didn’t know how they could sing with that loud, almost screeching chest voice – they learned it from their mothers, who learned if
from their mothers. For Theodora it was normal that her students could sing professionally in these different ways. All this and more could be discussed with colleagues on both evenings in the pleasant, plush, bar on the 19th floor. All the participants surely experienced an interesting weekend with rich content – there, where Theodora is at home! *AMJ = Arbeitsgemeinschaft Musik in der Jugend (Music and Youth) E-mail: firstname.lastname@example.org
Ars Choralis 2010 Artistic and Scientific Symposium on Choral Music, 8-10 April 2010 in Zagreb, Croatia
Branko Stark President of the Croatian Association of Choral Conductors
In 2010 we resolved to improve choral life in Croatia. As that sort of thing cannot be achieved in a short time we set up a 20-year plan which we called CHOROATIA 2010. At the time there was no association of choral conductors, nor any place where choral conductors could train. Thus we started by setting up the Croatian Association of Choral Conductors HUZ. After that, in 2004, the school for choral conductors was founded (www.vocal-academy.com). In addition to that we established a website on which all information and links of importance to choral conductors and choirs can be found (www.choralcroatia.com). Then, in 2008, we started the international choral competition Sounds of June, and we also produced a CD with Croatian choral music that is being distributed free of charge all over the world. In view of our experiences and successes so far in respect of the training of choral conductors and the informed promotion of choral life, we began an international project in order to make our knowledge available to colleagues and choirs all over the world. It is called IPDCM (International Project for the Development of Choral Music) and at the moment it is run in South Africa in collaboration with the Bloemfontein International Choral Centre. Our next goal is the organisation of an international Symposium on choral music. It will take place in the Croatian capital, Zagreb, from 8-10 April 2010, entitled ARS CHORALIS 2010. The idea is to connect choral music and science. The Symposium is intended to contribute to the international improvement of choral music and sees itself as complementing other symposia. Thus we hope to supply a stimulus for choral conductors to incorporate more of today’s scientific insights in their artistic and
educational work. We feel particularly strongly about the comparatively new discipline of vocology. Today’s objective knowledge about the voice and singing is huge, but in our opinion choral conductors are not sufficiently aware of it. On the other hand we are equally keen on researchers and scientists finding out more about choral singing and choral music, in order to identify the aims of their future work more precisely and more consciously. Therefore we have flung the areas open to discussion at our Symposium very widely, so that all those who have any – direct or indirect – contact with choral music and singing can take part. The official languages of the Symposium will be Croatian, English and Slovenian. The following topics will be discussed: Choir/Choir director, Singing/Vocal pedagogy, Conducting/Interpretation, Composition/Analysis, Voice/Vocal style, Science/Voice/Hearing, Science/Music, Music pedagogy/Education, Sacred Music, Music media/Technology, other topics. Amongst others we are expecting the following guest lecturers to take part: Thomas Caplin (Norway), Rudolf de Beer (South Africa), Werner Jauk (Austria), Joy Hill (Great Britain), Johan Sunberg (Sweden), Josef Schlömicher-Thier (Austria), Giovanni Acciai (Italy), Vanangs Romans (Lithuania), Vatovec Marko (Slovenia), Andrea Angelini (Italy), Annemarie van der Walt (South Africa), Harald Jers (Germany), Irena Hočevar-Boltežar (Slovenia). Alongside the papers to be read there will also be workshops and master classes.. Annemarie van der Walt and Andrea Angelini will speak to the participants in order to introduce them to the IFCM and the ICB. The women’s choir Tokio Josei Choir from Japan with its conductor Yoichi Adachi will be the guest choir of the Symposium (www.geocities.co.jp/tokyo_josei_choir/). On
the second day a major choral concert will take place. Within the framework of the Symposium there will also be the award of prizes and recognitions to persons of merit. All further information about the Symposium and the Croatian Association of Choral Conductors can be found at www.choralcroatia.com. Branko Stark (1954), composer, choral director and voice instructor, is a teacher at the Arts Academy (University of Split-Croatia). He has written over two hundred compositions for which he is the recipient of numerous awards. He teaches singers, choral directors, actors, speech therapists, phoneticians and speakers and also engages in voice rehabilitation. Mr. Stark has participated in more than 30 scientific symposiums and has been guest professor at many faculties in Croatia and abroad. His speciality is voice theory and its scientific-pedagogic research and works published on this subject. He holds seminars, master classes, lectures and workshops for choral conductors and singers worldwide (Argentina, Indonesia, Hong Kong, Korea, Slovenia, Malaysia, Thailand, Germany, France, Austria, South Africa). Mr. Stark is also a prominent adjudicator for many international choral competitions (Germany, Austria, China, Japan, Indonesia, Malaysia, Italy, Korea, Croatia). He is President of the Croatian Choral Directors Association, head of the Vocal Academy, a member of the World Choir Council and Advisor for Croatia in the International Federation for Choral Music. (www.brankostark.com) Translated from the German by Irene Auerbach, United Kingdom
ICB Choral World News
Choral World News
Let the Peoples Sing The EBU Choral Competition 2009 in Oslo Walter Vorwerk Photo: Sabine Vorwerk
In 1961, music editors at the BBC came up with the idea to create a special competition to stimulate fine amateur choral singing in Great Britain.. This was also in the thoughts of Pathe, to renew their choral recording stocks with more modern and technically better recordings. At the same time amateur choirs had a platform to perform on the radio. The competition was named “Let the Peoples Sing”, representing the complete breadth of the choral movement. Its success eventually moved outside English borders. In 1965 the competition was opened to foreign choirs, and in 1966 the competition came under the responsibility of the European Broadcasting Union (EBU). Since 1989 the re-named radio competition has been held every two years, with alternating responsibility among the EBU member stations. From this year’s submissions the jury chose the choirs for the final round, which since 2001 have been presented in a live concert broadcast. Winners were chosen in the following categories: youth choirs (15-20 years old), children’s choirs (up to age 14), and adult choirs. The overall winner receives a traveling trophy, the “Silver Rose Bowl”. Since the EBU no longer has as much money to invest in the competition, the choirs must now support their own expenses. Despite this hurdle, the radio competition has remained a worthwhile address on the itineraries of high quality amateur choirs. And a worldwide broadcast is still a big incentive. The organization is in the hands of the Music Group EBU, whose chairman since May 2009 is the music director of the Saarländischen Rundfunk, Friedrich Spangenmacher. His deputy chair, Jorunn Hope, is responsible for international exchange for the Norwegian network NRK Oslo.
It was like their first big test to organize this competition and the final round “Let the Peoples Sing” in Oslo. It is praiseworthy that the EBU furthers the development of choral music in this way, in calling amateur choirs to raise the level of their performance. This is also true of radio stations which sent very good amateur choirs to the competition, giving them support. For example, Deutschlandradio Kultur nominated the men’s ensemble Camerata Musica Limburg, directed by Jan Schumacher. At the festival of German choral associations in Bremen in 2008, this ensemble won two first prizes and the special prize of the broadcasters, a CD production. Afterwards the radio station and the ensemble made a media partnership under which they were sent to the “Let the Peoples Sing” competition. After a successful semifinal the choir flew to Oslo on October 18th for the finals. This excellent choir returned home without a prize, perhaps due to the perception their program was too “heavy” (including a world premiere – the only one of the evening), perhaps not keeping the motto “Let The Peoples Sing” enough in consideration.
Male Vocal Ensemble Camerata Musica Limburg, conductor Jan Schumacher (Germany)
The girls’ choir from the Classical Gymnasium of the Diocese of Ljubljana, Slovenia, under the direction of Helena Fojkar Zupancic, made a particularly strong
impression. With their choice of programming, ranging from sacred music to Slovenian folksong in excellent arrangements, and their wonderfully blended choral sound brought them the first prize in the youth choir category, and the traveling trophy “Silver Rosebowl” for excellence as the overall winner.
Photos: Walter Vorwerk
The Girls' Chamber Choir of the Diocesan Classical Gymnasium Ljubljana (Slovenia)
Among the finalists were choirs from Austria, Poland, Canada, Lithuania, Finland, Germany and Norway, where the Nova Kammerchor under Anne Karin Sundal-Ask won 1st prize in the adult choir category. Ingval Eikaas, the music division head from NRK Oslo, said this about the competition: We have heard excellent choirs here. I think it’s important to reach listeners, particularly the young listeners. It not only has to do with broadcasting to many countries through the EBU, but also to use other electronic means, for example the online connection, the websites, to show these choirs around the whole world, to
show how they sing. This is the modern way to reach listeners. Jorunn Hope, the new deputy chief of the EBU music group, adds: In my opinion, choral music is a very important part of the music offerings on the radio. It’s right to reach listeners across borders with high-quality music. In the past, we had “radio people” on the jury, but this year we had for the first time a conductor from Estonia who
led his children’s choir to a prize in Cologne two years ago. Also, we need feedback from choirs and associations for “Let the Peoples Sing”. in this way the response can be much larger. It’s interesting that not just European choirs participated – this year we had a Canadian choir here, and an associate jury member came from America. This broadening makes this radio competition more attractive for the choirs.
In this way, the EBU competition “Let the Peoples Sing” has a perspective – it is no longer just a radio opportunity, but it is becoming more and more an international institution with an international broadcast. E-Mail: email@example.com Translated from the German by Dr. Clayton Parr, DePaul University School of Music, USA
ICB Choral World News
Choral World News
ChoralNet Merges with ACDA Press Release Tim Sharp ACDA Executive Director
In a joint statement by ChoralNet President James D. Feiszli and ACDA Executive Director Tim Sharp, ChoralNet, the online choral communications and social networking site (www.choralnet.org), and ACDA, the professional association for American choral directors (www.acda.org), will merge effective November 30, 2009. Feiszli, a former two-term President of South Dakota ACDA and life member of ACDA stated, “ChoralNet has always been about connecting choral musicians to each other and to resources which assist them in their work. ACDA shares those goals, and at this point in time the two entities are perfectly situated to create a synergy that is mutually beneficial.” Commenting on the merger, Tim Sharp said, “This action advances ACDA’s initiative to utilize the full extent of technological communication for the benefit of choral directors without reinventing the wheel. ChoralNet is the premiere communications and social networking
Latin-American Association for Choral Singing (Asociación Latinoamericana de Canto Coral ALACC) - Chile News from the Southern Hemisphere The Latin-American Association for Choral Singing ALACC-Chile celebrated its tenth year of existence under the presidency of Maestro Waldo Aránguiz Thompson. In these ten years it continued to make progress by dedicating all its forces to the development of choral singing, helping the country’s choirs by networking with other Latin-American countries and the world, in particular by organizing the International Choir Festival "Mario Baeza", which takes place every two years. The sixth festival will take place in Valparaíso and in Viña del Mar in 2010.
source for the global choral community, and it is an honor for ACDA to be partner to this fusion as we better advance one of our core purposes ‘to disseminate professional news and information about choral music'.“ Feiszli founded Choralist in 1993 with former ACDA President Walter Collins and then-ACDA President-Elect Lynn Whitten. Choralist, an email distribution list, developed into ChoralNet, which is now a nonprofit corporation supported by major choral associations including ACDA, the International Federation for Choral Music, Chorus America, along with commercial partners Smallworld Musicfolder, Rehearsal Arts, J. W. Pepper, and Kingsway International. ChoralNet operates online forums to exchange ideas, make professional connections, and share information about choral music. An estimated 10,000 individuals access these forums. ChoralNet provides links to other choral communities and organizations and over 5,000 choir In September 2009, a new Board was elected; its members will continue to work in the spirit of its now Honorary President, Maestro Aránguiz. The new Board consists of: • President: Maestra Ruth Godoy, a university teacher and choral director of great renown in the choral world of Chile • Vice-Presidene: Maestro Guillermo Vergara • Secretary: Sylvia Frische • Treasurer: Carlos Obaíd • Members: Ana Luisa Pérez, Hernán Cuevas and Sergio Campos Sylvia Frische, Secretary of ALACC-Chile E-mail: firstname.lastname@example.org Translated from the Spanish by Jutta Tagger, France
websites. Over 3,000 individuals visit the ChoralNet website daily and read over 9,000 pages. ChoralNet's online resources include repertoire lists, reference materials, rehearsal tips, choral accessories and technology, and areas in which items may be announced or advertised. Its ever-expanding Multimedia section has podcasts, blogs, videos, and downloadable scores and recordings. In April, it launched an entirely new format which allows users the flexibility to interact with ChoralNet in ways similar to other social networking sites such as MySpace and Facebook. ChoralNet will remain freely available to all users, and will maintain its leadership structure, domain location, and revenue streams. It will merge into ACDA’s administrative structure through the ACDA Technology Committee, one of ACDA’s six standing committees, and the Technology Committee’s constitutional connection to the ACDA Executive Committee. ChoralNet users will see no change in services as a result of the merger, with ACDA providing additiional forums and moderators, sustainable resources drawn from its strength as an association, and database and website development resources. Commenting on this structure, ACDA Executive Director Tim Sharp stated, “I celebrate an independent and uncensored communications and social networking site for the global choral community.” ChoralNet will benefit from new features currently in development by ACDA including the implementation of SOLR, a searchable index for information from both ChoralNet and ACDA's websites, ACDA Choral Radio and collaboration with Naxos Recordings, ChoralPedia, a wiki based information and research tool, ACDA's Digital Publishing House, and additional future web-based tools and resources.
Choral World News
What Makes a Volunteer Of Their Own Free Will
Kellie Bates Journalist
Volunteers: a people who fervently commit hours of their time and energy for no financial gain. A people who face the same challenges, disappointments and deadlines as paid staff: yet freely give their output. The words ‘volunteer’ or ‘amateur’ are too-often spoken by ‘professionals’ with (whether intentional or not) a sense of condescension. And, I’ll admit, I’ve been known to hail a show as “excellent; for an amateur production”. Don’t get me wrong: most professionals realize they could not get by without the commitment and skills of their volunteers, and strongly appreciate their efforts. Some may be taciturn, however most managers are very vocal when attributing the success of their concert/festival/event/ operations to the commitment of their volunteers. Managers wishing to pay volunteers with a salary consummate with their output: both boundless often recognize this impossibility. So these are the people that fit in the little box at the very bottom of the organigram. Why do they do it? Surely they must be getting something in return, because nobody does anything for nothing, right? Without becoming too deeply philosophical, perhaps it’s true that there is no such thing as true benevolence and altruism; that there’s always some gain in donating one’s time and efforts- be it to fulfil one’s own love of working within the arts, or to fulfil part of Maslow’s Hierarchy in feeling needed and loved, or to give something back to others. True cynics may even look deeper, incorporating the two terms ‘tax deduction’ and ‘volunteering’ in the same sentence. I think, what it comes down to is that no matter their motivation: these people are not the wheel that steers the ship, nor the crew that guide its journey: they’re the timber, the portholes, and the sails.
As these people form such an integral body of staff, it is therefore crucial that they receive the training, motivation and ongoing support necessary to ensure their success. It would be disingenuous to hail every person who has ever displayed a volunteer badge as an asset in their embodiment of an organization, however many volunteers demonstrate a commitment to achieving as much (and sometimes, additional) excellence than paid staff. What does this mean though, for a Managing Director or Chief of Staff? Here we have a) an essential ingredient in the recipe to an organization’s success b) a group of people who will strive to achieve excellence c) a group of people who could, with ‘antisocial’ behaviours undermine the “face” of an organization and (let’s assume) d) no possibility of remunerating these staff for their efforts If we look to market surveys, we see questions such as “How highly do you value on-the-job training?” and “How often do you receive feedback from your Manager?” and “How do you rate your organization’s flexible working options?”. These types of questions provide us with some clues to tapping into this elusive group of workerbees through alternatives to the traditional financial incentives. Google the meaning and etymology of ‘volunteer’, and you’ll see the words ‘willing’ and ‘free will’ often appear. Let’s not forget the volunteers have chosen to donate their unique skills to this particular organization. So, one could assume there is something that aligns them; be it the company goals, vision, the position itself or the industry. Volunteers are (presumably) representing an organization to the public, and the public
will not make concessions for unsatisfactory performance on the basis that ‘they’re a volunteer’. Therefore, these volunteers need and deserve a commitment from their organization to the same transparency of information as paid staff; a clear induction and regular feedback; on the job (or other appropriate) training and ongoing support. These are all fundamental to the underpinning right of these volunteers, and that’s around ‘respect’. The entire company’s staff may be aware of who is paid and who isn’t, but this need not be reflected in the treatment of a volunteer. A manager need not walk on eggshells where constructive criticism is necessary. Nor should a manager delegate menial tasks on the basis that a paid staff member would be ‘above that’ (in fact, this may be counter-productive where a volunteer has a useful set of skills). If the public see a paid staff member and a volunteer as one and the same: so too should a manager. And this will filter down through the staff, encouraging a harmonious and respectful workplace. So next time you think of someone as ‘just a volunteer’, think of all of the international artistic (and other non-profit organizations) on a global, national and local
level. Consider the Chairman of the Board of the international festival who labours for months over its inception and during the event gains minimal sleep; firmly committed to ensuring its success. Consider the staff member who greets every patron with a smile as they answer the same few questions repeatedly; paraphrasing often the only variety in their day. Don’t think of why it is they do it, but how more people can be convinced they should. © Written (in a voluntary capacity*) by Kellie Bates Australian born Kellie Bates is a journalist and broadcaster, and has attended the EUROPA CANTAT Utrecht XVII Young Event Management Program in The Netherlands and Young Arts Management Project in Caen, France, with the International Federation of Choral Music. With a performance diploma in violin and singing, Kellie has a diverse career history including marketing and journalism in both in Australia and the United Kingdom. Kellie is currently acting as Chair of the Australian Youth Music Council. E-mail: email@example.com
ICB Choral World News
Composersâ&#x20AC;&#x2122; Corner Risk-taking in Programming Ways to Explore New Music Dr. Cara Tasher
If you would like to write an article and submit it for possible publication in this section Please contact Cara S. Tasher, Editor Email: firstname.lastname@example.org
Risk-taking in Programming Ways to Explore New Music
Dr. Cara Tasher Director of Choral Activities
How many conductors are programming music outside of their comfort zone through the exploration of new cultural idioms or commissioning composers? If a conductor wants to explore new music but has never done so, it is my hope that this article will serve as a small inspiration. I have asked a few seasoned conductors from varying backgrounds to respond to this with their reflections. What is the comfort zone? In essence, some of us have a clear line between our comfort zone and a discomfort zone. André De Quadros (Boston University) and I discussed this at length, exploring the idea that the “comfort zone” is the stuff that we think we know about, a Bach cantata, for instance. If someone asks you to perform a Philipino mass, it may seem out of your realm. Yet one can use the same microscope for any seemingly exotic piece that one would use for Bach.
André de Quadros
Excellent and thoughtful conductors use the same questions for every piece they are conducting so that nothing will be unfamiliar as they introduce the score to their ensemble. When approaching a work (old or new), Robert Shaw started from scratch as if nothing were familiar. When one does background on any work to be
performed, it should be consistent: What do I know about that period? What kind of vocal color is distinctive for the music of (insert composer or genre) that I can get from my choir? What is its context in the composer’s life, harmonic language, rhythmic complexity? How do I approach texts/transliterations? These are the same questions no matter which repertoire you perform. It seems that many people make assumptions about their familiarity with certain subjects and in essence, neglect certain repertoire for the wrong reasons. People think they are familiar with Bach because they have studied him, performed some of his works, can pronounce the German using IPA, and so forth. Therefore, they choose to not visit the unfamiliar because they think they know about Bach, and they think they do NOT know about Indonesian music. André put it succinctly. “What do most conductors know about the Age of Enlightenment? Yet they are performing music from this period as if it is well within their comfort zone. And, simultaneously, they think they need to know everything about Indonesian culture before performing that repertoire and thus do not.” The clarity and simplicity of this statement was overwhelming – the reason that certain repertoire has been neglected is not in the “I don’t know”, but because we are using over-simplistic reasoning regarding our familiarity with a subject. Cara Tasher (CT): Why should one perform music outside of their comfort zone? André de Quadros (ADQ):Why should one study world history? Why should one bother to study another language? Our world is increasingly globalized. When the Chinese currency moves, that affects the American economy, and so forth. André de Quadros recently finished editing an Arab piece (Fog Elna Khel) by a Syrian-Iraqi composer. “The
most interesting part is its beautiful traditional Iraqi melody; it’s a love song— likening the moon to the face of the beloved…” This work, and a carefully crafted translation and transliteration is published in a new earthsongs series called Salamu Aleikum Choral Music of the Muslim World. Yu-Chung Johnny Ku (Taipei Philharmonic Chorus): To me, one of the core values of the arts is the creativity factor. It can be a new point of view regarding a composer, a new approach to an old piece, a new philosophy of programming, a new way to perform, or simply a new composition. Creativity is one of the most important forces to propel the arts—to evolve, to move forward. Look at Dufay, Monteverdi, J. S.
Yu-Chung Johnny Ku, Taipei Philharmonic Chorus
Bach, Beethoven, Liszt, Wagner, Stravinsky, and many others. Without their creativity, we would not have the music we are experiencing in the present. Therefore, in order to further develop our music, to perform never-before performed music is something that we must do. It is a challenge to the performers and audience alike, requiring courage and an open mind, disregarding the fear of a negative audience
ICB Composers’ Corner
reaction as it may be more difficult for an audience to accept new music or even attend such a concert. (CT): How would you describe your approach to never-before performed music, or music that is less performed in your particular culture? Dr. Earl Rivers (University of Cincinnati Conservatory of Music-CCM): In approaching a newly commissioned work or a work that I have never performed, I first seek more information about the composer and her/his works. I seek not only choral works, but also more importantly, works for other mediums – orchestral, opera, string quartet and chamber music. Insight of a broad range of a composer’s output better prepares me to analyze a new work, to anticipate compositional procedures including forms, melodic and harmonic treatment, text setting and facility with instrumental writing. I complete a large or macro analysis of the formal structure to determine how the work is unified and how contrasts are offered. Next, I begin a more detailed analysis to delineate phrase structures and harmonic treatment. A detailed analysis is a long, on-going procedure, as I add layers of detail with additional study, continuing to refine my understanding of and ability to internalize the work. (CT): As a conductor who has commissioned several composers, please share how you choose which composer to commission. (ER): In a commission, I seek original ideas for expressing text and music. To cite a recent commissioning experience, I encountered Aaron Jay Kernis’ a cappella work, Ecstatic Meditations, at the 1999 IFCM World Symposium in Rotterdam and was enraptured with this three-movement work. In “I Cannot Dance, O Lord” Kernis, through mixed meters and rhythmic counterpoint, captures and stores enormous
energy in a way I had never heard expressed in choral music. Likewise, in “How the soul speaks to God”, the soprano and tenor dialogue with the chorus on two harmonic planes, creating a kaleidoscope of interesting harmonic progressions. I performed Ecstatic Meditations with both the CCM Chamber Choir and the Vocal Arts Ensemble of Cincinnati. (I had also programmed Kernis’ “Teach me Thy way, O Lord”, an accessible anthem featuring an original compositional device of a repeating 4’ organ pedal ostinato.) When a commissioning opportunity arrived to celebrate the restoration of a mid-19th century organ in Cincinnati’s historic Plum Street Temple, my first choice was Kernis. I had had several years to hear, study, and conduct his music, and believed him to be an outstanding composer with original compositional ideas. His Two Meditations, commissioned by CCM’s Tangeman Sacred Music Center and premiered by the Vocal Arts Ensemble in 2006, was fulfilling in many ways, especially in the handling of long phrases, punctuation of organ passages, and contrasts of textures. When I have the next opportunity to commission a work, in selecting a composer I will first draw upon the resources of my experiences with his/her works, to include listening, studying, performing and reflecting. (CT): Describe some of your experiences in commissioning or performing new music. (ER): I am currently learning two new works for February 2010. I have programmed Augusta Read Thomas’ “Ring Out Wild Bells, To The Wild Sky,” and Penderecki’s “Credo”. I began serious study of both works in early spring 2009. Having previously performed and studied works of each composer, I was better prepared to begin an analysis of each work. Score study, score preparation and listening further illuminated
...Risk-taking in Programming
the works and has given me ideas for interpretation that I would not have gained by simply listening to the recordings. Having completed a macro and microanalysis, I feel well prepared to begin rehearsals. A thorough analysis has also given me confidence in the rehearsal plans I have devised for the choruses (mixed and children), soloists (solo, quintet and octet) and orchestra and in my ability to produce fine performances of these works. (JK): Performing new music is not only a required duty for me, but also fun. During the process of learning/rehearsing/ performing a new piece, you may be producing a new sound, making a new vision, discovering a new world, creating an enjoyable experience for audience and performers alike. I believe that with the right work [in the right context]–a new composition or music of another culture can deliver a new vision, a new listening/watching experience, or even surprise the audience–it has the potential to be accepted and appreciated even in the conservative Asia. Compared to performing new music, playing music that is less performed in a particular culture seems easier for people to accept. I have taught Chinese and Taiwanese music to American choirs several times, and performed Chinese and Taiwanese music in the U.S. and Europe. On the other hand, I perform a lot of Western repertoire in Asia. No matter which way, audiences usually can accept music from different cultures easily. Maybe they are surprised, amazed, and charmed by the exotic flavor. That said, I believe it will take a long time for people to actually
understand and perform music from different cultures, but we are well on the way.” Agreed. Thank you to André De Quadros, Johnny Chu, and Earl Rivers for their input on this issue's Composer’s Corner. As we welcome our new ICB editor, we are still open to input regarding what you would like this section to include. Please contact me at email@example.com Due to her own meaningful experiences in organizations such as the Glen Ellyn Children’s Chorus, Chicago Symphony Chorus, Atlanta
Symphony Chorus, Trinity Choir at Wall Street, Conspirare, and Experiment in International Living, Dr. Cara Tasher, Director of Choral Activities at University of North Florida (Jacksonville), strives to instill in her singers the passion for excellence with an appreciation of different cultures. She recently served as chorus master for Opera de Bellas Artes in Mexico City. Tasher has prepared masterworks for professional organizations and worked with numerous high schools and community ensembles. While associate conductor of the Young People's Chorus of New
York City, she designed two ensembles and two annual workshops that continue to bloom. For the past 5 years she has continued that momentum as artistic director/conductor of the Vocalizze Festival in Portugal and has been active in the U.S. as guest conductor, clinician, and adjudicator. Cara studied at the University of Cincinnati College-Conservatory of Music, University of Texas at Austin, La Sorbonne, Northwestern University, and currently serves on the Florida board of the American Choral Director's Association.
ICB Composers’ Corner
World of Children’s & Youth Choirs
Children’s and YouthChoirs Let’s Talk Method Leadership Cristian Grases
If you would like to write an article and submit it for possible publication in this section Please contact Cristian Grases, Editor Email: firstname.lastname@example.org
Let’s Talk Method Leadership
Cristian Grases IFCM Board Member
As the editor for the World of Children’s and Youth Choirs column in the ICB, I would like to introduce the concept of fixed themes in upcoming issues of the Choral Bulletin. Let’s Talk Method is the first of these columns which will offer our readers information on technical aspects of choral conducting and thoughts from artistic and executive leaders. We will share ideas on conducting and rehearsing with children’s and youth choirs and strategies to develop their supporting institutions which will be helpful to many colleagues. This thematic column will always appear in the January issue of the bulletin. Previously, we discussed the importance of having a strategy to deal with crisis. In this article I would like to explore ideas in regard to what I consider to be the most fundamental aspect in the choral world: Leadership. This often overused term encompasses many diverse traits and characteristics in being a choral conductor. Leadership is intimately linked with the notion of accomplishment since a successful leader is capable of generating effective cooperation from other people and is able to channel the efforts and results of this support to attaining one’s final goal. The choral leader is immersed in an adventure that seeks the fulfillment of the mission and goals of the organization he/she leads. While reaching one’s ultimate goal, many facets may need constant reevaluation and adjustment. Following are several areas in which choral leaders should dedicate some thought:
Education One of the most important characteristics of choral music is that it can be performed with untrained musicians. Orchestral performers require a certain proficiency level on their respective instruments which is
usually accompanied by a required level of musicianship. On the other hand, the chorister does not have to be musically trained to be a choral singer. Choirs composed of trained singers can attain very high levels of excellence in their music making; however, amateur choirs comprised of mostly untrained singers can also present beautifully crafted performances that are equally valuable. Therefore, the choral leader must understand that a great deal of rehearsal time
Iowa Youth Chorus State Fair
will be devoted to education—to prepare the singers in two most critical areas: 1) vocal production, and 2) musicianship and score reading; and in other complementary areas including music history, style, expression, repertoire, diction, acoustics, etc. This requires that a choral conductor be a Master Teacher who must be adequately prepared in all these areas in order to properly educate the ensemble. Education is not only a concern within the ensemble. An important part of this facet is to educate and build an audience: to provide them with interesting programming throughout the year’s activities; to include thoughtful and interesting, yet simple and short program notes; and to interact with the audience during and after the concert. We must also emphasize how important it is to educate our funders. The entities that offer financial support to our choral ensembles
often need to understand our purpose and the historical and artistic platform on which we operate and build our choral music programs and institutions.
Community and Service We have talked about how important it is to interact with our community, but the choral leader must also consider the importance of how the community is being served. Choral organizations must reach out to create solid partnerships with other organizations in the community other than their funders. Finding institutions that have similar missions, goals, or target populations is crucial so that the efforts can be aligned and the results can be multiplied—usually exponentially. The choral leader is responsible for finding such partners and for steering the choral institution into a communal effort in the service of society and its greater good. Music appears to be an ideal language to achieve these results under difficult circumstances.
Financial sustainability Finances are also an important part of a choral leader’s duty. This involves a variety of aspects which deal with money matters. One of the most important components is to create an ambitious but realistic budget that allows the choral institution to fulfill its mission and goals and to find sufficient and reliable income streams that can successfully fund the organization. These revenue streams involve not only receiving grants from public or private institutions which are committed to the organization’s ideals, but also the ensemble must develop projects to generate income from concerts, events, exchanges, etc. Creativity is also a key word in finding new streams of revenue or financial partners and in developing musical events that produce both artistic and economic success.
ICB World of Children’s and Youth Choirs
Dossier ...Let’s Talk Method
• Self-evaluation and improvement are critical for you to constantly review your current situation—both mistakes and achievements are equally important—and to move your organization and ensemble forward toward a better and more improved entity. • Set high attainable goals to keep your choristers both challenged and engaged. To achieve these goals, be enthusiastic and motivational while maintaining a strong but yet fair discipline. • Most of all, love what you do, because many times your journey will be difficult but yet your leadership must always be inspiring to others.
Cantoría Juvenil de la Schola Cantorum (Venezuela)
Excellent financial leadership, fiscal responsibility and accountability are important aspects of a true leader in choral music.
Rehearsal and Ensemble A crucial aspect of a conductor’s leadership is one’s effectiveness and management of a choral rehearsal. A great choral leader understands that an outstanding choral ensemble and its artistic excellence are developed during rehearsals. We have already mentioned the importance of an ongoing educational approach during choral rehearsals—thus a successful and wellplanned rehearsal is essential for all choral groups. Important personal qualities that choral leaders must cultivate which are directly related to leadership and personal interaction with the ensemble are: • Know who you are and be true to yourself. Your choral institution will be a reflection of your core and uniqueness.
• Be respectful. Respect your colleagues, fellow musicians and singers. Their time, presence, and efforts are very valuable. Be equally respectful of yourself —of your time and your integrity as a musician and as a person. And above all, respect the music, for staying true to it allows us to become solemn stewards and genuine artists. • Expect superior scholarship and musicianship so that you cannot only be a master teacher but also an example of musical and academic integrity for others to follow. • Strive for refined and effective communication skills which imply conveying your thoughts and wishes and also nurturing your listening skills. • Good humor is a powerful tool to lead any group to success. It helps release the inevitable tensions, deal with difficulties, and it ultimately allows you to create a better environment for all.
Many choral music colleagues in numerous places around the world have fallen into the trap of thinking that a successful choral institution should be founded on outside components including trained singers, generous donors, state-ofthe-arts facilities, etc; no doubt any ensemble can benefit with such components in place. Unfortunately, some choral leaders tend to have feelings of envy and jealousy for other colleagues’ successes. I truly believe that, despite the makeup of a choir, its infrastructure, and its support network, the success of any choir totally reflects the guidance, essence, skill, and degree of commitment of its choral leader. Always remember how significant our role and impact as a choral leader is for our choral organization and the communities in which we work and live. Cristian Grases obtained his Masters Degree in Choral Conducting under Alberto Grau and Maria Guinand in Caracas, Venezuela; and his Doctorate in Choral Conducting at the University of Miami. He is an award-winning
composer active as a guest conductor, clinician, adjudicator and pedagogue in North and South America, Europe, and Asia. He is a Board Member for IFCM and a member of the International Artistic Committee for Songbridge. He is currently an assistant professor at California State University Los Angeles, in the United States. E-mail: email@example.com
ICB World of Childrenâ&#x20AC;&#x2122;s and Youth Choirs
Choral Music Recordings
Choral Music Recordings & Download Possibilities opusChoral The New On-line Choral Music Boutique is Open!
If you would like a CD to be considered for review Please contact Emmanuel Noisette de Crauzat, opusChoral President 4 place de la Chapelle 75018 Paris France Email: firstname.lastname@example.org
opusChoral The New On-line Choral Music Boutique is Open!
Background The idea of a sound data-bank dedicated to choral music was first discussed in Dakar (Senegal) by IFCM president Lupwishi Mbuyamba and then secretary-general JeanClaude Wilkens, in January 2007. It was later transformed from an IFCM project into a commercial one in order to interest producers and ensure sufficient future revenues to enable project expansion. An initial team was appointed to research financial and technical solutions. Following the resignation of the technical director and difficulties with the original investor, the current team assumed responsibility for the project. Over a six-month period, this team made numerous contacts to secure funding and search out technical partners. When that search proved unfruitful, they decided to create a simplified corporation under French law, with 83,500 Euros in capital, held by the IFCM, the A Coeur Joie Federation, Emmanuel Noisette de Crauzat and several other investors. Following the 2008 Copenhagen symposium, where the project and organization were publicly announced, the articles of incorporation were registered with the Paris Chamber of Commerce, on October 20, 2008. A technical partner was found: Imedia, a Senegalese company specializing in website development. The service contract was signed in January 2009, a scope of work was created jointly and the Senegalese team began work, with the goal of making the site functional at the earliest possible date. Concurrently, the site design was developed by Cécile Mérino-Coutureau, currently artistic director of the weekly supplement to the French newspaper of record, le Monde. OpusChoral has already made two trips to Midem to expand the catalog of recordings available on the site and to meet with music publishers to open additional sales territories.
The opusChoral site www.opuschoral.com is now open The entire catalog of five hundred albums is available for sale in France, Luxemburg, Cuba and Canada; all recordings in the public domain are available world-wide. A huge negotiation effort is still underway with numerous rights-holders in order to obtain access to the largest number of available catalogs possible, in the greatest number of sales territories, as rapidly as possible. OpusChoral has already signed with German, American, English, Belgian, French and Dutch labels. Recordings of Japanese, Tibetan, European and American choirs are available on OpusChoral. A search engine with multiple functionalities (search by country, music genre, type of choir, composer, artist) permits rapid access to the OpusChoral catalog. Also available are recent articles on choral music recordings, short texts highlighting various parts of the catalog, and an admittedly subjective “Favorites” section, all there to help Internetusers navigate through the catalog. Once a recording has been found, a description and the cover of the CD are displayed, as well as a brief description and the possibility of hearing a short excerpt of each track (limited to 30 seconds for legal reasons). After adding the desired recordings to their
shopping cart, the user must register, if they have not already done so. The purchase can be completed within the PayPal secure payment system, using a purchasing card, credit card, PayPal account or other method, depending on the country. The OpusChoral site is making every effort to remain entirely legal, no easy task given the quantity and complexity of the texts and constantly evolving situations in each territory. We retain the right to modify the appearance or content of the site at any time in order to comply with all applicable laws. Recordings downloaded from the OpusChoral are completely legal, and we intend to remunerate their copyright-holders fairly.
Future developments Future improvements will not necessarily be visible to the public, for example, in the area of reports to publishers, labels and copyright-holders designed to ensure a completely transparent relationship between these entities and OpusChoral. Additional priorities include adding new catalogs and making the entire OpusChoral catalog available in new territories. OpusChoral: www.opuschoral.com Translated from the French by Anita Shaperd, USA
ICB Collector’s Corner
Repertoire Choral Collections: Celebrating 500 Years: A 'sound' investment Dr. MarianIsaacâ&#x20AC;&#x2122;s DolanChoralis Constantinus Heinrich James D. Feiszli
If you would like to write an article and submit it for possible publication in this section Please contact Marian Dolan, Editor Email: email@example.com
Choral Collections: A 'sound' investment Dr. Marian Dolan Choral Conductor
Collections. A good investment. Whether your choir is in Argentina, Romania, Indonesia or Canada, buying scores is a true investment in today's globally tight economy. Many directors look to choral collections as a smart way to buy a set of scores – as one book – for less money than purchasing individual scores. So here are a few recommendations. Let's Get Singing (ISBN 978-3-76492439-3; Gustav Bosse Verlag/Bärenreiter) is a global choral collection of 100+ SATB scores from 35 countries and almost as many languages, edited by 4 German choral music educators. About 50 scores are folksongs, half from Europe and half from other countries including Haïti, Bolivia, Kenya, Congo, Madagascar, Macedonia, Mexico, Samoa, Serbia, Slovenia, South Africa, Tanzania, Jamaica and the Ukraine. The other 50+ scores are equally divided into secular, sacred and Christmas. Many of the original non-German texts also have a singable German translation underlay, but this practice is not consistent throughout the collection. Some scores are original arrangements from the culture of origin ("Haïti Chérie" by Electo Silva; "Três Cantos Nativos" by Marcos Leite; "Pusi Nofo" by Chris Marshall); the editors themselves arranged the other international songs. Most of the works are a cappella. A few scores contain chord symbols but unfortunately no explanation for the instrumentation. Most pieces are brief in duration and musically accessible to an ensemble from another culture or language group. The book has a strong paper cover, is well engraved and reads very clearly, including numbers on all measures. Translations of texts are usually given in both German and English. No performance recording exists, however an audio-CD "with 99 tracks and lyrics of every non-English song" is available. The pronunciation tracks are also freely accessible online (http://bit.ly/4J6aLV). These
pronunciation tracks, while a nice idea, needed editing. Some are spoken much too rapidly or in rhythms not from the score; others are intoned or quasi-chanted rather than clearly and slowly spoken with care to diphthongs and unusual consonants. Puzzling why the English texts are omitted from these audio recordings. Still, this is one of the most 'global' single-volume choral collections published today. If you are looking for a comprehensive, accessible, global compilation then this volume may be a good start. Collections of scores from a specific country or region may be published for use in that area, or, on the other hand, may be published for international choirs wishing to explore that region's repertoire. For example, from Finland and publisher SULASOL come two collections, one targeted mainly to Finnish choirs and one to international ensembles. SULASOL publishes three volumes of a cappella mixed choir scores in a series called Sekakuorolauluja, meaning 'songs for mixed choirs,' for use mainly by Finnish ensembles. Since all of the information is only in Finnish, there is no need for a pronunciation guide! But given the breadth, depth and accessibility of these scores, one would love to have available an English translation of the information notes along with a copy of SULASOL's excellent "How to Sing in Finnish" guide. Volume 3, for example, contains 78 works, half of which are by Finnish composers both historic and living including Chydenius, Johansson, Kekkonen, Kortekangas, Kostiainen, Kuula, Makaroff, Mäntyjärvi, Rautavaara, Sibelius. International composers include Bárdos (Dana-dana), Čopi ("Pie Jesu"), Erb ("Shenandoah"), Kreek ("Õnnis on inimine"), Sisask ("Oremus") as well as 16th-17thC Latin motets. The engraving is clean and very readable.
Is it Spring in Finland? is SULASOL's new collection of 14 Finnish National Romantic scores edited brilliantly by composer Jaakko Mäntyjärvi. Again, all of the scores are a cappella in various mixed choir voicings. Jaakko's contextual, cultural and biographical notes (in English) open wide the door to non-Finns in understanding this important and beautiful era of Finnish choral music. He provides very clear pronunciation guides for both Finnish and Swedish texts. Composers include Sibelius (4 scores), Palmgren (3), Kuula (3), Madetoja (3) and Sallinen (1). Since he is also trained as a professional translator, Jaakko provides singable English translations in addition to the score's original Finnish or Swedish texts. My only critique is that the size of the music/text is a bit smaller than in most scores. That aside, if you want to begin exploring Finnish choral music with your singers, this collection is an excellent place to start. Norwegian conductor Kåre Hanken has collected and edited a stunning anthology, Norwegian Choral Music 1905-2005 (ISBN 82-7093-532-8; Norsk Musikforlag). This hardcover A4 volume is a conductor's collection of 45 scores for mixed voices that the editor hopes "will seed a curiosity to delve deep into the choral repertoire from an exciting and rich period." Because the individual scores are available, this volume is meant as a reference for a conductor rather than a book for individual singers. A full list of the composers and scores is here (http://bit.ly/5JI28F). Part 1 / 1905-1955 includes Grieg, Valen, Sandvold, Solberg and others. Part 2 / 1955-2005 includes Hovland, Nystedt, Kverno, Sommerro, Gjeilo and others. Part 3 / Folksongs includes settings by Sløgedal, Sæverud, Alnæs, Kruse, Egge and Nystedt. All of the scores are a cappella, with much divisi writing. Scores are of moderate to challenging difficulty. The conductor with
Repertoire ...Choral Collections: A ‘sound’ investment
an experienced ensemble will find much choral gold here. Two CD recordings by six top Norwegian choirs are included. Composers' biographies and other information are in both Norwegian and English. The engraving varies from score to score because these are facsimiles of existing print editions, all of which can be ordered individually for the choir. Are you interested in exploring the exciting, rhythmic and very diverse Latin American choral repertoire with your mixed voice choir? Then the following collections are excellent, accessible starting points. The renowned choral maestra María Guinand is your guide via Makumbebé: Latin American Choral Repertoire (Carus Verlag 2.302), vol 1 of the Carmina mundi series. This allfolksong collection includes 12 mixed voice a cappella works from Argentina, Brazil, Chile, Colombia, Ecuador, Peru, Uruguay and Venezuela. A full list of scores/composers is available on the Carus website (http://bit.ly/5J6o3d). María's experience as editor of Earthsongs' respected Latin American scores is also reflected in the editing of this collection: commentary information, English translations of texts, excellent guidelines for percussion and guitar accompaniments, composers' biographies, and a brief pronunciation guide. Esteemed Argentinian conductor/composer/musicologist Néstor Zadoff edited Polyphonies latino-américaines, two collections of Latin American mixed voice a cappella scores for Editions a Cœur Joie. Scores in both volumes are from Argenina, Colombia, Bolivia, Peru, Venezuela and Uruguay. Vol 1 contains ten works ranging from transcriptions of the historic 17c "Hanac Pachap" and "Ecce vidimus eum" to the Venezuelan joropo "La Puerca" and the choral arrangement of Piazzolla's classic tango "Adios Nonino." Vol 2's nine scores include two 18c sacred
motets, Favero's passionate "Te Quiero", Cuban classic "Guantanamera", and the exhuberant candombe "Ronda Catonga" from Uruguay. Basic information about the scores, as well as translations, appears in both French and Spanish. One only wishes that both the Carus and Cœur Joie collections had cd's or mp3's of authentic performances of this wonderful repertoire as aural 'road maps' for non-Latino singers and conductors. In the past few years, Oxford has published a number of choral collections including those compiled and edited by composer-conductor, Bob Chilcott. The 5 Songs for Upper Voices (ISBN 978-0-19335920-8) is a set of scores commissioned for various treble/youth choir festivals. Texts are in English, voicing is unison and two parts with piano, and the level is very accessible. Native American Joy Harjo's "Eagle Poem" is used in the reflective "Circles of Motion." Kit Wright's "Red Boots On" gets a funky-jazzy setting from Chilcott, and the reflective "All Things Pass" uses a beautiful 6c text by Lau-Tzu. Do you work with youth choirs and search high-and-low for SAB scores? Then take a look at Oxford's SongStream collections, compiled and edited by Bob Chilcott and Peter Hunt. Each volume's website contains pdf score samples (http://bit.ly/8Zzqxf and http://bit.ly/5nMACu) of some of the 10 scores, in SAB voicing, usually with piano, with texts that relate well to young people. Vol 1's array of styles includes "Aka-Tonbo" by Kousaku Yamada, an energetic setting of the spiritual "Swing Low, Sweet Chariot", and the rumba-styled energetic "Shake the Bottle" complete with cowbells, congas and tom-toms. Vol 2, An American Journey, includes Canadian composers (Eleanor Daley's "Erosion" and Mark Sirett's arrangement of the traditional Québecois song "Les Raftsmen"), the Mexican lullaby
"Señora Santa Ana", Alberto Grau's arrangement of the traditional Venezuelan song "El Gavilán," various U.S. folksongs and Ysaye Barnwell's very emotive score "Wanting Memories" which she wrote for the famed African-American women's ensemble Sweet Honey in the Rock. Let's hope Oxford continues this much-needed SAB series with an even broader range of international repertoire. The PraiSing sacred choral collections by Bärenreiter (www.baerenreiter.com) include four volumes to date: Bulgaria, Israel, Russia and Sweden. Each volume, edited by a native, contains 8 to 12 original sacred works by composers from that country. Again, all scores are for a cappella mixed voices and are of moderate accessibility. Some scores have keyboard reductions. There are no pronunciation guides or recordings, and only a very minimal comment about the composer or score is given. Some scores have a singable English translation under the original text. Do you know of other choral collections that could be highlighted in this column? Then please send me an email with your recommendations. Until then, have a wonderful time exploring music from our global choral family! Marian E. Dolan is founding Artistic Director of The Choir Project based in Naples, Florida (USA), has edited international choral scores for four publishers, and was IFCM’s chairperson for Voices Conferences in South Africa and the Baltics. She holds MM, MMA and DMA degrees in choral conducting from Yale University and was on the faculty of Emory University (Atlanta). She also leads honor choirs, workshops, and repertoire sessions both in the U.S. and abroad, and has commissioned over 35 new choral scores. E-mail: firstname.lastname@example.org
Events Compiled by Nadine Robin
I. Conferences, Workshops & Masterclasses II. Festivals & Competitions
We are pleased to provide these lists of international festivals, competitions, conferences, workshops and master classes to our members. They are based on the best information available to us. However, we advise you to check the specific details with the organizers of the individual event that you may be interested in attending. IFCM does NOT specifically recommend any of the events listed. However, we encourage you to check with the ‘Choral Festival Network’ (www.choralfestivalnetwork.org) whose members have signed the IFCM “Total Quality Charter”, which is an agreement to follow the minimum requirements of quality, transparency and fairness for choral festivals. Please submit event information for publication to: ICCM - IFCM Attn. Nadine Robin 2 Avenue Jean 1er 5000 Namur, Belgium Email: email@example.com
Conferences, Workshops & Masterclasses
Taipei Bach Festival, Taipei, Taiwan, 6-14 Mar 2010. Repertoire: St. John Passion, BWV 245. Lecturer and conductor: Helmuth Rilling. Master Class Director: Thomas Davies. Discovery concerts and gala concert with the Taipei Philharmonic Chorus and the Evergreen Symphony Orchestra. Contact: Taipei Bach Festival Master Class, Tel: +886-2-27733691, Fax: +886-2-27733692, Email: firstname.lastname@example.org - Website: www.tpf.org.tw/bachfestival Buitrago Easter Music Week, Buitrago del Lozoya, Madrid, Spain, 28 March-2 April 2010. Centred on one of the great works of late Renaissance music: The Requiem Mass for six voices by Tomás Luis de Victoria. With Carlos Fernández Aransay. Contact: Lacock Courses, Andrew van der Beek, Tel: +44-1249-730468, Email: email@example.com Website: www.lacock.org Masterclass for Choral Conducting with María Guinand & Frieder Bernius, Hanover, Germany, 2024 May 2010. Repertoire: South and North American Choir Music with Mrs. Guinand (Venezuela) and Motetten by J.S. Bach, the Bach family and Homilius with Frieder Bernius (Germany). Choir in residence: Junges Vokalensemble Hanover, cond. Klaus-Jürgen Etzold. Contact: Arbeitskreis Musik in der Jugend AMJ, Tel: +49-5331-46016, Fax: +49-5331-43723, Email: AMJMusikinderJugend@t-online.de Website: www.amj-musik.de Music at Monteconero, Ancona, Italy, 13-19 June 2010. A week of early music with Eamonn Dougan, for competent choral singers, in a former Camaldolite abbey on the Adriatic near Ancona. The general aim is to assemble a chamber-scale choir capable of performing demanding music to a high standard, in a relaxed and convivial setting. Contact: Lacock Courses, Andrew van der Beek, Tel: +44-1249-730468, Email: firstname.lastname@example.org Website: www.lacock.org English Weekend, Amsterdam, Netherlands, 26-27 June 2010. Choral evensong in Amsterdam's famous Oude Kerk. Contact: Andrew van der Beek, Tel: +44-1249-730468, Email: email@example.com Website: www.lacock.org
Nordic Choir and Cultural Festival, Århus, Denmark, 29 June-4 July 2010. Masterclass with Frieder Bernius (Stuttgart), choirs in residence: the Danish National Radio Ensemble and the Vocalgroup Concert Clemens. International Study Tour with Grete Pedersen (NO), Morten Schuldt-Jensen (DK/DE), Jens Johansen (DK) and others. Concerts with the Danish National Radio Choir and Trio Medieval (Norway). Apply before: 1 March. Contact: DAM (Danish Amateur Music), Email: firstname.lastname@example.org Website: www.nkkf.dk Masterclass for Choir Conductors, Varese, Italy, 3-7 July 2010. Lecturer: Johannes Prinz, with the participation of the Varese Chamber Choir. Focus on Romantic and Contemporary Music. Contact: Gabriele Conti, , Fax: +39-0332-255038, Email: email@example.com - Website: www.comune.varese.it/liceomusicale
Corsham Consort Workshop, Corsham, Wiltshire, United Kingdom, 1-6 August 2010. A week of oneto-a-part consort singing in Corsham (near Lacock in Wiltshire) with JanJoost van Elburg. Contact: Andrew van der Beek, Tel: +44-1249-730468, Email: firstname.lastname@example.org - Website: www.lacock.org Rimini International Choral Workshop, Italy, 22-29 Aug 2010. For advanced choristers and conductors. With Peter Phillips (Tallis Scholars), Ghislaine Morgan and Andrea Angelini. Repertory focused on Renaissance Sacred Music. Final concert and diploma. Individual vocal tuition. Contact: Musica Ficta, Tel: +39-347-2573878, Email: email@example.com Website: www.musicaficta.org English Weekend, Dordrecht, Netherlands, 4-5 Sep 2010. Choral evensong in Dordrecht's historic Grote Kerk. Contact: Andrew van der Beek, Tel: +44-1249-730468, Email: firstname.lastname@example.org Website: www.lacock.org
Oxford Early Music Workshop, United Kingdom, 49 July 2010. A workshop week on early Tudor performance practice led by Andrew Parrott. The music will include the Mass Videte miraculum by Nicholas Ludford. Contact: Andrew van der Beek, Tel: +44-1249-730468, Email: email@example.com Website: www.lacock.org
Singing in Venice, Italy, 10-15 Oct 2010. A week of Venetian music directed by Erik van Nevel. The course will be held in the Centro Culturale Don Orione Artigianelli. Contact: Andrew van der Beek, Tel: +44-1249-730468, Email: firstname.lastname@example.org Website: www.lacock.org
Choral Conducting and Vocal Group Technique, Freiburg, Germany, 28 July-7 Aug 2010. With Volker Hempfling, Sabine Horstmann, Welfhard Luaber, Michael Reif and Maria Tönnesmann. Apply before: 15th April 2010. Contact: Arbeitskreis Musik in der Jugend, Tel: +49-5331-46016, Fax: +49-533143723, Email: AMJMusikinderJugend@t-online.de Website: www.amj-musik.de
Management in International Choral Events, SaintLô, France, 26 Oct-2 Nov 2010. Study Tour for young choral managers and every person interested in choral management at an international level. In collaboration with Europa Cantat. Apply before 28 Feb. Contact: Polyfollia, Tel: +33-2-31736919, Email: email@example.com - Website: www.polyfollia.org
Sarteano Chamber Choral Conducting Workshop, Sarteano, Italy, 31 July-7 Aug 2010. For full conductors, conducting auditors and singers. Vocal pedagogy ensemble work with Bronislawa Falinska utilizing the Rohmert method of functional voicetraining, and clinics on developing a vital chamber choir with Brian O'Connell. Contact: Sarteano Chamber Choral Conducting Workshop, Tel: +1-781-6520158, Email: firstname.lastname@example.org Website: www.sarteanochoralworkshop.com
Hay-On-Wye Winter School, United Kingdom, 28 Dec-2 Jan 2010. A week of music-making for choral singers with Paul Spicer. The music will be a mixture of renaissance settings of Christmas texts and Bruckner, Howells and two of James Macmillan's Strathclyde motets. Contact: Andrew van der Beek, Tel: +44-1249-730468, Email: email@example.com Website: www.lacock.org 9th World Symposium on Choral Music, Puerto Madryn, Patagonia, Argentina, 3-10 Aug 2011. Organized by the CIC Foundation in cooperation with ADICORA. Motto: "Singing in Nature". Contact: , Tel: +54-2965-439232, Email: firstname.lastname@example.org - Website: www.wscm9.com
Festivals & Competitions
1st Spring Festival Cantus Salisburgensis 2010, Salzburg, Austria, 18-22 Mar 2010. Compulsory Pieces: Carl Orff - excerpts from Carmina Burana, Johann Sebastian Bach - choir pieces for Passion Sunday. Contact: Cultours Carl Pfliegler, Tel: +43-662-821310, Fax: +43-662-82131040, Email: email@example.com - Website: www.cultours-europe.com or www.cantussalisburgensis.at
4th Children Festival Vox Pueri, Cascais, Portugal, 29 Mar-1 Apr 2010. International singing week for children with guest conductors: Manuel Coley (Fr) & Myguel Santos e Castro (Pt). Non-competitive festival for all kinds of children´s choirs with many concerts and common singing. Contact: Vox Laci, Myguel Santos e Castro, Tel: +351-938407985, Email: firstname.lastname@example.org Website: www.voxlaci.com
6th Palm Sunday Concerts, Portugal, 21-28 Mar 2010. Guest Conductor: David McConnell (USA). No participation fee. Join this International sacred choir for a week and perform 5 concerts. Stay in private homes of choir singers. Meals will not be organized. Maximum 30 singers with singing experience. A wonderful and emotional experience! Contact: Vox Laci, Myguel Santos e Castro, Tel: +351-938407985, Email: email@example.com - Website: www.voxlaci.com
Days of International Choir Music, Verona, Italy, 7-11 Apr 2010. Concerts and friendships. Contact: Music Contact International, , Fax: +1802-8622251, Email: firstname.lastname@example.org Website: www.music-contact.com
Young Prague 2010, Prague, Czech Republic, 2428 Mar 2010. International Festival for Young Musicians. Contact: Music Contact International, Tel: +1-800-6240166, Fax: +1-802-8622251, Email: email@example.com Website: www.music-contact.com Choral Exchange New York City, USA, 25-28 March 2010. Contact: Music Contact International, Tel: +1-800-6240166, Fax: +1-8028622251, Email: firstname.lastname@example.org Website: www.music-contact.com 11th Concorso Corale Internazionale, Riva del Garda, Italy, 28 Mar-1 Apr 2010. Competition in different categories and difficulties. Contact: Interkultur e.V., Tel: +49-6403-956525, Fax: +49-6403-956529, Email: email@example.com Website: www.interkultur.com
International Choral Festival Asturias Joven, Avilés, Spain, 8-17 Apr 2010. Open to all children and youth groups from all over the world. Contact: Cultural Association Avilés Joven, Tel: +34-699-980 341, Email: firstname.lastname@example.org Website: www.festivalasturiasjoven.es Ars Choralis 2010, 1st International Artistic and Scientific Symposium on Choral Music, Zagreb, Croatia, 8-10 April 2010. Topic categories of lectures and workshops: choir/choral director, art of singing/vocal pedagogy, conducting/ interpretation, composition/analysis, vocal performance/vocal stylistics, science/voice and hearing, science/music, music pedagogy/ education, musica sacra, music media/technology, ... Call for papers: apply before 1 Feb 2010. Contact: Croatian Choral Directors Association, Branko Starc, Tel: +385-1-6198479, Fax: +385-16198468, Email: email@example.com Website: www.choralcroatia.com
5th International Leevi Madetoja Male Voice Choir Competition and Choral Weekend, Espoo, Finland, 16-18 Apr 2010. International choir competition for male voice choirs, gala concerts and possibility for additional performances. Apply before: 31 Oct 2009. Contact: Finnish Male Voice Choir Union, Sanna-Mari Hiekka, Tel: +358-108200236, Fax: +358-10-8200222, Email: firstname.lastname@example.org - Website: www.mieskuoro.fi/madetoja2010/en 2nd International Choral Competition for Children's Choirs "Il Garda in Coro", Malcesine sul Garda, Verona, Italy, 20-24 Apr 2010. Children must be born after 1 Jan 1992. Two categories: secular and sacred music. Contact: Associazione Il Garda In Coro, Renata Peroni, Tel: +39-045-6570332, Fax: +39-178-6017432, Email: email@example.com - Website: www.ilgardaincoro.it International Choir and Folksong Choir Festival, Bratislava, Slovak Republic, 22-25 Apr 2010. Competition, workshop, concerts in the Bratislava churches. Contact: Bratislava Choral Agency, Tel: +421-905-111827, Fax: +421-265-957054, Email: firstname.lastname@example.org - Website: www.choral-music.sk 4th International Choir and Folksong Choir Festival Slovakia Cantat 2010, Bratislava, Slovak Republic, 22-25 Apr 2010. For all categories. Contact: Bratislava Choral Agency, Tel: +421905-111827, Fax: +421-265-957054, Email: email@example.com - Website: www.choralmusic.sk Women in Song, Seattle, USA, 22-25 April 2010. Artistic Director: Morna Edmundson. Festival Director: Steve Stevens. Contact: ACFEA Tours Consultants, Rachel Flamm, Tel: +1-8006272141, Fax: +1-425-6728187, Email: firstname.lastname@example.org - Website: www.acfea.com
Charleston International Choral Festival, South Carolina, USA, 22-25 Apr 2010. Contact: Music Contact International, , Fax: +1-802-8622251, Email: email@example.com Website: www.music-contact.com Corhabana, Havana, Cuba, 23-27 Apr 2010. Performances throughout Havana in the vibrant Cuban culture. Contact: Music Contact International, , Fax: +1-802-8622251, Email: firstname.lastname@example.org Website: www.music-contact.com
16th Torrevieja Habaneras Contest for Children's and Youth Choirs, Torrevieja (Alicante), Spain, 23-25 Apr 2010. Competition developing new generations of singers. Contact: Manuel Martinez, Tel: +34-965-710702, Fax: +34-965-712570, Email: email@example.com Website: www.habaneras.org 56th Cork International Choral Festival, Ireland, 28 Apr-2 May 2010. Opportunity to compete in the prestigious Fleischmann International Trophy Competition. Open to any choir of international standing (except specifically children's choirs). Contact: Cork International Choral Festival, Tel: +353-21-4223535, Fax: 353-21-4223536, Email: firstname.lastname@example.org - Website: www.corkchoral.ie
8th Venezia in Musica, Choir Competition and Festival, Venice, Italy, 28 Apr-2 May 2010. For all kinds of choirs from all around the world. Contact: Interkultur Foundation, Tel: +49-6403956525, Fax: +49-6403-956529, Email: email@example.com Website: www.interkultur.com European Music Festival for Young People, 58th Vocal Festival, Neerpelt, Belgium, 30 Apr-3 May 2010. 7 categories, age limit 25 yrs. Contact: Europees Muziekfestival voor de Jeugd, Tel: +3211-662339, Fax: +32-11-665048, Email: firstname.lastname@example.org - Website: www.emj.be
Events ...Festivals & Competitions
1st Choral Competition Voci d'Europa International Prize, Porto Torres, Italy, 1 May 2010. For 8 amateur choirs, mixed, male or female choirs and choral groups made up by a maximum of 35 members and a minimum of 8. Contact: Festival Internazionale Voci d'Europa, Tel: +39-079-512 690, Fax: +39-079-512 690, Email: email@example.com Website: www.coroturritano.altervista.org 13th International Julio Villarroel Choir Festival, Isla de Margarita, Venezuela, 4-8 May 2010. Non competitive Festival. Concerts, workshops and conferences by famous conductors from Venezuela and abroad. Contact: The Julio Villarroel Foundation, Tel: +58-416-6955740, Fax: +58295-2625048, Email: firstname.lastname@example.org Website: www.festivaljuliovillarroel.com.ve International Choir Festival, Porec, Croatia, 6-9 May 2010. Contact: Adriatic Music Festivals, Tel: +385-52-452 456, Fax: +385-52-434 055, Email: email@example.com 6th America Cantat Festival, Juiz de Fora, Brazil, 7-17 May 2010. Renowned choirs of local and international prestige engaged in artistic and academic activities. Apply before 15 Dec 2009. Contact: Email: firstname.lastname@example.org Website: www.ufjf.br/americacantat 7th European Festival of Youth Choirs, Basel, Switzerland, 12-16 May 2010. Tri-annual festival for 18 selected youth and children’s choirs (agelimit 25) from European countries. No competition. Over 20 choral-concerts in churches, concert halls and open air in Basel and the surrounding region for more than 20’000 spectators. Workshop day for all participating choirs, open singing, party for the singers, one week workshop for music students in conducting children and youth choirs organized by Swiss music academies. Contact: Europäisches Jugendchor Festival Basel, Kathrin Renggli, Tel: +41-61-4012100, Fax: +41-61-4012104, Email: email@example.com - Website: www.ejcf.ch
Festival Musica Sacra in Venezia, Italy, 13-17 May 2010. For choirs and orchestras with sacred music repertoire. Contact: MusikReisenFaszination Chor- und Orchesterreisen, Email: firstname.lastname@example.org Website: www.lagodigarda-musicfestival.com 37th International Composition Competition "Guido d'Arezzo", Arezzo, Italy, 15 May 2010. Written choral composition for choir "a cappella" (mixed, male, female or vocal ensemble up to a max. of 16 voices) or choir with instruments (choir as above, and free-chosen instruments from 1 up to max. 4 instruments by choice). Contact: Competition secretariat, Tel: +39-0575-356203, Fax: +39-0575-324735, Email: email@example.com Website: www.polifonico.org 6th International Choir Festival Mundus Cantat Sopot 2009, Sopot, Poland, 19-23 May 2010. For choirs from all over the world. Exchange of cultural traditions, strengthening natural human bonds. Contact: Festival Office Mundus Cantat Sopot, Tel: +48-58-5558458, Fax: +48-585558442, Email: firstname.lastname@example.org Website: www.munduscantat.sopot.pl 5th International Sacred Music Festival, Bratislava, Slovak Republic, 20-23 May 2010. Competition, workshop, concerts in the Bratislava churches. Contact: Bratislava Choral Agency, Tel: +421-905-111827, Fax: +421-265-957054, Email: email@example.com - Website: www.choral-music.sk 4th International A CAPPELLA Contest, Leipzig, Germany, 20-22 May 2010. Open to young talented vocal groups (3 to 8 singers) of all nationalities (max. age of 28 yrs). All groups will compete in one category, with as well as without amplification. Apply before 15 Feb. Contact: International A CAPPELLA Contest Leipzig, Tel: +49-341-2192 186, Fax: +49-341-9107 5576, Email: firstname.lastname@example.org - Website: www.a-cappella-wettbewerb.de
Podium 2010 - Experience the Harmony, Saskatoon, SK, Canada, 20-23 May 2010. Contact: New Brunswick Choral Federation, Tel: +1-506-4533731, Fax: +1-506-4574880 Website: www.mta.ca Christmas Carol Competition 2010, Edinburgh, United Kingdom, 21 May 2010. Open to composers, both new and established, who will be invited to submit a carol of up to 4 minutes duration for performance by SATB choir. The jury will be composed by Bob Chilcott, James MacMillan and Simon Woods. Contact: Waverley Care, Tel: +44-131-556 9710 - Website: www.waverleycare.org 39th International Competition "Florilège Vocal de Tours", France, 28-30 May 2010. Limited to ensembles from 12 to 40 choristers. 3 Rounds: Qualification (a cappella) on Friday– Final Round (including one piece possibly with piano) on Saturday – Grand Prix (on Sunday). The absolute winner will be nominated for the 2010 European Grand Prix. 4 categories: mixed choirs, equal voices (male or female), mixed vocal ensembles, and free program / Prix spécial Renaissance / Prize for a first production work. Contact: Florilège Vocal de Tours, Tel: +33-2-47216526, Fax: +33-247216771, Email: email@example.com Website: www.florilegevocal.com 8th Malaysian Choral Eisteddfod 2010, Kuala Lumpur, Malaysia, 31 May-7 June 2010. International children's & youth choir competition & symposium. Contact: Interkultur Foundation e.V., Tel: +49-6403-956525, Fax: +49-6403-956529, Email: firstname.lastname@example.org Website: www.interkultur.com International Krakow Choir Festival, Krakow, Poland, 10-13 June 2010. For all amateur choirs: mixed & equal voices adult choirs, youth & children choirs, chamber choirs, Gospel, Negro Spirituals, Popular and Barbershop ensembles, sacred music. Contact: International Krakow Choir Festival, Tel: +48-22-641 6157, Fax: +4822-641 6157, Email: email@example.com - Website: www.krakowchoirfestival.pl
Kodály Zoltán" International children's Choir Festival, Komló, Hungary, 18-20 June 2010. For children's choirs (age 16 in 2009/2010). Categories: Polyphonic, folklore and spiritual music. Contact: Kodály Zoltán" International children's Choir Festival, Eva Horváth, secretary of the festival, Tel: +36-72-482196, Fax: +36-72-482196, Email: firstname.lastname@example.org Website: www.khszinhaz.hu 13th Pacific International Children's Choir Festival (PICCFEST), Eugene, Oregon, USA, 22-28 June 2010. Lynn Gackle guest conductor and Peter Robb artistic director. Non-competitive event. All participating choirs present 3 performances plus festival chorus performances at the Oregon Bach Festival and the PICCFEST Gala Concert. Space limited to 10 choirs. Applications now accepted for PICCFEST 2010 and PICCFEST 2011 (with guest conductor Bob Chilcott). Contact: Oregon Festival Choirs, Tel: +1-5414659600, Fax: +1-541-4654990, Email: email@example.com Website: www.piccfest.org
Events ...Festivals & Competitions
13th Alta Pusteria International Choir Festival, Alto Adige-Südtirol, Italy, 23-27 June 2010. Non-competitive festival in the heart of the Dolomites: concerts, open-air reviews, daymeetings. Contact: Alta Pusteria Festival Office, Tel: +39-06-33652422, Fax: +39-06-33652422, Email: firstname.lastname@example.org - Website: www.festivalpusteria.org Sing A Mile High Children's Choral Festival, Denver, CO, USA, 24-28 June 2010. Paul Caldwell, guest conductor and Jena Dickey, resident conductor. Non-competitive festival for Treble-voiced choirs. Each choir will participate in massed choir rehearsals and performance and individually in the finale concert at the Newman Center for the Performing Arts at the University of Denver. Contact: Young Voices of Colorado, Tel: +1-303-7977464, Fax: +1-303-7940784, Email: email@example.com - Website: www.youngvoices.org Rotonda con Esprit International Choir and Orchestra Festival, Eisenstadt and Vienna, Austria, 24-27 June 2010. Festival devoted to Joseph Haydn in the cultural and human vibrancy of the Austrian State of Burgenland. Contact: Cultours Carl Pfliegler, Tel: +43-662-821310, Fax: +43-662-821310-40, Email: firstname.lastname@example.org Website: www.cultours-europe.com International Choral Festival in Tuscany, Montecatini, Italy, 24-28 June 2010. For all kind of choirs. Contact: Musica Mundi Concert Tours, Tel: +1-650-949-1991, Fax: +1-650-949-1626, Email: email@example.com Website: www.musicamundi.com International Choir Festival "Cantemus", Zrenjanin, Serbia, 24-29 June 2010. Noncompetitive festival for choirs in all categories. Contact: International Music Center, Tel: +3812363-993, Fax: +381-2363-993, Email: firstname.lastname@example.org or email@example.com
11th Crescent City Choral Festival, New Orleans, USA, 25 June 2010. For treble chorus (age range between 10 & 18). Conductors: Cheryl Dupont and David Brunner. Contact: New Orleans Children's Chorus, Tel: +1-504-833 0575, Email: firstname.lastname@example.org - Website: wwwneworleanschildrenschorus.org
DreamVoices of Youth – International Choir Festival for Children and Youth, Skagafjordur, Iceland, 1-5 July 2010. For children from 10 to 15 and youth from 15 to 29. Contact: DreamVoices, Tel: +354-894 5254, Fax: +354-898 6364, Email: email@example.com Website: www.dreamvoices.is
6th International Cantus MM Festival of Sacred Music, Vienna, Austria, 25-28 June 2010. Performing festival in Vienna and surroundings. Contact: Chorus MM, Tel: +43-662-645972, Fax: +43-662-645972, Email: firstname.lastname@example.org Website: www.chorus2000.com
45th International Days of Choral Singing, Barcelona, Spain, 5-11 July 2010. Contact: Federació Catalana d'Entitats Corales, Tel: +34-93-2680668, Fax: +34-93-3197436, Email: email@example.com - Website: www.fcec.cat
International Children's Choir Festival, San Miguel de Allende, Mexico, 28 June-4 July 2010. Concerts, ensemble workshops with Henry Leck, excursions. Contact: Musica Mundi Concert Tours, Tel: +1-650-9491991, Fax: +1-6504723883, Email: firstname.lastname@example.org Website: www.musicamundi.com International Choir Festival of Preveza, International Competition of Sacred Music, Preveza, Greece, 1-4 July 2010. For mixed, equal voices', children's, chamber vocal ensembles, mixed youth choirs & choirs of Byzantine chant. Repertory must include a compulsory piece, a piece composed before 1800, a piece composed during 1800 - 1950, a piece composed after 1950 & a folk song from the choir's country of origin. Contact: Choral Society "Armonia" of Prevesa, Tel: +30-2682-024915, Fax: +30-2682-029852, Email: email@example.com Website: www.choralpreveza.gr 12th International Cantus MM Choir and Orchestra Festival, Salzburg, Austria, 1-4 July 2010. 10 selected choruses or orchestras of any age and composition (also dance groups). Performances in Salzburg and surroundings. Contact: Chorus MM, Tel: +43-662-874537, Fax: +43-662-874537-30, Email: firstname.lastname@example.org Website: www.chorus2000.com
Neuchâtel International Choral Festival, Switzerland, 6-10 July 2010. Choral competition open to amateur ensembles selected on a strict criteria by international jury members. Contact: Festival Choral International de Neuchâtel, Tel: +41-32-7302028, Fax: +41-32-7302028, Email: email@example.com - Website: www.fcin.ch International Choral Kathaumixw, Powell River, Canada, 6-10 July 2010. Join adult, youth and children's choirs from around the world in 20 concerts, competitions, common singing, seminars and social events on the shores of Canada's magnificent Pacific Coast. Guest artists & international jury. Apply before 1 Nov, 2010. Contact: Powell River Academy of Music, Tel: +1-604-4859633, Fax: +1-604-4852055, Email: firstname.lastname@example.org Website: www.kathaumixw.org International Youth Music Festival, Bratislava, Slovak Republic, 8-11 July 2010. Competition for children's and youth choirs, orchestras, and bands. Contact: Bratislava Choral Agency, Tel: +421905-111827, Fax: +421-265-957054, Email: email@example.com Website: www.choral-music.sk
Cantus Salisburgensis International Choir and Orchestra Summer Festival, Salzburg, Austria, 812 July 2010. Kaleidoscope of Nations and cultures interacting in the city of W.A. Mozart´s birth. Contact: Cultours Carl Pfliegler, Tel: +43662-821310, Fax: +43-662-82131040, Email: firstname.lastname@example.org - Website: www.cultours-europe.com or www.cantussalisburgensis.at
8th International Choral Festival Seghizzi, Gorizia, Italy, 12-19 July 2010. Every choir must present one or two concert programs (maximum duration: about 1 hour); for example: a program of sacred music only and/or a program of profane music only. Contact: Associazione Corale Goriziana "CA Seghizzi", Tel: +39-0481-530288, Fax: +39-0481-536739, Email: email@example.com Website: www.seghizzi.it
47th International Choral Competition Castle of Porcia, Spittal an der Drau, Austria, 8-11 July 2010. For mixed a cappella choirs (16-45 singers). Categories: Choral works, classical and modern, and folksong. Apply before: 31 Jan 2010. Contact: Kulturamt der Stadt Spittal an der Drau, Tel: +434762-5650223, Fax: +43-4762-3237, Email: firstname.lastname@example.org - Website: www.singkreis-porcia.com
Pacific Rim Children's Chorus Festival, Honolulu, Hawaii, 13-21 July 2010. 9-day residential program designed to provide treble choirs an opportunity to experience the cultures of the Pacific Rim through their choral music repertoire in an interactive, non-competitive environment. Contact: Pacific Rim Music Resources, Wanda Gereben, Tel: +1-8085950233, Fax: +1-808-5955129, Email: info@PacRimFestival.org Website: www.PacRimFestival.org
Orientale Concentus III, Yilan, Taiwan, 9-13 July 2010. Competition for mixed, equal voices, children’s, folklore and chamber choirs. Organised by the Singapore Federation of Choral Music and Ace99 Cultural Pte Ltd. Artistic Director: Nelson Kwei. Contact: ACE 99 Cultural Pte Ltd., Ryan Goh, Tel: +65-9663-1325 or +65-9295-0777, Fax: +65-6449-6566, Email: email@example.com - Website: www.ace99.com.sg 39th International Festival & Competition "Youth & Music in Vienna", Vienna, Austria, 1013 July 2010. For youth choirs, bands and orchestras! The Festival program includes band parades through the Inner City of Vienna, mass concerts on St. Stephen’s Square, individual concerts for all participating music ensembles in Vienna and surrounding, (Upper age limit: 29 years). Contact: Association for International Cultural Exchange, Michael Haring, Tel: +43-664-1800905, Fax: +43-1-3175460, Email: firstname.lastname@example.org Website: www.austrianfestivals.at
28th International Music Festival, Cantonigròs, Spain, 15-18 July 2010. Competition and exhibition of music for mixed choir, female voices, children’s choir and popular dances. Contact: Anna Jover & Joana Gonzal - FIMC 2010, Tel: +34-93-2326444, Fax: +34-93-2463603, Email: email@example.com - Website: www.fimc.es Rhapsody! Children’s Music Festival, Prague, Czech Republic & Vienna & Salzburg, Austria, 15-26 July 2010. With guest conductor Ms. Janet Galván. Participating choirs will perform at famous venues in three of Europe's most musical and historical cities: Vienna, Salzburg, and Prague, highlighted by the Grand Final Concert. Choirs will enjoy a workshop, musical exchanges and sightseeing tours. Contact: Zhongjie Shi, Classical Movements, Inc., Tel: +1-703-6836040, Fax: +1-703-6836045, Email: ZS@ClassicalMovements.com Website: www.ClassicalMovements.com
6th World Choir Games, Shaoxing, China, 15-26 July 2010. For all kinds of choirs from all around the world. Contact: Interkultur Foundation, Tel: +49-6403-956525, Fax: +49-6403-956529, Email: firstname.lastname@example.org Website: www.interkultur.com 49th International Competition of Choral Singing Seghizzi, Gorizia, Italy, 16-18 July 2010. For choirs or musical groups. Categories: Renaissance, Baroque, 19th Century, 1900 to the present day, folk and traditional songs or spirituals and gospels, pop and jazz music, contemporary music. 22nd Grand Prix Seghizzi 2010 - 3rd Trophy of the Nations special Categories. Contact: Associazione Corale Goriziana "CA Seghizzi", Tel: +39-0481-530288, Fax: +39-0481-536739, Email: email@example.com - Website: www.seghizzi.it Melodia! South American Music Festival, Buenos Aires, Argentina & Rio de Janeiro, Brazil, 21 July-2 Aug 2010. Guest conductor: Doreen Rao. Accepting applications from youth and children's choirs (treble and mixed voices), as well as youth orchestras. Outstanding artistic experiences are combined with once-in-a-lifetime cultural and outreach opportunities. Contact: Alessandra D’Ovidio, Classical Movements, Inc., Tel: +1-7036836040, Fax: +1-703-6836045, Email: Alessandra@ClassicalMovements.com - Website: www.ClassicalMovements.com 26th Takarazuka International Chamber Chorus Contest, Takarazuka City, Hyogo, Japan, 23-26 July 2010. For choirs with a minimum of 8 and maximum of 20 singers, excluding conductor and accompanists. Four categories: Renaissance, Romantic era, Folklore and Theater pieces. No compulsory pieces. Contact: Takarazuka International Chamber Chorus Contest Committee - Takarazuka Foundation for Culture Promotion, Tel: +81-797-858844, Fax: +81-797858873, Email: firstname.lastname@example.org
Events ...Festivals & Competitions
56th International Choral Contest of Habaneras and Polyphony, Torrevieja (Alicante), Spain, 2330 July 2010. Outdoors habaneras, polyphony in the auditorium "Eras de la Sal" on the Mediterranean Sea coast. Apply before: 15 Feb 2010. Contact: Certamen Int'l de Habaneras de Torrevieja, Tel: +34-965-710702, Fax: +34-965712570, Email: email@example.com Website: www.habaneras.org World Vision 2010 International Children’s Choir Festival, Seoul, South Korea, 24-30 July 2010. From traditional and classical to contemporary music festival. Artistic Director: Hee-Churl Kim. Contact: World Vision Korea Children's Choir, Tel: +82-2-2662 1803, Fax: +82-2-2661 2568, Email: firstname.lastname@example.org Website: www.wvchoirfestival.or.kr Taipei International Choral Festival, Taipei, Taiwan, 25 July-1 Aug 2010. 6 to 8 invited choirs from around the world, 20 local choirs from Taiwan, world renowned choral conductors and scholars. Workshops for choral singers, masterclass for conductors, lectures and session on choral music, sight-seeing tours. Contact: Taipei Philharmonic Foundation, Tel: +886-227733961, Fax: +886-2-27733692, Email: email@example.com - Website: www.tpf.org.tw 10th China International Chorus Festival, Beijing, China, 28 July-2 Aug 2010. Competition, concerts, workshops, cultural exchange programs on the theme "Forver Friends". For all kind of choirs. Contact: China International Chorus Festival, Tel: +86-10-8403 8225, Fax: +86-10-8403 8226, Email: firstname.lastname@example.org - Website: http://en.cicfbj.cn/
IHLOMBE South African Choral Festival, Cape Town, Pretoria, Johannesburg & Game Park, South Africa, 28 July-9 Aug 2010. In association with CHORISA, the Choral Institute of South Africa. Opportunity for 6 choirs, on each from Asia, Africa, Europe, South Pacific, South America, and Central/North America, to receive a 10 nights' hosted festival package. Festival including 24 choral directors, 16 workshops, 12 concerts, 1000 participants, and 2 new commissions each year. Contact: Jayci Thomas, Classical Movements, Inc., Tel: +1-800-8820025, Email: jayci@ClassicalMovements.com - Website: www.ClassicalMovements.com 24th Béla Bartók International Choir Competition and Folklore Festival, Debrecen, Hungary, 28 July-1 Aug 2010. The only competition in contemporary choral music for five categories. The winner of the Grand Prize will be invited to the Competition for "The Grand Prix for European Choral Music" held every year alternately in Arezzo, Debrecen, Maribor, Tolosa, Tours and Varna. Folklore festival, world-premiers, church concerts, master classes and social meetings. Contact: Fonix Events Organizer NPO, Tel: +36-52-518400, Fax: +36-52-518404, Email: email@example.com - Website: www.bbcc.hu 8th International Choral Festival and 6th Competition - The Singing World, St. Petersburg, Russia, 30 July-4 Aug 2010. For choirs and vocal ensembles of various styles, levels and origins from all over the world. Event promoting long-term contacts among choirs. Contact: International Choral Festival and Competition, Tel: +7-812-3283921, Fax: +7-8123283921, Email: firstname.lastname@example.org or Singingworld@mail.ru - Website: www.interfestplus.ru or www.singingworld.spb.ru
20th Choralies of Vaison-la-Romaine, France, 210 Aug 2010. Large non-competitive choir meeting in the beautiful Roman town of Vaison. 40 workshops for singers, 2 workshops for conductors, 100 concerts and all kinds of activities for participants and conductors. International study tours for choral managers during the festival. Contact: A Coeur Joie France, Tel: +33-472198340, Fax: +33-4-78434398, Email: email@example.com - Website: www.choralies.fr 1st Choir Competition Heart of Europe, Gelnhausen, Germany, 12-15 Aug 2010. 4 categories, international jury, meeting and gala concerts, choir parties, workshops, awards. Please apply before: 31 Dec. Contact: 1st Heart of Europe Choir Competition, Organization Committee, Rapahel Trageser, Tel: +49-174-279 3686, Email: firstname.lastname@example.org - Website: www.heartofeurope.de Pécs Cantat 2010, Pécs, Hungary, 15-22 Aug 2010. For choirs and individual singers. 6 int'l workshops with focus on the Hungarian composers: Kodály, Bartók and more. Possible individual concerts for choirs, final workshop concerts, daily open singing. Contact: Pécs Cultural Centre, Tel: +36-72-510 655 - Website: www.pecscantat.hu 22nd Zimriya World Assembly of Choirs, Mount Scopus, Jerusalem, Israel, 16-24 Aug 2010. Open singing, choir to choir sessions, concerts. Workshops: Aharon Harlap (Israel): Jewish and Israeli Music; Michael Gohl (Switzerland): Songs of all Nations; Fred Sjöberg (Sweden): Romantic Music; Anton Armstrong (USA): Afro-American Spirituals; Theodora Pavlovitch (Bulgaria): Rhythms from the Balkans to the Jazz; Stanley Sperber (Israel): Mendelssohn - Psalm 42; Volker Hempfling (Germany): Mozart - Mass in C minor. Contact: ZIMRIYA, Tel: +972-3-6041808, Fax: +972-3-6041688, Email: email@example.com Website: www.zimriya.org.il
Events ...Festivals & Competitions
6th International Choral Festival Mario Baeza, Valparaíso, V Región, Chile, 19-22 Aug 2010. Non competitive Festival for choirs in all categories. Apply before 31 March. Contact: Waldo Aránguiz-Thompson, Tel: +56-2-6627689, Fax: +56-9-4917519, Email: firstname.lastname@example.org or email@example.com 8th International Youth Chamber Choir Meeting, Usedom Island (Baltic Sea), Germany, 20-29 Aug 2010. Girls' and youth choirs, max 35 persons (incl. staff ). Age: 16-26. 3 Ateliers, concerts in churches and open air. Time to get to know each other on the beautiful island of Usedom. Contact: Arbeitskreis Musik in der Jugend AMJ, Tel: +49-5331-46017, Fax: +495331-43723, Email: firstname.lastname@example.org Website: www.amj-musik.de Pannonia Cantat Youth Choir Festival 2010, Kaposvar (Lake Balaton), Hungary, 23-28 Aug 2010. For children (age 8-12), youth female (age 15-21), boy (age 8-21) and youth mixed (age 1521) choirs. Contact: Pannonia Cantat Youth Choir Festival, Tel: +36-20-284 0480, Fax: +36-1-577 2387, Email: email@example.com Website: www.youthchoirfestival.org Bohemia Cantat, Liberec, Czech Republic, 26-29 Aug 2010. Non-competitive festival for individual singers or choirs. 6 workshops on various music styles (Czech choir composition, jazz, spirituals, madrigals, folklore songs, overtone singing, etc). Contact: Bohemia Cantat Liberec, Tel: +420-322507168, Email: firstname.lastname@example.org Website: www.bohemiacantat.cz 58th "Guido d'Arezzo" International Polyphonic Competition, Arezzo, Italy, 15-19 Sep 2010. For amateur choral ensembles. Categories: Christian plainchant, polyphony, polyphony for children's voices, special competition, int'l choral festival of folksong. Contact: Competition secretariat, Tel: +39-0575-356203, Fax: +39-0575-324735, Email: email@example.com - Website: www.polifonico.org
International Choir Festival Tonen2000, Westland, Netherlands, 24-26 Sept 2010. Open to mixed choirs and ensembles up to 36 nonprofessional members, male and female ensembles up to 24 non-professional members (professional conductor preferred). Categories: sacred and secular music, Middle Age, Renaissance, Romatic, Modern. Contact: Tonen2000, Jos Vranken, Tel: +31-174-245520, Fax: +31-174-245520, Email: firstname.lastname@example.org - Website: www.tonen2000.nl Suwon International Competition & Festival 2009, Suwon, Rep. of Korea, 4-9 Oct 2010. For amateur mixed, male & female choirs of 20 or more singers (over age 18). Apply before 24 July. Contact: Suwon International Choral Competition & Festival, Tel: +82-31-236 5533, Fax: +82-31-236 5523, Email: email@example.com - Website: www.sicc2009.com Rimini International Choral Competition, Italy, 7-10 Oct 2010. Competition for equal voices, mixed, chamber, children, young, folk and Spiritual Choirs in the beautiful and ancient Town of Rimini. Possibility of a sing Mass in The Renaissance Cathedral. Contact: Rimini International Choral Competition, Tel: +39-3472573878, Email: firstname.lastname@example.org - Website: www.riminichoral.it Festival Magic Mozart Moments, Salzburg, Austria, 7-10 Oct 2010. Voices from all over the world and the Salzburg Cathedral Choir & Orchestra. Singers are required to have sung the performed piece before. Contact: Cultours Europe, Tel: +43-662-821310, Fax: +43-66282131040, Email: email@example.com - Website: www.cultours-europe.com International Choir Festival of Uruguay 2010, Montevideo, Uruguay, 8-17 Oct 2010. Concerts in different cities, gala concerts including symphonic pieces, workshops. Apply before 23 April. Contact: Infinito - Realizaciones Culturales , Tel: +598-2-9247798 or 9247943, Fax: +598-29246326, Email: firstname.lastname@example.org Website: www.infinitorc.com
4th Cantapueblo for Children Singing for Earth, Mendoza, Argentina, 12-16 Oct 2010. For children choirs from around the world. Exchange of cultural traditions through choral singing as a means to strengthen ties of brotherhood. Contact: CantaPueblo - La Fiesta Coral de América, Tel: +54-261-4295000, Fax: +54-261-4295000, Email: email@example.com - Website: www.cantapueblo.com.ar or www.coppla.org.ar Lago di Garda Music Festival, Italy, 14-18 Oct 2010. International festival of music for choirs and orchestras on Lake Garda. Contact: MusikReisenFaszination Chor- und Orchesterreisen, Email: firstname.lastname@example.org Website: www.lagodigarda-musicfestival.com International Choral Espoo Festival, Espoo, Finland, 20-24 Oct 2010. Work on new music with the composers; active participation of the audience. Artistic director: Club For Five (Finland). Contact: International ChoralEspoo, Tel: +358-50-385 1623, Fax: +358-9-81657500, Email: email@example.com - Website: www.kuoroespoo.fi International Festival of Choirs Cantus Angeli, Salerno, Italy, 20-24 Oct 2010. Friendly meeting between groups of various musical and territorial origins. Contact: International Festival of Choirs Cantus Angeli, Tel: +39-3494295308, Fax: +39089879917, Email: firstname.lastname@example.org Website: www.cantusangeli.com 6th International Robert Schumann Choir Competition, Zwickau, Germany, 20-24 Oct 2010. Competition in different categories and difficulties. Contact: Interkultur Foundation, Tel: +49-6403-956525, Fax: +49-6403-956529, Email: email@example.com - Website: www.interkultur.com
Dossier ...Festivals & Competitions
22nd Cantapueblo - La Fiesta Coral de América, Mendoza, Argentina, 2-22 Nov 2010. Great Latin American festival open to mixed choirs, equal voices, mixed youth choirs, chamber ensembles and other vocal groups. Contact: Cantapueblo Artistic Director: Alejandro Scarpetta, Tel: +54261-4295000, Fax: +54-261-4295000, Email: firstname.lastname@example.org - Website: www.mendoza.gov.ar or www.coppla.org.ar 3rd International Festival Interfolk in Russia, St. Petersburg, Russia, 11-16 Nov 2010. For folk groups, vocal and instrumental ensembles, choirs and dance groups of various styles, levels and origins from all over the world. Contact: International Choral Festival, Tel: +7-8123283921, Fax: +7-812-3283921, Email: email@example.com or firstname.lastname@example.org Website: www.interfestplus.ru
International Festival of Advent and Christmas Music, Bratislava, Slovak Republic, 2-5 Dec 2010. Competition, workshop, concerts in churches. Contact: Bratislava Choral Agency, Tel: +421-905-111827, Fax: +421-265-957054, Email: email@example.com - Website: www.choral-music.sk
9th Venezia in Musica, Choir Competition and Festival, Venice, Italy, 27 Apr-1 May 2011. For all kinds of choirs from all around the world. Contact: Interkultur Foundation, Tel: +49-6403956525, Fax: +49-6403-956529, Email: firstname.lastname@example.org - Website: www.interkultur.com
7th Palm Sunday Concerts, Portugal, 11-17 Apr 2011. Guest Conductor: Jean-Marie Puissant (France). No participation fee. Join this International sacred choir for a week and perform 5 concerts. Stay in private homes of choir singers. Meals will not be organized. Maximum 30 singers with singing experience. A wonderful and emotional experience! Contact: Vox Laci, Myguel Santos e Castro, Tel: +351-938407985, Email: email@example.com - Website: www.voxlaci.com
The American International Choral Festival Reno 2011, Nevada, USA, 4-8 May 2011. For all kinds of choirs from all around the world. Contact: Interkultur Foundation, Tel: +49-6403-956525, Fax: +49-6403-956529, Email: firstname.lastname@example.org - Website: www.interkultur.com
6th International Warsaw Choir Festival Varsovia Cantat, Warsaw, Poland, 12-14 Nov 2010. For all amateur choirs. Contact: Choral Society LIRA Varsovia Cantat, Tel: +48-22-641 6157, Fax: +4822-641 6157, Email: email@example.com or firstname.lastname@example.org - Website: www.varsoviacantat.pl
12th International Choir Festival, Tallinn, Estonia, 14-17 Apr 2011. Competition in Estonia concert hall and concerts in Tallinn churches and concert houses. Apply before: 4 Nov 2010. Contact: Eesti Kooriühing - Estonian Choral Society, Tel: +372-6-274451, Fax: +372-6274450, Email: email@example.com - Website: www.kooriyhing.ee
The American International Choral Festival St. Louis 2010, Missouri, USA, 17/21 Nov 2010. For all kinds of choirs from all around the world. Contact: Interkultur Foundation, Tel: +49-6403-956525, Fax: +49-6403-956529, Email: firstname.lastname@example.org - Website: www.interkultur.com
13th International Choir Competition, Budapest, Hungary, 17-21 Apr 2011. Competition in different categories and difficulties for all types of choirs. Contact: Förderverein Interkultur, Tel: +49-6403-956525, Fax: +496403-956529, Email: email@example.com Website: www.interkultur.com
27th International Franz Schubert Choir Competition, Vienna, Austria, 24-28 Nov 2010. For all kinds of choirs from all around the world. Contact: Interkultur Foundation, Tel: +49-6403956525, Fax: +49-6403-956529, Email: firstname.lastname@example.org - Website: www.interkultur.com
5th Children Festival Vox Pueri, Cascais, Portugal, 18-21 Apr 2011. Non-competitive festival for all kinds of children´s choirs with many concerts and common singing. Contact: Vox Laci, Myguel Santos e Castro, Tel: +351-938407985, Email: email@example.com - Website: www.voxlaci.com
3rd International Choral Competition Anton Bruckner, Linz, Austria, 1-5 June 2011. For all kinds of choirs from all around the world. Contact: Förderverein Interkultur, Tel: +49-6403956525, Fax: +49-6403-956529, Email: firstname.lastname@example.org - Website: www.interkultur.com Harmonie Festival 2011, LimburgLindenholzhausen, Germany, 2-6 June 2011. 14 different competitions for choirs and folk groups, concerts and folk performances with an audience of up to 4,000 people and the hospitality of a whole region. Contact: Harmonie Lindenholzhausen, Tel: +49-6431-732 68, Fax: +49-6431-97 66 47, Email: email@example.com - Website: www.harmonie-festival.de Sing A Mile High Children's Choral Festival, Denver, CO, USA, 23-27 June 2011. Rollo Dilworth, guest conductor. Non-competitive festival for Treble-voiced choirs. Each choir will participate in massed choir rehearsals and performance and individually in the finale concert at the Newman Center for the Performing Arts at the University of Denver. Contact: Young Voices of Colorado, Tel: +1-303-7977464, Fax: +1-3037940784, Email: firstname.lastname@example.org Website: www.singamilehigh.org
Dossier ...Festivals & Competitions
IHLOMBE South African Choral Festival, Cape Town, Pretoria, Johannesburg & Game Park, South Africa, 29 June-11 July 2011. In association with CHORISA, the Choral Institute of South Africa. Travel to Cape Town, Pretoria, Johannesburg & a Game Park. Concerts, individual and shared with top South African Choirs, Workshops, African drumming, dancing, and singing. Contact: Jayci Thomas, Classical Movements, Inc., Tel: +1-800-8820025, Email: jayci@ClassicalMovements.com - Website: www.ClassicalMovements.com
Songs of the World - Coastal Sound International Choral Festival, Vancouver, BC, Canada, 4-9 July 2011. Guest Conductors: Rollo Dilworth & Henry Leck. Imagine these 2 conductors leading your Children’s Choir/Boy Choir/Girl Choir or your SATB Youth Choir at the same festival featuring these voicings in separate repertoire, and also, exciting massed works. Contact: Coastal Sound International Choral Festival, Tel: +1-604469-5973, Fax: +1-604-469-5974, Email: email@example.com - Website: www.coastalsoundmusic.com 7th International Johannes Brahms Choir Festival & Competition, Wernigerode, Germany, 6-10 July 2011. Competition in different categories and difficulties. Contact: Interkultur Foundation, Tel: +49-6403-956525, Fax: +496403-956529, Email: firstname.lastname@example.org Website: www.interkultur.com
Sponsoring Index p 37 p 61 p 53 p4 p 31 p 43 p 47 & 63 p 33 & 64 p 13 p 21 p 29 & 41 p 51 p 53 p 23 p 41 p 26 p 57 p 23 p 53
A Coeur Joie France Alta Pusteria Ars Choralis 2010 America Cantat 6 American Choral Directors Association ACDA Choral Society “Armonia” of Preveza Classical Movements, Inc. Feniarco Festival Choral International de Neuchâtel Festival 500 Sharing the Voices Förderverein Interkultur International Choral Competition of Habaneras Musica Ficta Orientale Concentus III, Taiwan Pacific Rim Music Resources Pécs Cultural Centre Signum Records ltd. Small World MUSICFOLDER.com Waverley Care
My deepest apologies to FENIARCO for mistakenly inserting outdated artworks in the last ICB issue. Please see correct dates of their next events on page 33 & 60. Nadine Robin
International Choir Festival of Preveza, International Competition of Sacred Music, Preveza, Greece, 7-11 July 2011. For mixed, equal voices', children's, chamber vocal ensembles, mixed youth choirs & choirs of Byzantine chant. Repertory’ll include a compulsory piece, a piece composed before 1800, one composed during 1800/1950, one composed after 1950 & a folk song from the choir's country of origin. Contact: Choral Society "Armonia" of Prevesa, Tel: +30-2682-024915, Fax: +30-2682-029852, Email: email@example.com - Website: www.choralpreveza.gr 2nd World Choir Championships, Graz, Austria, 10-17 July 2011. For all kinds of choirs from all around the world. Contact: Interkultur Foundation, Tel: +49-6403-956525, Fax: +496403-956529, Email: firstname.lastname@example.org Website: www.interkultur.com Melodia! South American Music Festival, Buenos Aires, Argentina and Rio de Janeiro, Brazil, 20 July-1 Aug 2011. Guest conductor: Francisco Nuñez. Accepting applications from youth and children's choirs (treble and mixed voices), as well as youth orchestras. Contact: Alessandra D’Ovidio, Classical Movements, Inc., Tel: +1703-6836040, Fax: +1-703-6836045, Email: Alessandra@ClassicalMovements.com - Website: www.ClassicalMovements.com 9th World Symposium on Choral Music, Puerto Madryn, Patagonia, Argentina, 3-10 Aug 2011. Organized by the CIC Foundation in cooperation with ADICORA. Motto: "Singing in Nature". Contact: , Tel: +54-2965-439232, Email: email@example.com - Website: www.wscm9.com 7th International Choral Festival "San Juan Coral 2011", Argentina, 11-16 Aug 2011. Non competitive choral festival . Contact: María Elina Mayorga, Tel: +54-264-4234284, Fax: +54-2644234284, Email: firstname.lastname@example.org or email@example.com - Website: www.sanjuancoral.com.ar
A regularly up-dated list of all events may be found on our website: www.ifcm.net