e-ICB 2010-2

ICBICB

Dossier Choral Music in Brazil

Volume XXIX, Number 2 – 2nd Quarter, 2010ISSN 0896 – 0968

International Choral Bulletin

International Federation for Choral MusicThe International Choral Bulletin is the official journal of the IFCM. It is issued to members four times a year.

Managing EditorMr Andrea AngeliniVia Pascoli 23/g47900 Rimini, ItalyTel: +39-347-2573878 - Fax: +39-2-700425984E-mail: [email protected]: theconductor

Assistant EditorJutta Tagger

Editorial TeamMichael J. Anderson, Philip Brunelle, Daniel Garavano,Lupwishi Mbuyamba, Theodora Pavlovitch, FredSjöberg, Leon Shiu-wai Tong

Regular CollaboratorsDr. Marian E. Dolan - Repertoire

([email protected])Cristian Grases - World of Children’s and Youth Choirs

([email protected])Emmanuel Noisette de Crauzat - Choral Music

Recordings ([email protected])Nadine Robin - Advertisement & Events

([email protected])Dr. Cara S. Tasher - Composers’ Corner

([email protected])

Help with Texts and TranslationsEnglish: Gillian Forlivesi Heywood (coordination),

Diana J. Leland, Irene Auerbach and Graham Lack(text and linguistic editing and revision)

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German: Anne Stahl (coordination), Dr. Lore Auerbach(linguistic editing and revision)

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CoverUNIFESP Choir, directed by Eduardo Fernandes, in the

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Contents

Dossier:Choral Music in BrazilGuest Editor: Eduardo Lakschevitz

Choral Singing in BrazilFlavio Silva, Samuel Kerr, EduardoLakschevitz,Eduardo Fernandes, PatriciaCosta

IFCM NewsIn Memoriam Willi Gohl 1925-2010Jutta Tagger

VocalEssence Founder and Artistic DirectorPhilip Brunelle named “Local Legend”

Choral World NewsThe 22nd ZimriyaWorld Assembly of Choirs in Israel - 16-25August 2010Esther Herlitz

Palestinians and Israelis Sing Together inEast JerusalemAndre de Quadros

Change at the Top of the ContemporaryMusic Center Ireland

Association of Choir Conductors of theRepublic of ArgentinaTowards the 9th World Choral SymposiumHugo De La Vega

Choral TechniqueChoral MemoryDeveloping & Sustaining Tonal Excellence inChoirsCarol Beynon, Jennifer Beynon-Martinecand Jakub Martinec

Composers’ CornerColin Mawby in Front of the MirrorDr. Andrea Angelini

World of Children’s and YouthChoirsGrowing Up Singing“Alternatives for life”Cristian Grases

Choral Music RecordingsInterview with Johan Geert, Coordinator ofPolyfoonEmmanuel Noisette de Crauzat

RepertoireTriple Play: Choral Scores Of, By and ForWomenDr. Marian Dolan

EventsCompiled by Nadine Robin

I. Conferences, Workshops & MasterclassesII. Festivals & CompetitionsAdvertisers’ Index

Next DossierChoral Acoustics

Guest Editor: Eduardo Lakschevitz

Choral Singing in BrazilFlavio Silva, Samuel Kerr, Eduardo Lakschevitz, Eduardo Fernandes, Patricia Costa

Choral Music in Brazil

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Coral São Vicente a cappella. A high-school choir in performance, directed by Patricia Costa. Rio de Janeiro Photo:IsabelLima

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Choral Singing in Brazil

IntroductionAs Carvalho mentioned in a previous

Dossier on Brazilian choral singing1, thelarge area of the country, the profoundmixture of influences that come together toconstruct Brazilian culture (African,European and Indigenous Indian), and thediversity of musical styles make it nearlyimpossible to make any general statementsregarding the country’s choral music. Thisarticle is, therefore, focused on five differentaspects of choral life in Brazil and exploressome of its peculiar aspects, in the words ofmusic teachers, musicologists and choraldirectors, who touch on historical aspects of20th-century music, the country’s publiceducation agenda, youth choirs, choralarrangements and company choirs. Otherimportant activities, such as communitychoirs, composers and choral festivals are leftout of this article due to lack of space.

Orpheonic Singing2 inBrazil until Villa-Lobos

Flavio Silva

The first attempts to establish music-making as a systematic activity in Brazilianschools seem to have been made by Barão deMacaúbas during the second half of thenineteenth century. In 1856 he wrote:“Nobody, nowadays, is unaware of music’sbenefits in improving behaviors, making heartsmore sensible, activating emotions and exaltingpatriotic feelings.” In 1888 he expressed the

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desire that “music was included among therequired disciplines in the country’s elementaryschools.”In São Paulo, at the beginning of the

twentieth century, we find the first attemptsat well-organized polyphonic collectivesinging activity, with or withoutinstrumental accompaniment, a fact owed toJoão Gomes Junior and João Batista Julião.In 1921, local government authorized theEscolas Normais3 to organize “orpheonicrehearsals” (Fuks: 100). Fabiano Lozanoorganized, in the city of Piracicaba, theOrfeão Piracicabano, which made severalrecordings and toured to Rio de Janeiro in1925. In Pelotas, in the state of Rio Grandedo Sul, Antonio Leal Sá Pereira prepared a 4-part version of the National Anthem, whichwas sung by the “Coro dos Mil” (Choir ofthe One Thousand) at the festivitiescelebrating the centenary of Brazil’sindependence in 1922.In Rio de Janeiro the foundation of a

“Grande Coral Brasileiro” (Great BrazilianChoir) was suggested in 1882, but the ideadoes not seem to have caught on. In October1926 the “Sociedade Coral Brasileira” madeits debut, conducted by Luiz Marisa Smido,Bento Mossusunga and Eduardo Souto, onwhich regard the Revista Musical stated: “It isastonishing that an institution such as thishadn’t been established yet in Brazil.”According to Rosa Fuks, in 1929 a

committee constituted of Brazilianmusicians and teachers such as FranciscoBraga, Sylvio Salema and Eulina deNazateth, was installed “to develop a musicprogram [dedicated] to the educationalestablishments of the Brazilian capital [Rio deJaneiro, at that time] […] through choralsinging and instrumental practice, bothindividually and collectively, a plan publishedin 1930” (Fuks: 114). But the bibliographyshe mentions does not make references to

texts published after March 1930, in theWeco and Ilustração Musical periodicals, inwhich Luciano Gallet and, even more,Lorenzo Fernandez criticized the decline ofBrazilian musical life due to the propagationof poor quality materials, for which theyheld responsible the wide distribution ofrecorded music, radio stations and evenprinted music editions. Orpheonic singingin schools was introduced then as thesolution to this problem. These articles madea considerable impact in Rio de Janeiro andSão Paulo. In March 1931, LorenzoFernandez published the detailed study“Choral Singing in Schools”, based on thepremise that “it is necessary, before anythingelse, to train the classroom teachersappropriately.”It has not yet been possible to find

connections between the 1929 committeecited above and the criticisms made byGallet and Fernandez, and between thepublication of the 1930 plan (which bearsno exact date) and the article “To React”,which Gallet published in March of thatyear.

Villa-Lobos comes on stageIt is well known that Villa-Lobos

attended some remarkable choral concerts inWeimar and Barcelona during his secondEuropean tour. It is also likely that he gotacquainted with the great French choralmovement4, through his contact withconductor Robert Siohan. Upon his returnin the summer of 1930, he went to SãoPaulo. Available information indicates thathis aim was to accumulate as much money aspossible to enable him to return to Europeand continue his career as an artistic creator;“In the composer’s documents and statementsuntil [the beginning] of 1932, there aren’t anyhints of a desire to take over his role as aneducator” (Guérios: 240).

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1932 he would complete 45 years of anerrant life.Sources:• Luiz Heitor Corrêa de Azevedo:Música e

músicos do Brazil• Rosa Fuks: O discurso do silêncio• Paulo Renato Guérios: Heitor Villa-Lobos• Recortes do periódicos noMuseu Villa-

Lobos• RevistasWeco e Ilustração Musical

Flavio Silva received his musical training inpiano (Rio de Janeiro and Porto Alegre) andMusicology/Ethnomusicology (Sorbonne,Paris), where he wrote the dissertation“Origines de la samba urbaine à Rio deJaneiro”. He also graduated in Philosophy atthe National Philosophy School in Rio deJaneiro. Mr. Silva is the Coordinator forClassical Music at FUNARTE, the BrazilianNational Arts Foundation, where he overseesactivities ranging from the preservation ofhistoric music archives to the famed Bienais deMúsica Brazileira Contemporânea. He haspublished several articles and books, amongwhich are “Camargo Guarnieri: o tempo e amúsica”, and the catalog of composer FranciscoMignone. Elected in 2008, Mr. Silva occupieschair number 28 at the Academia Brazileira deMúsica. He has two children, and is married toacclaimed Brazilian pianist Laís de SouzaBrazil, also a member of the Academia.E-mail: [email protected]

...Choral Singing in Brazil

musical show – “The Villa-Lobos CivicExhortation”, which was staged the followingMay and involved approximately 15 000choral singers and band instrumentalists, aprelude to the great choral gatherings thattook place in Rio de Janeiro after 1932.Villa-Lobos returned to Rio de Janeiro at

the end of 1931. In February 1932 the“Serviço Técnico e Administrativo de Músicae Canto Orfeônico” (Technical andAdministrative Service for Music andOrpheonic Singing), was created, and in thesame month a document sent by thecomposer to Brazilian president GetúlioVargas was published. In it, Villa-Lobosexplained the difficulties faced by Brazilianmusical activities. A few days later Villa-Lobos was invited by Anísio Teixeira topreside over that service. It is not impossiblethat it was João Alberto who suggested thecomposer’s name for that position. But it iscertain that no-one else at the time wouldhave had the expertise and the zeal to gathertogether the right personnel in order to, insuch short time, reach such impressiveresults. In that position, Villa-Lobos nolonger felt the urge to return to Paris, and,for the first time, ceased to depend onprivate sponsors and concert-giving to makea living. It was about time: at the end of

Evidence suggests that in the secondsemester of 1930, the composer presented amusical education plan to Julio Prestes, thenthe country’s president (he was deposed by arevolutionary coup d’état in October of thatsame year). This plan is possibly the onecriticized by the periodical Ilustração Musicalin February 1931, for it foresees “theofficialization of national musical life [… and…] prohibits the importation of foreign music[or requesting] its reduction to at least 50%.”This plan also stated that “the study ofBrazilian music should be complete, startingwith harmony; it should also include rhythm,melody, and counterpoint, until reaching thediscussion of ethnicity and even thephilosophical foundations that characterize it.”Less then two years after the composer tookover the lead of the Brazilian choralmovement, he abandoned these ideas.João Alberto, a great lover of music,

Interventor5 in São Paulo from November1930 through June 1931, played an essentialrole in Villa-Lobos’s decision to stay in Brazilfor longer. The information about thebeginnings of their relationship iscontradictory, but we owe to him the seriesof concerts Villa-Lobos gave, alongside othermusicians, in several cities of São Paulo statebetween January and April 1931.Immediately after this, the composerproposed to the Interventor a great civic

Villa-Lobos directing the Orpheonic choirs at São Januário Stadium Photos:Museu

Villa-LobosArchives

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Elza’s Recipe (or “TheFUNARTE Panels forChoral Conducting”)

Samuel Kerr

The Choral Panels were a “magic”solution invented by Elza Lakschevitz whencoordinating FUNARTE’s6 Projeto Villa-Lobos. Through this series of events, in the1980s, the Foundation intended to supportBrazilian choirs and, in order to getacquainted with their needs, dreams andaspirations, Mrs Lakschevitz invited choraldirectors and singers to a meeting she named“The FUNARTE Panels”, an opportunity tofloat ideas, a space to share musical works, aplace for reflection, where matters thatinterested the choral community would bediscussed by Brazilian musical leaders.It was a stunning success. Ten sessions of

the Panels took place between 1981 and1993, stimulating the work of choraldirectors from all Brazilian states, in an effortthat kept Brazilian choral music so lively fora long time even after the meetings ceased.So significant was this movement that MrsLakschevitz’s initial gesture, supported bycomposer Edino Krieger and music educatorValeria Peixoto, started a new series in 2007through the initiative of Eduardo

Lakschevitz and the support of musiceducator Maria José Queiróz andmusicologist Flavio Silva, which revived, infull flavor, Elza’s “recipe”.But what did this recipe consist of?Quite simple. Get together the country’s

choral leadership to talk and discuss; thenask what matters should be discussed,exchanging information, always openingnew spaces and shifting the focus ofattention away from the large cities,attempting to reach the country as a whole.Great seasoning! An annual meeting, whichbecame an event eagerly expected, awaited… and it tasted really good.This was before the internet came along,

and the Panel meetings offered a uniqueopportunity for learning about singingtechniques, choral repertory, newarrangements, rehearsal procedures andprogramming. As soon as registrationopened, by telephone, telegram, telexmachine and letter (I insist, there was nointernet), places would be taken up veryquickly.The first session of the Panels took place

in Rio de Janeiro in 1981, and the last one ofthat series in São Paulo, at USP7, in 1993,after cities such as Brasília, Nova Friburgo,Vitória, Cuiabá, Londrina e Goiânia hadhosted it. One year’s success woulddetermine the direction the next one wouldtake, however, always with Elza’s care inlistening to what participants had to say andto suggest. In between the sessions of thePanel there were more experimentalconducting courses and choral laboratories,where all ideas were tried out.The recipe was constantly being

reinvented, and Elza made sure not todismiss certain important spices: prominentfigures in Brazilian choral music woulddeliver speeches, teach courses and master-classes, or just take part in the meetings,

sitting side by side with unknown singers ordirectors, fascinated by the camaraderie withpeople he/she knew only from their workand career, books written or by halls orauditoriums that had been named for them:among these people were Cleofe Person deMattos, Nelson Mathias, José VieiraBrandão, Orlando Leite as well as manyothers, the mention of whom would exceedthe scope of this article.The recipe also included ingredients with

made-up names, such as Sargento (thesergeant), Corão (the big choir), and Corel(the choral clothes line).For each session a coordinator would be

designated to take on the hardest job: tryingto make everything happen on time! Oh!How difficult it was to cut short heateddiscussions, to interrupt a most interestingworkshop, or to tell the Big Choir directorthat he/she had only five minutes ofrehearsal time left! It was not easy for thiscoordinator, who was usually perceived as arigid and unfriendly character and promptlycompared to a sergeant trying to maintaindiscipline – There comes the sergeant to cut offour emotions!Corão (Big Choir) was the great choral

assembly. All participants, singers, directorswould find themselves in the same ranks,under a colleague’s baton, developing arepertory to be presented at the end of thatPanel session. If the works sung in eachsession of the “Big Choir” had beenpublished, they would have now made agreat anthology. There were premières oforiginal choral compositions andarrangements, written for, or dedicated tothe Panels. Also, works that were otherwiserarely performed had their chances there,since it was fascinating for the director tohave the opportunity to work with such alarge and well-intentioned choir, and onewith such good sight-reading skills! Even

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more usefully, the work of the big choir wasalso assisted by a voice teacher, Lúcia Passos,a pioneer at the time in embracing choralsinging as her area of expertise. I recall hercare in organizing the warm-up period rightdown to the detail of ending it in the key ofthe first song to be rehearsed by the director.I also recall the solutions for vocal issues shewould come up with, all through rehearsals.A lot of subjects, some difficult and even

quite painful, experienced by directors andtheir choirs, were presented in thosemeetings, or in informal conversations. Theyranged from labor contracts, rehearsal timefor company choirs and difficulties in therecruitment of male voices, to copyright lawsfor public performances, recordings andscore publishing, then an new topic ofdiscussion in Brazil. Copyright issues wereemerging during that time because it was avery difficult task to convince publishingcompanies to distribute choral works, as itwas inconceivable having to pay composers’copyrights for MPB8 songs arranged andperformed in concerts admission to whichwas nearly always free. Actually these werenot new subjects, yet matters that needednew approaches.Due to these still unsolved issues, all

directors wanted photocopied arrangementsof works still in manuscript format, becauseit would be hard to exchange repertory inany other venue. To facilitate this process,the “Corel” was installed (a combination of“cordel”, “coral”, and “varal”9). Yes, really,several clothes-lines were set up, wherechoral scores were exhibited to directors whowould then order photocopies! But shouldwe be reminded of this just now? I think so.Besides pointing out the mistake ofphotocopying, we must show theappropriateness of that practice that momentin time. The Panels propagated to the wholecountry the several and varied choral

experiences of the different states. Theymade it possible for the Cordel’s voice to beheard everywhere. A voice in the Cordelwould be multiplied by thousands of othersingers!Elza’s recipe also demanded a careful

preparation of the oven, before anyingredients would be mixed together.Yes, a long time before each session of the

Panels, she would invite several choraldirectors to FUNARTE’s headquarters, inRio de Janeiro, to analyze the program,choose the workshops, read letters andevaluation forms from previous Panel sessionparticipants. She would request suggestionsregarding repertory that could fulfill theneeds of choirs from all Brazilian states andregions. I recall taking part in this consultingprocess, together with the late conductorsJosé Pedro Boéssio, Juan Serrano and OscarZander. It is good being able to rememberthem - and also to remember the late Marcos

Leite. In 1985, the “Big Choir” sang a jinglehe created for the Panels: Friburgo hostschoral music in the 5th. National Panel/Music, musicians/Magic, magicians/There issound in the air … Halleluiah!

Samuel Kerr has made his musical career inthe field of vocal music, as a choral director,arranger, organist and teacher. He has directed,among others, the Coral Paulistano do TeatroMunicipal de São Paulo, the São Paulo StateUniversity Choirs, which he founded, the CiaCoral, the Cantum Nobile ChoralAssociation, the Medical Students Choir at theSanta Casa Hospital, theMadrigalPsichopharmacom, and several otherensembles. He has also been the director of SãoPaulo’s Municipal Music School and mainconductor of São Paulo’s Municipal YouthOrchestra.E-mail: [email protected]

Left to right: José Pedro Boéssio, Lúcia Passos, José Vieira Brandão and Samuel Kerr, at the first session ofFUNARTE Choral Panels, in Rio de Janeiro, 1981

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Company ChoirsEduardo Lakschevitz

In Brazil, the corporate world hosts anactive choral life. A large number ofcompanies, of different sizes, both publicand private, sponsor choirs in which theiremployees take part as singers. Such activityis viewed as a moment of relaxation amidst astressful day’s work, which benefits bothemployers and employees. Besides this fact,however, other aspects presented in choralmusic are considered by human resourcesanalysts as being very similar to modernpractices of corporative governance, such asthe view of a choir as a group of peopleworking together to accomplish a commongoal. The choir rehearsal is pictured as anoccasion where the usual corporate hierarchyfades into the background (in manycompanies managers and directors sing sideby side with factory workers, aiming at aperfect blend of their voices), as anexperience of team-work, and as an activitythat, at the same time, requires flexibilityfrom its participants and aptitude toconsider the goals of the whole team.Companies are also motivated to sponsoremployee-based choirs with an eye tocreating or reinforcing a reputation for beingan institution that works to supply socialneeds of the local community through

culture endeavors.Petrobrás (Petróleo Brazileiro SA), one of

Brazilian largest conglomerates, is a pioneerin making a choir available to its workers.According to José Machado Neto, generalcoordinator of the company’s choralprogram, their first group was established ina oil plant in 1964. Today Petrobrás’Institutional Communications Departmentruns 32 choirs, spread through its facilitiesall over the country. “Choral singing is asolid part of the company’s own culture,which involves both active and retiredworkers,” Machado Neto says. “Our biennialchoral festival, where all groups get togetherin a large theater, is a prestigious eventwithin the company.”Brazilian company choirs offer a

significant amount of work opportunities forchoral directors. These musicians, however,face quite idiosyncratic situations. Oftenthere isn’t enough rehearsal time (but that’sOK. Don’t all of us choral directors alwayswant more rehearsal time?). Practice roomsare seldom ideal, and the choir frequently hasto compete for space with business meetings.Singers are volunteers and usually notauditioned, an important factor to beconsidered, since the lack of music educationin Brazilian schools for decades makes thecompany choir the first choral experienceever for many of the participants. Also, sincethe choir isn’t the core activity at thecompany, frequently singers miss rehearsalsdue to job-related tasks.As contemporary corporations are driven

by the pursuit of profit and results, and mostof the time they expect the same attitudefrom the choirs they sponsor, the directorneeds to find ways to make the group workmusically, while coping with the aspectsdescribed above. One’s flexibility in doing socan affect conducting gestures(inexperienced singers don’t usually

understand traditional measure-beatingpatterns), and rehearsal techniques (sight-reading skills are absent, rehearsal time isscanty and song-teaching has to be veryeffective). Also, the vocal style of the singersis often similar to the one they regularly hear(usually urban popular songs), which is avery long way from the Bel-canto style.Although healthy vocal procedures areconstantly sought after by directors inrehearsal, the production of what is usuallyconsidered a standard Western choral toneleaves space for vocal sounds better in tunewith local contemporary culture, in whichpopular songs significantly outnumber thetraditional classical repertory.This trend can also be observed in the

repertory choices made by directors, mostcommonly based on arrangements ofBrazilian popular tunes. Indeed, thesechoices are crucial in the development of acompany choir, for the group’s volunteercharacter, and the continuity of the singers’participation in it, depends heavily on howthe members relate affectively to the wholeproject, a process in which their connectionwith the songs they sing is crucial.The improper balance of voices (usually

many more ladies than gentlemen areinvolved), and the non-auditioned characterof a company choir require a constant re-arranging and adapting of songs. A cappellasinging is less common than the use ofharmonic accompaniment, played mostly onelectronic keyboards or acoustic guitars,since it facilitates the teaching andmemorizing of the repertory.Instrumentalists in these groups are oftenexperienced in popular music, for theirduties also require musical flexibility, afeature they usually display in their regulargigs. Even more important than sight-reading skills is the instrumentalist’s abilityto understand harmony, texture, and

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rehearsal timing. At a time when companychoirs attract directors and music teachers asa work opportunity, the competencies andskills required for the job are not usuallydealt with in regular undergraduate andgraduate choral programs. As a consequencethese have been among the most frequentlydiscussed issues in recent short-term coursesand workshops for choral conductingaround the country.Although a few theses and dissertations

have been dedicated to company choirs inthe past years10, we are still waiting for athorough quantitative research into thisform of choral music, a work that, whenpursued, promises to deliver importantfindings for the benefit of the art of choralsinging.

Dr. Eduardo Lakschevitz teaches History ofMusic at the Federal University of the State ofRio de Janeiro (UNIRIO). He holds aDoctorate in Music Education from the sameinstitution, and a Master’s degree in ChoralConducting from the University of Missouri-Kansas City (UMKC). A frequent guestteacher in Brazil and the United States, Dr.Lakschevitz has recently taught at SyracuseUniversity andWestminster Choir College. Hehas developed corporate training programsthrough choral music in major Braziliancompanies, in areas such as services,communications and education. He also servesas the pedagogical coordinator for choral musicat FUNARTE (National Arts Foundation).His compositions and arrangements arepublished by Alliance Music and Colla-Voce.E-mail: [email protected]

Choral Arrangementsof Brazilian PopularMusic

Eduardo Fernandes

Arrangements of popular tunes are,nowadays, an essential part of Brazilianchoirs’ repertory, but one that hasn’t beenreceiving enough attention from scholarlyresearch. The musical and culturalimportance of the works produced (scores)and the people who write them are yet toreceive proper recognition.The arranging of popular tunes is an

awkward grey area, since it has its origins in amass production medium (connected to theidea of cultural industry), while at the sametime making use of a classical expressionvehicle (high culture), the choral ensemble.Such hybridism on the one hand opens up tothe arrangement the privilege of involvementwith two important streams of contemporaryculture, and on the other bears the curse ofnot being accepted by either of these sides.

A bit of historyThe late 1960s represented an important

historical moment for Brazilian popularmusic production. The success of the SongFestivals promoted by several TV stations,

which attracted the attention of greatsections of the population, from the middle-classes through to the politically awareuniversity students, brought mass cultureand high culture closer together, representedhere by young composers connected touniversities. Besides, the political situationwas delicate – there was a militarydictatorship governing the country – and thequestioning of established social values wasof great significance to the agenda of theseintellectualized young people.In such a turbulent environment, taking

part in a choir was one of the few ways opento these youngsters to spend time together,to feel part of a group. However, Westerntraditional repertory (represented by bothEuropean music and traditional-soundingBrazilian folk-music arrangements) founditself distant from the urban reality andyoung people’s aspirations at the time.

UNIFESP Choir, directed by Eduardo Fernandes, inthe show "A Era do Radio"

Photo:HelenaCirce

11During this time the arrangements byDamiano Cozzela started to be performedand promoted more methodically, by theCORALUSP (University of São PauloChoir). The rise of urban popular musicarrangements for choirs, then, came to bringthe choral experience closer to the youngpeople’s regular daily lives, since participantsstarted to sing in their groups the same songsthey would listen to on the radio andtelevision.Nevertheless, this integration was not

peaceful, for the classical music world’scriticism dealt harshly with this new style ofchoral music, and with the directors whowere working with it. Maestro Benito Juarezreports that in a particular CORALUSPconcert which he directed at São Paulo’sMunicipal Theater (home of one the city’ssymphony orchestras), performing a mixedrepertory (traditional Western music andarranged popular songs), part of theaudience wore black, stating their “mourningfor the death of serious concert music”.The adoption of this repertory made an

impact that extended beyond purely musicaland technical issues. It forced choirs tosearch for a way of developing performancepractices that reflected more accurately themusic being sung, leading some groups tocreate a less formal and more theatricalpresentation of their work, the embryonic

version of a style that came to be called corocênico (scenic choir11), at the hands of amedical school choir (Coral da Faculdade deMedicina da Santa Casa de São Paulo,directed by Samuel Kerr), and later on by thework of an English language school choir inRio de Janeiro (Coral da Cultura Inglesa,directed by Marcos Leite).

The choir, a space for diversityWith the exception of some choirs that

are formed by people sharing a particularprofile (age, ethnicity, religion and othercriteria), most amateur choral ensemblesbring together singers of varied ages, as wellas social, cultural, and economic levels, a factthat confers to a choir a vast range of culturaland aesthetic references which most certainlywill be reflected in the group’s style ofsinging, repertory choice and attitude onstage. Therefore it is valid to affirm that notonly does the popular music arrangementbear the hybrid character mentioned above,but amateur choral activity as a whole isimmersed in this specificity, a fact that canbe observed in its physical constitution (thesingers), performances practices, and thefinal presented product.

The vocal issueSpecific repertory needs particular

solutions. A choral group that usually

performs opera choruses won’t necessarilyhave the same results when singing popularsongs, or folkloric ones, in spite of all itstechnical skills. It is essential to understandthat each kind of music style has itsidiosyncrasies and the vocal techniquesemployed should aim at reflecting the soundquality expected for each different kind ofmusic style.Marcos Leite summarizes the issue

precisely:When voice students look for basic knowledge,it is quite common that they take lessons withsingers that teach in the lyric style, which isgreat, as long as vocal technique isn’t confusedwith aesthetic purpose, with a manner ofsinging that belongs to other repertories. […] atthis moment one can perceive a severemisunderstanding by singers who, unaware ofthese issues, sing Brazilian music using the bel-canto sound.12

This kind of confusion can be linked tothe training of choral directors (and alsovocal coaches), still mainly classical, based inthe European tradition. The few books onchoral conducting published in Brazil makealmost no references to the direction ofurban popular music in a choral setting. Theestablishment of undergraduate courses inBrazilian Popular Music is still very recent,but these promise to be fair mediatorsbetween the two traditions mentioned in thisarticle. Also, the great majority of vocalcoaches that work with choral singers havestudied according to the bel-canto tradition,which therefore makes a very large numberof choirs pursue a sound quality that bearsno resemblance with the original Brazilianpopular music sonority. Some bookspublished in the last years, such as Leite’sand Goulart and Cooper’s13, musiciansactive both in the popular and the classicalfields, are very welcome, for they are startingto fill this gap.

ICB Dossier

The UNIFESP Choir presenting the show "DosFestivais", directed by Eduardo Fernandes

Photo:ValentineMoreno

Rede Globo's employess in performance, directed byEduardo Lakschevitz

Photo:ErikBarrosPinto

12 MPB arrangements, one morepossibilityThe choral arrangement of popular tunes

represents a rich aesthetic experience forchoral singers, since it offers informationthat already belongs to their vocabulary (theoriginal song) and at the same time opens anew horizon of possibilities through themulti-voice re-elaboration of that song. Thesame holds true for audiences who discovernew ways of hearing, perceiving andunderstanding a previously known song.A good arrangement can easily carry the

same structural complexity as does anoriginal composition, since thecomposers/arrangers are able to employseveral compositional resources in their questto bring new ideas to the original tune.Moreover, the Brazilian popular song isreputedly one of the world’s most interestingand complex ones, both in its music and itslyrics, which makes its use as a source ofinspiration for musical re-creation a naturaland intelligent move.

Eduardo Fernandes teaches choral conductingat the UNIFIAM/FAAM, and directs theCORALUSP XI de Agosto, the UNIFESPChoir and the Fine Arts University CenterChoir. He holds a Master’s Degree in Music(São PauloUniversity), awarded for adissertation on “Vocal arrangements of popularmusic in São Paulo and Buenos Aires”, and aBachelor’s Degree in Performance – bassoon(University of Campinas). Mr. Fernandes hasbeen invited as a guest teacher at several coursesthroughout Brazil, including: LaboratórioCoral de Itajubá, Fórum Rio a Cappella deMúsica Vocal and Painel FUNARTE deMúsica Coral. His main area of researchfocuses on the applications of body percussionsounds and movements on choral singing.E-mail: [email protected]

Dossier


Rede Globo's employees in performance, directed by Eduardo Lakschevitz

Photo:ErikBarrosPinto

Youth Choirs in Brazil14

Patricia Costa

Although choral music is a greateducational instrument for any age group(quite apart from its obvious role as aneffective aid to music education), it is still anactivity devoid of appeal to most Brazilianteenagers. The prejudice behind the word“choral”, perceived in research recentlyconcluded, was confirmed by authors, choraldirectors and by the young singersthemselves.In this research, the use of choral music as

an educational tool was the argument tosupport the idea of including this musicalpractice in the high-school curriculum.However, the answers also suggested veryclearly an urge to a more specific approach inthe training choral directors receive, so as toallow them to understand more fully theparticular issues of a school choir.The idea of approaching conductors

through semi-structured interviews was animportant decision in order to start closingthe gap caused by the lack of publishedmaterials on Brazilian high-school choralactivities. Besides, this dissertation started tocompensate for the poor communications

and lack of exchange of experiences amongdirectors of youth choirs, also mentioned bythe majority of those who responded to thequestionnaire.Judging by the small number of

responses, it is clear that there is so far littlescholarly expertise in this field in Brazil.Likewise, the difficulties experienced bystudents who took part in this project infinding choral directors working specificallywith teenagers, shed some light on the verysmall number of choral groups catering forthis particular age-group, as had beensuspected even before the beginning of thesurvey.With the use of these answers, it was

possible to confirm some aspects observed inmy own experience as a choral teacher, suchas:1. The training of a choral director andthat of an educator bear a closerelationship, for the great majority ofdirectors have music education degrees.

2. The main reference for choral directorsin Rio de Janeiro is Professor CarlosAlberto Figueiredo.

3. Most directors are not usually membersof choral associations or similar groups.

4. A large number of directors take part inshort-term courses and workshopsthroughout the year, which points to aneed to complement and update theirtraining in the regular school curricula.

5. Choral music is not always respected bythe directors’ peers. Answers oftenmentioned prejudice, jealousy, and evenindifference regarding it.

6. Problems related to vocal malfunctionwere mentioned by a large number ofdirectors. All of these, however, usuallylook immediately for medical treatment,when in this situation.

7. The average age of the youth choirsresearched varied, attesting to thedifficulty of establishing cut-off agesbetween children’s and youth choirs.Some answers also showed a mix-upbetween the concepts of “children” and“teenagers”, which sometimes seemed todenote the same idea, a fact that createdthe “infanto-juvenil”15 choirs, adiscussion of which would exceed thescope of the research.

8. With the exception of church groups,there is a significant drop-out rate inyouth choirs when compared toensembles of other ages.

9. The singers’ high attendance level atrehearsals suggests their efforts andpleasure in taking part in such activity.

10. High-school music directors need toplan their activities very carefully,respecting periods of exams, vacations,public holidays and all other aspects ofthe school calendar.

11. Brazilian Popular Music is therepertory adopted by most of the choirsresearched, in which case singers usuallysuggest the songs to be used.

12. Most of the time the choralarrangements for those songs are writtenby the directors themselves, who haveacquired this skill empirically orthrough short-term courses, whichshows that either the presently existentrepertory isn’t really suitable for youthchoirs, or that there is an urgent needfor innovation in the music regularlyoffered to these groups.

13. The goals and objectives of these choirsoften touch upon non-musical aspects,such as evangelization, promotion of thesponsor institution, as well as social andpedagogical aspects, the latter the mostfrequently cited one.

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ICB Dossier

14 Among the gains listed are thedevelopment of workgroup skills,improved self-expression, increasedsensitivity, the ability to fight prejudiceand to face challenges, as well as thepossibility of leading a better life infuture.The vast majority of Brazilian youth

choirs adopts accompanied repertory, mainlywith the piano. But the fact that a cappellasinging is so scarce can interfere with thegeneral musical development of theseensembles, as the insistence on instrumentalharmonic accompaniment can create adependent attitude in the singer, diminishinghis/her awareness of tuning, individually aswell as in relation to the other singers.Although belonging “only” to the popular

music realm, the large-scale production ofchoral arrangements of these songscontributes to a revival of choral activity,attracting teenagers to – or, at least, notrepelling them from - collective singing.Scenic and theatrical exercises were

mentioned as one of the instruments used toinvolve youngsters more closely in choralactivity. In a moment of self-discovery, theinsertion of exercises that put teenagers intouch with the expressive possibilities oftheir bodies proves to be a powerful resourceto their development as singers.Finally, the research analyzed elements

that might fit a choral program and, at thesame time, awaken the urban teenager’sinterest towards expressive choral work. Itwas shown that the scenic apparatus alsopromotes a more profound relationshipbetween singers and the interpretation of therepertory proposed, either by the detailedstudy of the poetry in each piece, or by the

scenic environment created, and even bymeans of physical awareness as an aid toperceiving more accurately the group’smusical propositions.

Choral director, arranger and scenic director,Patricia Costa holds a Music EducationDegree (1996) and a Master’s Degree (2009)in Music Education, from the FederalUniversity of the State of Rio de Janeiro(UNIRIO), for research into differentconducting approaches to youth choirs. Authorof several articles on the same topic, Mrs. Costadirects the choral programs in two schools:Colégio Cruzeiro and São Vicente de Paulo, achoir which, under her direction, won the FirstPrize at the II FUNARTE National ChoralContest in 1999. She is a frequent guest teacherat the Brazilian Conservatory of Music (Rio deJaneiro) and at the Federal University’s FineArts School, in Paraná.E-mail: [email protected]

1Carvalho, Edson. Looking into the Future: Perspectives on

Choral Life in Brazil. International Choral Bulletin, vol. 1,

2003.2Orpheonic singing originated in France in the early

nineteenth century: large choral groups whose membership

was drawn primarily from the underprivileged sections of the

population. Brazil took over this movement, applying it to

schools, whose efforts would often culminate in major

festivals where many such groups met to sing in enormous

choirs.3Teacher training colleges4see footnote 25A type of state governor nominated by the revloutionary

government.

14. Establishing an aesthetic conception ofthe groups doesn’t figure as animportant issue. Indeed, most of theinterviewees got confused with thatidea. Some, however, related it to thechoir’s sound quality. Through theserespondents it was possible to establish aclearly marked dichotomy between the“traditional choir” (sings Westerntraditional repertory) and the “popularchoir” (sings popular songarrangements).

15. Collective creation procedures wereattested to by many youth choirdirectors, although very seldommentioned by directors of other choirs.

16. A good proportion of the directorsadopts, or at least considers adopting,scenic resources in their work.

17. Regarding complaints about youthchoir activities, the answers producedwere common among many of thedirectors: lack of investment, lack ofdiscipline, and irregular attendance atrehearsals. It can also be observed thatmany directors expect from their singersa behavior similar to that expected fromadults, suggesting, again, that theirtraining should also consider how todeal with this particular age group.

18. The major satisfaction mentioned bychoral directors is connected to non-musical issues, such as their joy, energy,will, vivacity, and creativity within theirwork, alongside their new discoveriesand acquired knowledge abouttransformations inherent to theadolescent age.

19. The way a director views the teenagesinger also brought significant answersconcerning the non-musical aspects oftheir teaching already mentioned above.

Dossier


6Fundação Nacional de Arte, a Federal institution devoted

to the promotion of Brazilian artistic and cultural affairs.7The University of São Paulo.8MPB stands for Música Popular Brazileira, a style of

Brazilian urban popular songs largely arranged for choral

singing.9Cordel: a stile of popular literature, typical of the Northeast

part of the country; Coral: same as choral; Varal: clothes-line.10Morelembaum, Eduardo. Coral de empresa: um valioso

componente para o projeto de qualidade total. Dissertation.

Conservatório Brazileiro de Música, 1999; Teixeira,

Lúcia.Coros de empresa como desafio para a formação e a

atuação de regentes corais: dois estudos de caso. Dissertation.

Universidade Federal do Rio Grande do Sul, 2005; Rocha,

Elen Regina Lara.Atuação do músico em empresas: mercado,

indicativos e processos. Dissertation. Universidade Federal de

Goiás, 2007; and Lakschevitz, Eduardo. A common chant:

perceiving the company choir as an art world. Thesis.

Universidade Federal do Estado do Rio de Janeiro, 2009.11Choirs that use theatrical movement in performance. Not

to be confused with the idea of a choreographed show-choir.12LEITE, Marcos, Método de Canto Popular Brazileiro.Ed.

Lumiar, Rio de Janeiro, 2001, p.4.13GOULART, Diana. Por todo canto: coletânea de

exercícios de técnica vocal / Diana Goulart , Malu Cooper.

Rio de Janeiro, D. Goulart, 2000.14This article is extracted from my Master Dissertation,

concluded in July 2009, at UNIRIO (Universidade Federal

do Estado do Rio de Janeiro), with added data from ongoing

research via the internet, in which the same topics are

investigated further.15Choirs that mix children and teenagers.

Dossier revised by Irene Auerbach, EnglandCurriculum vitae revised by Gillian ForlivesiHeywood, Italy •

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ICB Dossier

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IFCMIn Memoriam Willi Gohl 1925-2010Jutta Tagger

VocalEssence Founder and Artistic Director Philip Brunelle named “LocalLegend”

International Federation for Choral Music

IFCM News

17

ICB IFCM News

In MemoriamWilli Gohl 1925-2010

In Willi Gohl the world has lost a musicianand pedagogue who shaped severalgenerations of musicians in Switzerland, hishomeland, and in Europe and the rest of theworld.

His entire life was devoted to music andmusic education. His greatest love was choralmusic. But he was also an excellent pianist,and heaccompanied the ZürcherKammermusiker around the world playingthe harpsichord. Among the different choirswhich he conducted during his lifetime, theZürcher Singkreis is inseparably linked to hisname, as he was their conductor for morethan forty years; together they gave concertsin many countries. Willi Gohl was thedirector of the Winterthur academy of music("Konservatorium") for 27 years.Throughout his career he organised anddirected conducting classesas well asschoolmusic and choral workshops at home andabroad.

Willi Gohl was involved in EuropaCantat from its very beginning. Thisorganisation was set upin Genevain 1960and legally incorporated in 1963under thename of European Federation of YoungChoirs – EFYC. For their festivals andsinging weeks he was frequently a workshopleader for large choral works. However, hewill be best remembered for his unique wayof conducting the Open Singing sessions forwhich he compiled many of the songbooks.

In a similar way he worked for the IsraeliZimriya festival for more than 20 years; healso participated many times in France’sChoralies festival. He was an intermittentBoard member of Europa Cantat from 1965to 1994, and of ISME (International Societyfor Music Education) from 1978 to 1982.He loved large choral works and

oratorios. But he loved simple folksongs justas much and wrote many choralarrangements of these. His owncompositions and texts are written likefolksongs, and some of them have becomepart of the Swiss folksong tradition. Severalgenerations of Swiss pupils have usedsongbooks containing songs or arrangementsby Willi Gohl. His open-singing broadcastsby the Swiss Radio were legendary. TheGerman-speaking world knows him as theauthor of the beautiful “Grosse Liederbuch”(“Big Songbook”), published in 1975 byDiogenes with illustrations by Tomi Ungerer.Bringing people together was most

important to him, and choral singing was forhim a fantastic tool in this respect. As earlyas 1972 he participated with his choir in theInternational Choral Festival at New York’sLincolnCenter(organised by Jim Bjorge,with Robert Shaw as musical director), theaim of which was to promote peace andinternational understanding. (This festivaltook place five times, and concerts were alsogiven at Yale and Washington’s KennedyCenter.)This festival may have contributed to his

strong commitment for the creation of aninternational choral organisation, which wasfinally founded in Namur (Belgium) in 1982under the name of International Federationfor Choral Music – IFCM. It was only rightthen that he was immediately elected to itsBoard, where he remained until 1996.Willi Gohl was a member of the working

group for the preparation of the First WorldSymposium on Choral Music held in Vienna(Austria) in 1987, to which he contributedmany of his educational ideas: the“format”,including workshops, masterclasses(in many places of the world therewere, and still are, no formal choralconducting classes), the presence of some ofthe world’s best amateur choirs as “showcases”, etc., is still in use.In 1996 Willi Gohl was the president of

the jury of the UNESCO Prize for thePromotion of the Arts, which wasunanimously awarded to Finland’s TapiolaChoir conducted by Kari Ala Pöllänenduring the 4th World Choral Symposium inSydney (Australia).Willi Gohl was popular and revered by

many. He had a very special gift forcommunicating his love of music and music-making. His humane, lively and humorousnature will be remembered by all who haveknown him.Willi Gohl is survived by his wife,

Verena, and his five children, all of themmusicians.A concert in his memory will be held on

6 June 2010 inWinterthur. •

Jutta TaggerFormer Managing Editor of the ICB

Willi Gohl conducting at the United Nations

IFCM News

18 VocalEssence Founder andArtistic Director Philip Brunellenamed “Local Legend”

Minneapolis, (January 25, 2010) –VocalEssence (*) Founder and ArtisticDirector Philip Brunelle was recentlyhonored with a “Local Legend” award at the20th annual Dr. Martin Luther King Jr.Holiday Breakfast. The sold-out event –hosted by the United Negro College Fundand the General Mills Foundation – washeld on Monday, January 18 at theMinneapolis Convention Center andfeatured the Rev. Dr. Joseph E. Lowery askeynote speaker.Each year, the annual holiday breakfast

includes the presentation of Local Legendawards, honoring those with a legacy ofservice who have dedicated themselves tohelping others, while illustrating Dr. King’scommitment to nonviolent social change.

Philip Brunelle, conductor, choralscholar and performer, has devoted hiscareer to sharing the rich history ofwonderful, yet undiscovered, choral music.Under his leadership 20 years ago,VocalEssence launched WITNESS, aninitiative that celebrates the contributionsof African Americans to American heritagethrough concerts, recordings and education.This year alone, 7,500 students in 40schools will participate in WITNESS.Brunelle reaches out to African

American composers who benefit fromencouragement and exposure, but alsoinspire others and serve as positive rolemodels. Brunelle’s work reminds everyonethat music knows no racial boundaries – itcrosses borders, spans the centuries andtouches the hearts of its listeners.

(*) Founded in 1969, VocalEssence exploresmusic for voices and instruments under theenthusiastic direction of conductor PhilipBrunelle. www.vocalessence.org •

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WorldThe 22nd ZimriyaWorld Assembly of Choirs in Israel - 16-25 August 2010Esther Herlitz

Palestinians and Israelis Sing Together in East JerusalemAndre de Quadros

Change at the Top of the Contemporary Music Centre Ireland

Association of Choir Conductors of the Republic of ArgentinaTowards the 9th World Choral SymposiumHugo De La Vega

Choral World News

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Choral

21

ICB Choral World News

The 22nd Zimriya*World Assembly of Choirs in Israel - 16-25 August 2010

Singing is very much part of the Jewishheritage. The priests sang in the holy Templeof King Solomon in Jerusalem. We findample existence of this ritual in the Book ofPsalms. Melodic prayers, often called“Piyutim”, remain part of synagogue servicesup to the present day.During the 20th Century, choral singing

was the expression of the urge for nationalindependence in many parts of the world; itlikewise accompanied the Zionist movement.The early settlers in pre-state Israel revivedchoral singing and also encouraged thewriting of new choral music. Much of thisnew music was influenced interestingly byMediterranean tunes and is still happily sungat social gatherings.The Zimriya, founded in 1952, is one of

the earliest international choral gatherings, ifnot the very first. It was a man of greatvision, Aharon Zvi Propes, who founded theZimriya, as he did the Israel Festival and theInternational Harp Contest in Israel, eventshe presided over until his death and whichcontinue today. Mr. Propes was familiar withlarge choral meetings in Riga, where he was

Esther HerlitzFestival Chairperson

born. He was not a musician, but realized theimportance of international culturalexchanges for the old-new state of Israel.Today the Zimriya is an international tri-

annual musical event, taking place inJerusalem on the beautiful campus of theHebrew University on Mount Scopus. TheZimriya hosts choirs from such distantcountries as Iceland and South Africa,Sweden and Korea, as well as many Israeliensembles. A number of prominentmusicians serve on the Zimriya’sInternational Honorary Committee; DanielBarenboim, Lupwishi Mbuyamba, KurtMasur, Frieder Bernius, Paul Wehrle andothers.The Zimriya has great many advantages:

choirs have the rare opportunity to workwith outstanding conductors and withorchestras. The choirs’ repertoire is enrichedthrough participation in various workshops.This multicultural meeting not only enrichesmusically singers but helps build mutualharmonious relations between people ofdifferent backgrounds, religions andlanguages.Days at the Zimriya are very full.

Participants hardly have time to enjoy thebreathtaking view of Jerusalem from MountScopus. Workshops take place mornings andafternoons and the evening programme istwofold: Open Singing and Choir to ChoirSinging, an Israeli inventionthat gives eachchoir a short opportunity to present itself toa friendly yet critical audience.The Music Committee of the Zimriya,

headed by Michael Shani, has invited theconductors listed below to lead workshopson different kinds of music. None of theseinternationally known figures is paid, andthey simply volunteer their talent and time,as does the organizing team. We must begrateful to them all.

Choral World News

22

...The 22nd Zimriya

Eve O'Kelly will resign as Director of theContemporary Music Centre (CMC),Ireland at the end of June 2010.Since September 1990 she has managed

the foundation and computer cataloguing ofthe library, now the only comprehensivecollection of 20th and 21st century Irishmusic scores, recordings and researchmaterials of both north and south. She alsofundraised and managed a major archivetransfer project to copy and catalogue some3,500 recordings of Irish music from the1930s to the 1980s from the sound archiveof RT (Irish Radio). Continuousdevelopment of CMC's web site since 1996,particularly the use of Web 2.0 technologies,has ensured high visibility for contemporaryIrish music abroad. A major digitisationproject is currently under way which will see

Change at the Top of the Contemporary Music Centre Ireland

The Zimriya is a truly international eventwhere great music is made in harmoniousmood. Shalom and Welcome to you all.

*Hebrew for “Song of God”

Esther Herlitz is a former Ambassador and asometime member of the Knesset; she was theDirector of the Zimriya from 1983 andremains its chairperson.E-mail: [email protected]: www.zimriya.org.il •

• Anton Armstrong (USA): Afro-American Spirituals

• Timothy Brown (UK): RomanticMusic

• Aharon Harlap (Israel): Jewish andIsraeli Music

• Volker Hempfling (Germany):Mozart: Mass in C minor

• Theodora Pavlovitch (Bulgaria):Rhythms from the Balkans to Jazz

• Stanley Sperber (Israel): Mendelssohn– Psalm 42

•Michael Gohl (Switzerland): Songs ofall Nations

the whole of CMC's collection availableonline for public access.In 2000, Eve managed CMC's move into

its own building, a historic house inDublin's cultural quarter, Temple Bar. Shealso initiated many other significant projectssuch as performance programmes andexhibits, the promotional CD series,Contemporary Music from Ireland etc. Sheis a board member of the InternationalAssociation of Music Information Centresand CMC will host the annual conference ofthe Association in Dublin in June.The Contemporary Music Centre is

Ireland's national archive and promotionagency for new music, supporting anddeveloping the work of Irish composersnationally and internationally.(www.cmc.ie).

Palestinians and Israelis SingTogether in East Jerusalem

André De Quadros, USA

A historic peace-making choral concerttook place with Israeli and Arab choirs inEast Jerusalem in February, 2010. TheEfroni Choir, Sawa Choir and YasmeenChoir were conducted by Eva de Mayo,André de Quadros, Rahib Haddad,MayaShavit and Hania Soudah-Sabbara. Thiswas followed by the first-ever conductingcourse with Palestinian and Israeliconductors taught by André de Quadros. Afull report in the next ICB.E-mail: [email protected] •

NB: CMC provided the ICB with the dossieron Irish Choral Music published in vol. XXIV,n° 1, 1st quarter 2005. •

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Choral World News

24 Music of the 20th Century” awarded by theNational University of Cuyo (Mendoza).Students come from various Argentineanprovinces and also from Colombia, Chileand Brazil.In spite of all these efforts, this new and

welcome choral activity throughout our vastcountry must be supported by even moreintense training, due to a great demand byamateur choir conductors wishing toprofessionalise their work. In this way, theADICORA board and affiliate organisations(sixteen in total), along with delegations(numbering four), have in the first sevenyears of institutional life called into beingnumerous courses and workshops in choralconducting, conducting techniques, scorepreparation, style and interpretation of bothArgentinean and international choralrepertoire. Clinics, reading sessions, thecreation of new repertoire, as well asconferences and lectures on topics related tothese activities continue to attract greatinterest by choir conductors, teachers ofmusic, and singers.ADICORA has successfully organized

two composition competitions of choralworks and arrangements – the third one“Works for the Bicentenary” is well on theway to fruition. The organisation has alsoheld two national conferences and fiveregional conferences directed towardschildren and the adolescent singer, andcurrently propels the development ofprojects related to the inclusion of childrenand youth choral singing in schools. Itpublishes two free magazines distributed toassociates: “La 440” communicates activitiesamong the affiliates and delegations, andincludes the most relevant news on eachsemester and articles of musical interest;“Revista Anual” has, for numerous issuesnow, become an authentic tool of study withextensive articles directed at professional

development for choral conductors.As an institution, ADICORA supports all

choir conductors in Argentina, andencourages the presence and participation ofconductors and those involved in choralactivities in our country during the lead-in tothe next symposium. ADICORA wishes thatall may be able to come to Puerto Madryn,even those from the most distant towns outin the country. We shall therefore ensure theprovision of travel grants and scholarships,thus ensuring personal and professionalgrowth and ushering in a time of more fluidrelationships with international conductorsand choirs of standing.The sense of enrichment gained by all

participants will have a multiplying effect inthe regions where they can develop theiractivities, which is exactly why ADICORAconsiders holding the symposium inArgentina so essential. Argentinean choralactivity will grow in quality and diversity,and Argentinean music – both arrangementsand original compositions – will be sharedwith the International choral community.As an associate member of the InternationalFederation for Choral Music, ADICORAcongratulates IFCM and the CICFoundation from Chubut for accepting thechallenge of organising the 9th WorldSymposium on choral Music 2011 in theRepublic of Argentina and looks forward to anew chance to enjoy the excellence of thechoral music of the world.

Translated from the Spanish by MariaMercedes Zavala Tello, Argentina

Revised by Graham Lack, Germany •

The Argentinean choral community isawaiting with keen interest and a sense ofgreat expectation the events that will markthe 9th World Symposium on Choral Music2011, “Singing the World”. The Symposiumwill take place between 3rd and 10th August2011 in the city of Puerto Madryn, ChubutProvince, Argentina.Organised every three years by the

International Federation for Choral Music,this is undoubtedly the most relevant choralevent in the world. It will be held for the firsttime in a South American country, and this9thsymposium represents an historicopportunity for singers from many nationsto meet, exchange views, approach issues andbenefit from understanding other choraltraditions from around the world. Thesymposium is moreover a valuableopportunity for personal growth andimprovement.With these convictions in mind,

ADICORA – the Association of ChoirConductors of the Republic of Argentina –supports the 9THWORLD SYMPOSIUMON CHORAL MUSIC 2011 and trusts thatthe sense mutual cooperation established inAugust 2006, when the World Assembly ofAssociations of Choir Conductors organisedby ADICORA was supported andcoordinated by IFCM in the city of BuenosAires, will be continued.Music institutions throughout the

Republic of Argentina offer today interestingacademic chances to those who wish tobecome choir conductors, includingspecializations in choral conducting atvarious municipal, provincial and nationalconservatories, schools and institutes ofmusic as well as public and privateuniversities and colleges. Training in thechoral arts has increased steadily since the1970s and there now exists a Masters Degreein “Choral Interpretation of Latin American

Association of Choir Conductors of the Republic of ArgentinaTowards The 9th World Choral Symposium

Hugo De La VegaPresident of Adicora

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Choral Technique

Choral Technique

Choral MemoryDeveloping & Sustaining Tonal Excellence in ChoirsCarol Beynon, Jennifer Beynon-Martinec and Jakub Martinec

If you would like to write an article andsubmit it for possible publication in thissection

Please contact Andrea Angelini, ICBManaging Editor

E-mail: [email protected]

As the title of this paper implies, theconcept of choral memory, referring to thedevelopment and sustainability of adistinctive sound within a choir over aperiod of time, may be one indicator of thehealth and longevity of a choralorganization. Is it possible that this term,derived from the business and administrationtheories of organizational memory mayinform our understanding aboutdevelopment and growth in choirs? Theauthors of this paper have a cumulative 60years of experience as conductors of boys’and men’s choirs and the subject of thedevelopment of choral tone is a constant areaof discussion and research in their work. Webegin this paper with a brief narrativeaccount.The primary author was the co-founder

of the community-based Amabile Boy’ &Men’s Choirs. While the numbers of malesingers were reasonably constant and healthy,and parental and community support andenthusiasm were high, the first few yearswere a struggle musically. Each season, halfof the treble choir would move into the maleyouth choir as their voices began theinevitable change process and we would startdeveloping a sound all over again with 8 and9 year old non-readers and inexperiencedsinger musicians. At the same time, thenewly changed voices with their extremelylimited range and unpolished tone qualitywould move into the developing Tenor-Basschoir, trying to learn to sing with a brandnew and often unpredictable voice. As aresult both the treble and youth male choirssounded young and immature.None of the story told thus far is news to

anyone who has worked with boys’ choirsanywhere in the world. Each time he heardus perform and listened to our frustrationsabout the lack of growth in choral tone,Amabile conductor colleague, John Barron

CM, would say that the choirs woulddevelop a good choral tone over time and asense of choral memory would emerge oncethe singers themselves had a concept ofchoral tone in their own minds. Withpatience and consistent, good teaching, hesaid the sound that we were seeking wouldbegin to emerge, and once it was there, itwould lock in and even the new choristerswould almost automatically pick up oursound.Coincidentally in the third season, four

university students and experienced singersjoined the Tenor-Bass youth choir, and eventhough they only represented four of the 25members, their singing provided a solidfoundation on which to build a more maturechoral sound and provided examples for theyounger adolescent boys to emulate. Thatseason, finally, the choristers with youngervoices began to make a dramatic change indeveloping an acceptable choral sound. Thenext season, the university studentsgraduated and there was no one of similarvoice or maturity to replace the formerleaders. However, even though the olderstudents were no longer in the choir,listeners commented on mature sound of theyouth male choir. Having these four youngmen in the choir seemed to be the catalystfor the other singers to hear a model theywanted to emulate and to work harder todevelop a better choral tone. During thatone year, the older voices served to imprintthe sound of the entire Amabile Young Men’sEnsemble in a permanent way, and all of thesingers began to understand and have a senseof the choral tone they wanted to achieve.Reverting back to the previous immaturesound would have seemed obvious since thenew members who came into the choir hadnewly changing voices without much tonecolour. However, the highly-motivatedsingers and conductors moved collectively

27

Carol Beynon,Jennifer Beynon-Martinec

and Jakub Martinec

ICB Choral Technique

forward from that point to continue theirdevelopment of a more mature and polishedtonal quality within the choir. Their choraltone was a subject of constant subject ofdiscussion amongst the members on aregular basis and the choir gradually becameknown for its artistic excellence and througha concept of choral memory, became knownfor its distinctive warm tone colour.Their own choral experience and John

Barron’s sage advice about the concept ofchoral memory caused these authors toconsider the concept of choral memory froma theoretical perspective. A search throughthe choral literature yielded no clues.Perhaps, we thought, organizational theorycould help us to understand why certainchoral organizations grow and flourish, whileothers remain static and/or unremarkable.

Organizational LearningThe ability for an inanimate object such

as an organization to have personal capacitiesto learn seems unique. The pioneer oforganizational learning theory, Peter Senge(1990) posits that learning occurs whenorganizations interact with theirenvironments and grow or improve throughincreasing their understanding of what it isthey do. While the actions an organizationtakes may be experimental, imitative,adaptive or carefully planned, anorganization’s ability to learn may make thedifference between its thriving or perishingin the years ahead. The literature onorganizations would indicate that anorganization’s growth–or lackthereof–becomes a collective of the peoplewho work within that organization, andcumulatively, each person’s action–orinaction–leads to or away fromorganizational productivity or what is calledlearning in the literature. In other words, it isthe notion of a community of learners that

Choral MemoryDeveloping & Sustaining Tonal Excellence in Choirs

Choral Technique

28 incumbents and new members to make theorganization continue to grow. Thus, asignificant component of organizationallearning is that of organizational memory.Organizational memory is grounded ininformation acquisition, storage, andtransmission rooted in the beliefs, theoriesand ideologies of the culture which areconserved through systems of socialization,experimentation and control. Memory isknowledge stored in indexes andencyclopedic form and choirs (i.e.,conductors, accompanists, singers) have vaststores of such information. Organizationshave repertoires of activities for acquiring theinformation and improving whatorganizations can do. Building andmodifying the repertoire are fundamentalactivities because they embody learning inroutines, thus constituting a major form oforganizational memory. Even when theparticipants leave, organizational memoryprotects the organization so it can surviveand grow further (Senge, 1990). Buildingupon and modifying the repertoireconstitute a major form of organizationalmemory (e.g., repetition of an existing pieceof repertoire). Participants in an organizationare the ones who decide on the worthiness ofinformation that emanates from the leaderand organizational memory is represented bythe structures used to retrieve, organize,modify, and/or even make use of thatknowledge. Participants decide how theinformation is coded, processed and evenretrieved. Past experience is of utmostimportance in creating change in anorganization because memories of previoussuccesses tend to invoke further risk-takingand dynamic innovation.

Choral MemoryWhile choral organizations are seen as

instruments of the aesthetic, they are oftenbased on a rationale and rigid structure thatis linear, involves chain-of-commanddecision-making, differentiation of tasks,hierarchical supervision above and within thechoir, formal rules and regulations, andprofesses certain ideologies. While socialrelationships are seen as an integralcomponent of choirs, collaborative decision-making is not. Development may be basedon repeated practices–regardless ofparticipants–and change is both cosmeticand short-lived. But second order change orpenetrating, intensive restructuring requiresa deeper level of organizational management.Choral memory is a multi-faceted

phenomenon that evolves in a choir even inits first year of existence, involves learningand unlearning, and is essential for thegrowth of the organization. There is thememory that serves the bureaucraticstructures of the choir, the memory thatserves as a foundation for a music educationprogram and applies to the individual levelof each singer in the choir, and there is thechoral memory of the sound that emergesand becomes idiosyncratic to the choir. Asexpert choral conductors work to transformvocal technique, musicianship and pedagogyinto their concept of sound within theensemble, the tonal quality develops andsettles as a basic constant and consistentfoundation over time. While thedistinctiveness and singularity of that tone isa requisite to most conductors, it ismaintained through continuous choristerdevelopment as well as conductor growth.Most conductors and their singers, however,are never totally satisfied with the soundeven at its most mature level. Nor can theyafford to be complacent in this regardbecause it is the ongoing development in

emerges in relation to organizational andcultural structure and change emanates fromthe understandings about the nature oflearning. But, organizational/communitylearning is not merely the sum of theindividual member’s learning. In fact, itis–and this is a fact most applicable to choirdevelopment–the lowest commondenominator in organizational learning. Theresearch shows that individual learning,instead of guaranteeing learning, may indeedinhibit or prevent organizational growth. It iscritical that the whole organization learn, notmerely rely on one expert’s knowledge (i.e.,conductor) but to rely on social interactionfor group learning (Mitchell & Sackney,2000). The relationship, then, betweenindividual and members within thecommunity is critical, and is based on aninteractional model of causation in whichpersonal factors associated with individuals,environmental events and behaviours operateas interacting determinants of one another.Human learning in the context of aparticular community of learners is not onlyinfluenced by the organization, but hasconsequences for it and producesphenomena at the organizational level thatgo beyond anything we could infer simply byobserving learning processes in isolatedindividuals. Human rationality complicatesthe concept even further. Organizationallearning occurs if any members (i.e.,individual singers, conductor, oraccompanist) and units (i.e., sections)acquire knowledge that can change the rangeof behaviours of the organization.

Organizational memory has beencontinually recognized as an integralcomponent of an organization’s ability tolearn. Even when seemingly critical membersleave the organization, enough collectivewisdom or memory is left behind for

...Choral Memory

technique, repertoire and performancestandard that not only sustains thefoundation of the sound but keepsimproving it. It is this ongoing developmentin the learning community that ensures thechoir is a healthy learning community. Weposit that there are two factors at work: 1) itis the sustainability of the particular soundthat indicates a healthy community oflearners; and, 2) it is the ongoingstrengthening and maturing of that choralsound that comes with longevity.At the beginning of a new season,

conductors of seasoned choirs often reportthat, even though a large percentage of themembership may have changed, it is alwaysamazing yet ameliorating to hear the firstwarmups and recognize the distinctive butfamiliar choral sound of the choir. How doesthis happen? One would think that a choir’ssound is based on the distinctive voices ofthe immediate singers and coloured by thepersonalities within the group. But, initialfindings are showing that this is a falseassumption. The indicator seems to be asense of organizational choral memory that ismore entrenched than the collection ofindividuals in the choir. This informationwas borne out in conversations we had withsix choral conductors of excellentcommunity-based children’s, youth and adultchoirs about the phenomenon of their choralsound in their choirs. Their commentsserved to affirm our belief that choralmemory does evolve over time and indeedindicates that these choirs did becomelearning communities. The overall sound inelite choirs is coloured by the conductor’sability to train and develop that sound basedon a particular preference that s/he has. Evenidiosyncratic voices can be honed into adefinitive sound that is particular to thatconductor and this process begins with theadvent of a new program or new conductor.

These experienced conductors told us thatchoral memory involves learning vocaltechnique and then unlearning certaintechnique as new and more advancedinformation and/or abilities replacepreliminary instruction.Organizational learning theory fits the

context of the personal example with whichwe began this paper. In relation to tonaldevelopment in these beginning male choirs,John Barron wisely advised that a conductormust have a concept of sound in mind andmust continue working toward it eventhough the environment is always in a stateof flux. In this one case study, the universitystudents contributed to both an event and aprocess of organizational learning becausethe choir as a unit was ready to learn; theyworked together to develop a sound that notonly began to emulate and complement theolder singers, but also began to emerge as acohesive sound unit. How this learningoccurred is interesting and vital tounderstanding how choirs develop. Theconcept of choral memory has the potentialfor helping us understand how healthychoral organizations develop, and theseinitial findings point to a need for furtherresearch to explore the fit betweenorganizational theory and choraldevelopment.

References•Mitchell, C., & Sackney, L. (2000).Profound improvement: Building capacityfor a learning environment. Tokyo: Swets& Zeitlinger.

• Newton, P.M. (2005) EnsembleLearning: A Lens for Group Learning inSchools. The Journal of EducationalThought. 39(1): 75 – 88.

• Senge, P. (1990). The Fifth Discipline.•NY: Doubleday.

• Turc, E. & Baumard, P. (2007). Canorganizations really unlearn? InMcInerney, C. Day, R. (Eds.).Rethinking Knowledge Management, pg125 – 146.

About the AuthorsThe co-authors of this article are

specialists in the training and developmentof boys and men’s voices.• Dr Carol Beynon is Co-artistic Directorof the Amabile Boys & Men’s Choirs ofLondon, Canada, Associate Professor ofMusic Education, and Associate ViceProvost of the Graduate & PostdoctoralStudies at the University of WesternOntario. E-mail: [email protected]

• Jennifer Beynon-Martinec is a specialistin vocal technique and conductor of theYoung Men’s Choir in Boni Pueri, musicteacher with the English InternationalSchool, and a faculty member in vocaland choral pedagogy at CharlesUniversity in Prague. She is a formermember of the World Youth Choir.E-mail: [email protected]

• Jakub Martinec is assistant head masterof Boni Pueri, the Czech Boys ChoirSchool and conductor of the Boni Pueritouring choir. With Boni Pueri, he hasconducted performances in many of thegreat concert halls in the world.E-mail: [email protected] •

29

ICB Choral Technique

Composers’ Corner

Composers’ Corner

Colin Mawby in Front of the MirrorDr. Andrea Angelini


Please contact Cara S. Tasher, Editor


Colin Mawby has been involved with musicall his life. Born in 1936, he spent hisformative years living and breathing churchmusic at Westminster Cathedral ChoirSchool in London. His talents wererecognised by the Master of Music, GeorgeMalcolm, and from the age of 12 he assistedhim with his huge load of fourteen choralservices a week by playing the organ. Colinspent three years at the Royal College ofMusic studying with Gordon Jacob. Duringthis time he also learnt a lot studying outsidethe College with Adrian Boult and workingwith Malcolm Sargent. After this he becamefirst Assistant, and then Master of Music atWestminster Cathedral. In his years there hebrought the Cathedral Choir to newprominence, with many appearances on theBBC as well as commercial recordings. TheChoir was renowned for its clear - instantlyrecognisable - sound, and thrillingperformance. Wishing to broaden hisrepertoire, Colin Mawby moved to Ireland tobe Choral Director at Radio Telefis Eireann(RTE). He was later appointed ArtisticDirector of Ireland's National ChamberChoir, and is now their Artistic DirectorEmeritus. He has worked with many othermusic groups, notably the London MozartPlayers, the Wren Orchestra, Pro CantioneAntiqua, the Belgian Radio Choir and theBBC Singers, and has performed before theQueen of England at St. Paul's Cathedral,President John F. Kennedy at WestminsterCathedral, and no less than two Popes at St.Peter's Basilica in Rome. Colin Mawby haswritten extensively for choirs, oftenproviding music for special occasions or atshort notice. His Haec dies, for example, waswritten and rehearsed on a train journeyacross Europe, prior to its prizewinningperformance in Italy! He has written thirty-five masses, five song cycles, a very largenumber of settings for choir, two children's

operas and a children's Christmas cantatawhich also includes an SATB group, flute,piano and percussion. A good few of thesepieces started life as commissions, fromWestminster Cathedral in London,Liverpool Cathedral, RTE Ireland, TheRoyal School of Church Music in England,The Cathedral of the Madeleine in Salt LakeCity, USA, and Grace Church, New York,among others. His famous Alleluia which issung all over the world was commissioned bythe European Federation of Pueri Cantores.Colin Mawby has also worked with thewritten and spoken word - on BBC Radio 3,for Hans Keller and Basil Lam, and the UK-based newspapers and journals TheGuardian, The Times, The Tablet, and TheListener. An entire chapter of the importantBritish Organ Music of the Twentieth Century:The Composers, Their Music, and MusicalStyle by Peter Hardwick is devoted to Colin'sorgan music. His music is published by Dr JButz Musikverlag, Kevin Mayhew, OregonCatholic Press, Edition Music Contact,Carus-Verlag, the Gregorian Institute ofAmerica, EurArte, the Royal School ofChurch Music, Edizioni Carrara, FaberMusic, Chappell, and Edition Ferrimontana.CDs of his music have been released byWarner Classics, EMI, Teldec, Hyperion,Oregon Catholic Press, Black Box, andKevin Mayhew.Andrea Angelini (AA): Colin, the firstquestion is obvious. When did you decide todevote your creative energies to choralcomposition?Colin Mawby (CM): I’ve always composed– mostly occasional music. However, when Iwas 51, my wife and I had our first child.Looking at him in his crib when he was justone month old, I saw that it was my duty tolove him, support him and provide for hiseducation. I then began to think of how Icould increase my income knowing that

31

Dr. Andrea AngeliniICB Managing Editor

ICB Composers’ Corner

apart from choral conducting, the only thingI could do was compose. I decided to devotemyself to writing music in a structured anddisciplined fashion. This has worked verywell for me. Most other composers have toldme that when faced with their first child theyalso tended to say to themselves: “I must finda way of earning a regular income and I can’tdo this with composition”. I have been verylucky, thank God.AA: Did you sing in a choir at school, and howhas religion influenced your work?CM: I went to Westminster Cathedral ChoirSchool as a boy and we used to sing atfourteen services a week. The repertoire wasmostly plainchant and polyphony. My loveof choral music started with this experienceand also the inspiration of our choirmaster,the famous harpsichordist and conductorGeorge Malcolm. Religious belief isfundamental to my work. Without faith Icouldn’t compose.AA: You once told me that you compose at leastthirty bars a day. How can you maintain yourinspiration?CM: I’ve always said that the greatestinspiration is the arrival of a large electricitybill! I pray before writing but I can’t tell if apiece is inspired until it is completed andperformed. Very occasionally one’s music isinspired, more often it isn’t! Self-disciplineand hard work are the basis of composition.One can’t sit down waiting for inspirationlike manna from heaven. One must just geton with it, particularly on those days whenone doesn’t feel like doing it.AA: Have you ever composed according to the“Darmstadt Canons?CM: I’ve written twelve tone music but havegiven it up. The experience was totally arid.AA: Composition is fascinating, but youngcomposers find it difficult to find their ownvoice. Do you have any advice for them?CM: Detailed study of harmony and

Colin Mawby in Front of the MirrorInterview with one of the Most Famous Contemporary British Choral Composers

32 bunch of people who have done greatdamage to contemporary composition. Ialways recall the critic who wrote of the firstperformance of the Eroica Symphony that ifit wasn’t shortened, it would never be playedagain. (I equate this with the extraordinarycomment in a British newspaper whichwrote, on the opening of the first Londonunderground train system, that people wouldnever use it.) Contemporary music shouldreflect modern culture and appeal toaudiences. Unfortunately much of it doesn’tand this is one of the main reasons whylisteners prefer the work of long deadcomposers. I used to live near the Slane popfestival in Ireland and it’s a sad commentaryon modern music that one could see tens ofthousands of young people walking to Slanefrom Dublin while it would be considered atriumph if fifty people attended a concert ofcontemporary classical music.AA:Will you please tell us of your recentcommissions?CM: I receive a great number ofcommissions. I was asked to write twoFanfares for the recent Installation of theArchbishop of Westminster (London). I havejust completed a Mass for a large church inCanada; I have also composed a song for ayoung people’s choir which they will sing atthe Welsh Eisteddford and a fun piece for theanniversary dinner of the Irish NationalUnion of Students. I have also writtenrecently for an American church and also theGerman Pueri Cantores. I seem to keep verybusy.AA:What contemporary composers do you like?CM: This is a very difficult question. I tendto like the piece that I am listening to. I haveno favourite composers - I admire most ofthem.

counterpoint is essential. Listen to and playas much music as you can and make a pointof hearing the works of composers that youdon’t like. Do not follow musical fashion orset out to make your work soundcontemporary. If you like what you write, thechances are that other people will do so aswell. Be true to yourself and write from yoursoul. Don’t seek the approval of music critics,their opinions are of little value.AA: I am impressed with the mould breaking“tintinnabuli” style of Arvo Pärt with whichmany composers have experimented withvariable results. Is it wrong to imitate the workof other composers or should one just be gratefulfor the new sound world that they create?CM: I believe that the only totally originalideas in music are major and minor scales.Most Western music derives from them andit is a matter of total amazement to me thatbillions of totally different compositionscome from twelve notes. This mirrors nature– human beings come from a small cell; oaksgrow from acorns; the universe from anexplosion – all incredible. Composers learnfrom the work of others and recreate ideasinto their own style and sound world. There’snothing wrong with this particularly as it’svery difficult to write completely originalmusic. In a way, it’s arrogant to imagine thatone can do this. Respect the work of othercomposers but learn from their techniqueand style.AA:What is the place of contemporary music?Do listeners prefer the work of previousgenerations?CM: Listeners are very suspicious of modernmusic and this is mainly the fault of thosecontemporary composers who write cerebralmusic which has no connection withordinary people. Music must speak to thesoul and a lot of modern music doesn’t. Itmight speak to fashionable music critics butthey are a very limited and self-important

Composers’ Corner

...Colin Mawby in Front of the Mirror

AA: I am an Italian and I’m sure you agreethat Italian wine is the best, (Many apologies tomy French colleagues!). I have heard youcompare your better pieces to a good bottle ofAmarone (a superb red wine) and am curiousto know why?CM: Amarone always reminds me of richvocal sonority – both are splendid. It is avery strong wine and I always try to composemusic that redounds with strength. Theimagination of many composers is fired bywine and women – together they producegreat songs! I like Italian wine, particularlywhen I am sharing a bottle with you, Andrea!AA: Thank you, Colin, for the piece that youhave written for us. Would you like tocomment on it?CC: At Westminster Cathedral, Mass on thefeast of the Holy Innocents always used to besung by the boys of the choir. I alwayslooked forward to this and the text “Vox inRama” moved me greatly. For some time Ihave wanted to set these words and thebrutal killing of the nephew of my dearfriend Ann has made the text live in a newand unique fashion. The piece is deeply sadand passionate – it needs emotionalunderstanding and commitment inperformance. As I was completing thework, the Irish police announced that theyhad charged a person with the murder ofAnn’s nephew.Website: www.colinmawby.com

Andrea Angelini is the Artistic Director andConductor of the professional groupMusicaFicta Vocal Ensemble and also the artisticdirector of the Rimini International ChoralCompetition. He is the Chief Editor ofFARCORO, the Choral Magazine of theAERCO Regional Choir Association and of theInternational Choral Bulletin (ICB).E-mail: [email protected] •


“The score can be freely printed and performed by the ICB readers. Performance, broadcasting and recording rights remain with the Composer”www.colinmawby.com

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37

Growing Up Singing“Alternatives for life”Germán Camilo Salazar Lozada

World of Children’s & Youth Choirs

Children’sand Youth

World of

Choirs


Please contact Cristian Grases, Editor


On June 22nd 1902, after a bloody civilwar called “the thousand days’ war,”president José Manuel Marroquín decided,with the support of the Catholic Church, toconsecrate Colombia to the Sacred Heart ofJesus. However, this was merely a source forscorn and hopelessness in a nation which cangive first-hand testimony of the horrors ofwar, hunger, and social inequality. From thatmoment on, many generations have come toknow our country by the label of “Countryof the Sacred Heart.”It is not difficult to find people in Latin

America who live in a situation of utterpoverty and in social conditions which go farbeyond the economic aspect of their livesand also affect the cultural and psychologicalaspects; and for whom a small drop of art,recreation, and education could become a seaof hope.In June 2009 I had the good fortune to

reconnect with Sandra Liliana González, afriend almost from infancy who wasreturning from Caracas after five years spentexperiencing the use of choral singing as anelement of change and social inclusion. Theprogram, in association with the ScholaCantorum of Venezuela under the vision andmusical direction of María Guinand andAlberto Grau, sought to integrate childrenand young people from a background ofsocial risk into a high-level artisticdimension, promoting their abilities andtalents and connecting them with aVenezuelan musical process that has obtainedinternational recognition.Motivated by her experience, Sandra

aimed to replicate the Venezuelan model inColombia, adapting it to the uniqueconditions of this country. It was at this firstmeeting that we decided to work together inorder to build our own socio-musical processwith willpower, tenacity, and commitment.So in October 2009, the Fundación Schola

Cantorum de Manizales (Manizales ScholaCantorum Foundation) was created. Itssocial goals were to promote choral musicand to create choral singing programs whichwould encourage musical development andsocial inclusion in this region of the country.We then created the project Crecer

Cantando (Growing Up Singing) which seeksto integrate children and young people in apermanent cultural dimension combiningmusical education with the strengthening ofa system of civic values such as – amongothers – participation, dialogue, tolerance,solidarity, respect for differences, and healthydevelopment of languages. The pilot projectis being developed in Manizales, a small citylocated in the center of Colombia belongingto the Coffee Axis; it has a population closeto 500.000 inhabitants and is known world-wide for its location close to the Nevado delRuíz volcano. Manizales is nationallyrecognized as a city for academics with tenhigher-education establishments (a largenumber, taking into account its population).But, like all cities in Colombia, Manizalessuffers from social and economic inequality.We took over funding the first two

children’s choirs with our own resources. Thefirst of these was linked to an institution thathas distinguished itself for being in theforefront of “Inclusive Education” in thecountry despite its lack of resources. Thisinstitution seeks to educate students withlearning disabilities resulting from physical,intellectual, emotional, and family problems,by putting them together with other studentswho do not have disabilities. The secondchoir was created in an organizationbelonging to the Catholic Church, whichworks with low-income children. This choirhas 30 singers coming from socio-economiclayers 1 and 2 (the lowest in Colombia) whofrom the beginning have shown immensemotivation and interest in singing.

The work carried out with these choirshas been intense and, for obvious reasons, alittle slower in comparison to any othergroup with different conditions andcomposition; but if there is anythingegocentric in this work it is the personalsatisfaction of seeing children with Down’sSyndrome, children with severe burns allover their bodies, abandoned children,children abused by their parents, autisticchildren and disabled children, all singing inunison with a big smile on their faces.We have been working with them for five

months, and the obstacles have been many,for the children are not always in the rightmood to sing. The causes of this arenumerous, and include malnutrition andpersonal conflicts driving from attentiondeficit disorder and hyperactivity. Giventhese situations, we have occasionally erred(never intentionally) through our lack ofunderstanding of the personal condition ofeach chorister. This has compelled us tostudy each singer individually in order toimprove shared interaction within the group,and to optimize both individual and groupactivities. As regards music, we try to use thesame methodology because these childrenhave the capacity and the right to be treatedas equal, giving them the opportunity tobecome connected with society. It is agratifying task, and one which we hope wewill continue to perform thanks to thesupport of both of the institutions that havebenefited from the results.One of the most interesting aspects of this

entire process has been the significantprogress made by these children in otheraspects of their lives. Some of their parentshave told us of improvement in many fields:linguistic abilities, academic achievements,discipline, and interaction with others. Theseare some of the reasons that encourage us tocontinue with this process which, we hope,

39

ICB World of Children’s and Youth Choirs

Germán Camilo Salazar LozadaManager Fundación Schola Cantorum de

Manizale, Columbia

Growing Up Singing“Alternatives for life”

World of Children’s & Youth Choirs

40

In 1994 the constitutional court declaredthat the consecration of Colombia to theSacred Heart was unsustainable given thefreedom of worship in our country. Theepithet is still present on the street, but thereare now many Colombians who, throughtheir work and commitment, are seeking tochange this state of affairs. The ManizalesSchola Cantorum Foundation is working tobuild a nation through choral singing.By itself, music is sublime; but through

the medium of a human being music isnoble, and it is in this second dimension that“Growing Up Singing” operates. It is therethat we are promoting social change, wherewe have the space for music to embraceeveryone who wishes to be enfolded by it.

Our project aims to promote all-rounddevelopment. Any educational practice, anyconceptual and cognitive process, is uselesswhen its contribution to the growth of theindividual is limited. This is why we strive toeducate true nation-builders through music.Art must always be a light of hope and an

exaltation of the human spirit, in contrastwith the developments of a worldimprisoned by systems and conflicts; andthis is ever more vital in a society so much inneed of happiness and hope as ours. We arethe artists called to illustrate and encouragethis human and social aspect of music; andbeyond mere teaching, we have anobligation to show others how to livethrough music.

Germán Camilo Salazar Lozada was born in1986 in Manizales, Colombia. At the age of10 he joins the marching band at “ColegioMayor de nuestra señora” where he receives hisfirst instruction in music. Later on he isaccepted at the School of Fine Arts at CaldasUniversity where he studies Classical Guitar fortwo years. In 2002 he joins the OperaWorkshop at Caldas University and in 2003 hebegins his Bachelor in Music at the sameinstitution. Salazar Lozada did his studentteaching as a professor of Music Theory andMusicianship at Caldas University. He iscurrently a music teacher in many elementaryschools in Manizales and General Manager ofFundación Schola Cantorum de Manizales.E-mail: [email protected]

Translated from the Spanish by CristianGrases, USARevised by Gillian Forlivesi Heywood, Italy •

will become our greatest strength as aninstitution.In spite of the above, the major difficulty

in this work is the acquisition of resources.The support of the private sector has beenmodest; and there has been no support fromthe government, which is difficult tounderstand given that Colombian laws, onpaper, promote cultural development and taxbenefits for organizations which supporteducation and art.In any case, without diminishing valuable

efforts that have made an impact on ourhistory in some way, it must be said that thedevelopment of artistic and culturaltraditions in Colombia has been slow. This isanother motivation that drives us, becausewe hope to contribute to these traditionsthrough choral music, which we would liketo see become the basis for our country’sprogress.

...Growing Up Singing

International Choir Competition of Tolosa 2009

Photo:DolfRabus

41

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Interview with Johan GeertsEmmanuel Noisette de Crauzat

Choral Music Recordings

If you would like a CD to be consideredfor review

Please contact Emmanuel Noisette deCrauzat, opusChoral Director

4 place de la Chapelle75018 ParisFrance



Download Possibilities&

Polyfoon, a Belgium vocal ensemble directed byLieven DEROO, has recorded three albums:Summa Passionis, Ante et Nunc and Triptic

You can find all the information about thesealbums and about Polyfoon on their websitewww.polyfoon.be

Emmanuel Noisette De Crauzat (ENC):please give us some information about the choir(its history, organisation, membership etc),about its director and about the music that yousing.Johan GEERTS (JG): in 2009, EnsemblePolyfoon was ten years old. We celebratedthis with the recording of our third CD,Triptic. This CD comes with a bookletshowing all the highlights of our first decade.Ensemble Polyfoon is a group of

approximately 24 singers specializing in oldand new polyphony. Our mission is to singthis a cappella polyphony and combine itwith other music or art forms.In original cross-over projects we

collaborate with actors, painters, composers,other singers (Russian orthodox music,plainchant, etc), pop musicians (K’s Choice),etc.In each vocal section there are six singers,

divided into high and lower voices: threehigh sopranos, three mezzo sopranos, threealtos, three low altos, three high tenors, threehigh baritones, three low baritones, threedeep basses.Our conductor is Lieven Deroo. He is a

professional singer and a member of the onlyfully professional choir in Belgium, theFlemish Radio Choir. He is/was a member ofsome famous vocal ensembles: HuelgasEnsemble, Capilla Pratensis, EnsemblePsallentes, Currende, etc.The organisation is very simple: Lieven is

responsible for the musical direction, I’mresponsible for practical organisation and for

artistic vision and new projects. Dirk –baritone and graphic designer – isresponsible for communication andpromotion.From each group of voices (SATB)

someone is appointed to liaise betweenLieven/myself and the singers.

ENC: when did you decide to record yourchoir, and did you decide to publish therecordings right from the beginning?JG: Our first CD ‘Ante et Nunc’ is the resultof our first five concert years. It’s an overviewof our first concert programmes, acombination of known and unknown andold and new polyphony. The ‘hit’ of the CDis ‘Miserere Mei’ by Gregorio Allegri.We tried to find a commercial distributor

for this CD but none were forthcoming, sowe decided to produce it on our own andfind some distributors. This, too, turned outto be a problem, and in the end we decidedto do everything ourselves, and it was a hugesuccess. We sold nearly 5 000 copies of thisfirst CD! In a small market as that of classicalmusic, this was a great achievement!

ENC: is the financial aspect important for therecording process?JG: Of course it is. Among our strengths arethe graphic design and our promotionaltools. The booklets and the packaging of ourCDs are well designed with a lot of attentionto making clear our overall mission. All ourconcert posters are published on our website.For some of our ‘fans’, these becamecollectors’ items.Hiring a good recording engineer, renting

a perfect recording venue, mastering,producing and pressing the CD, promotion… If you want to launch a quality productyou have to invest a lot of money. When youhave recorded a CD, in the beginning thestock is ‘dead money’, you have to invest thewhole production cost in advance and youhave to hope it will be a commercial success.

ENC: how do you organize your recordingsessions?JG: Recordings are planned over a year inadvance because of the availability of thesingers and the conductor, with two sessionsin spring and one in autumn. It is veryimportant to release CDs in November,because of the winter holidays andChristmas.Our last recording session was in October

2008, with the editing being done inNovember 2008. Not every singer is involvedin each piece of the CD, so good planning isessential to avoid wasted time. Also goodfinancial planning is important! Subsidiesfrom the Flemish Government wererequested several months in advance.

ENC: how do you decide on the repertory ofyour recordings?JG: The repertory is typical for EnsemblePolyfoon. As I said, we always try to combineold and new a cappella polyphony. It’s justlike that on this latest recording. The CD is

43

ICB Collector’s Corner

Interview with Johan GeertsCoordinator of Polyfoon, about the Recording Policy of Ensemble Polyfoon

Emmanuel Noisette de CrauzatopusChoral Director


44 is typical for only one season of the year.The third CD ‘Triptic’ is mature and

contains both known and unknown musicfrom old and new times. The group ofsingers has been constant for by now morethan five years. It’s clear this CD is the mostaccomplished one, a clear programme with aclear structure, the result of ten years of hardwork. Also enclosed with the CD you’ll finda booklet describing the highlights of ourfirst decade! It brings back memories of allour concerts, concert trips and recordingsessions with beautiful pictures, commentsby fans, etc.

ENC: for the next recordings, what will youwant to change about the organization of theserecordings?JG: Not much. I think it’s important tocombine known and unknown music. Newmusic by contemporary composers is alsoimportant. We believe we have something togive to our listeners: a nice booklet, veryextensive information and beautiful artwork.A CD has to be something to cherish, notonly for those who produce it but also forthose who buy it.

ENC: can you make some suggestions to otherchoirs?

JG: If Ensemble Polyfoon is successful,we can say this is due to our remaining trueto our philosophy and to being faithful toour mission statement.Everybody knows what Ensemble

Polyfoon stands for! We will never sing withsoloists, never work with orchestras orinstruments. We sing a cappella polyphonyfrom old and new times to a very highstandard.There are a lot of choirs who sing all

kinds of music: polyphony, baroque,romantic, close harmony, contemporarymusic … Ten years ago we chose to sing acappella polyphony, and we keep doing justthat. We combine this music with other artsor kinds of music in cross-over projects, butwe will never abandon our mission of givingour concert audiences and CD customersquality in all aspects of producing a concertor a CD: repertoire, artwork, quality ofvoices, quality of music, quality ofperformance, location, promotionalmaterial. Everything has to be high quality.Otherwise you’re not fair to your singers,

your fans and your customers.

Emmanuel Noisette De Crauzat, director ofopusChoral, the online choral downloadwebsite www.opuschoral

Revised by Irene Auerbach, England •

the result of a year-long project in 2007-2008. ‘Triptic’ was a triptych with sixconcerts with music for Christmas, Easterand All Saint’s Day. The concerts were spreadover a year.We collected the most beautiful and

representative pieces of those concertsincluding two wonderful compositionsspecially written for us by two youngFlemish composers, Willem Ceuleers andGeert D’hollander. This is also typical forensemble Polyfoon: we often commissionworks from young composers who areworking in the old polyphonic style or whoare writing music referring to this style.This recording is definitely a typicalPolyfoon production: a combination of oldand new polyphony.

ENC: your choir has recorded several CDs. Doyou think that some things evolve concerningthe process and the result?JG: Yes, the first CD was an anthology of ourfirst five years with highlights such asAllegri’s ‘Miserere. The sound and result isvery good, you hear all the qualities of thegroup, but it’s not that mature.Our second release was a themed CD

with music for Holy Week and Easter, acombination of plainchant and old and newpolyphony. It’s a beautiful CD but the music

...Interview with Johan Geerts

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45

Celebrating 500 Years:Heinrich Isaac’s Choralis ConstantinusJames D. Feiszli

Triple Play: Choral Scores Of, By and ForWomenDr. Marian Dolan

Repertoire

Repertoire


Please contact Marian Dolan, Editor


The Divas (Australia), Sandra Milliken - conductor Photo:MurrayMilliken

Occasionally I receive an interesting and unusual score inquiry. Afew months ago, a colleague asked me for suggestions of scores withtexts of women poets, with music by female composers, in settings forwomen's chorus. An interesting "triple play" idea for a concertprogram or an ICB review column! This article was completed onInternational Women's Day (8 March), a global day of celebratingthe economic, political and social achievements of women past,present and future – a timely occasion to also celebrate the work ofsome excellent choral composers. After searching my own score files,emailing conductors and composers, and scouring the internet, hereis a treasure of powerful, insightful, challenging, and fun repertoire"of-by-for" women. Some information is given here; a version of thisarticle with live internet links to composer's websites, scores, audiofiles, as well as links to poet's information is also available online(www.TheChoirProject.org).

USAA number of fine American composers’ scores fit the "of-by-for"

category. A real gem is Joan Szymko's The Beauty of Your Dreams, asetting of Eleanor Roosevelt's vibrant and powerful texts: "You gaincourage and strength and confidence every time you look fear the theface; cast out fear and face the unknown with courage and integrityand a high heart; the future belongs to those who dream." Wife of thePresident and iconic voice of her generation, Eleanor Roosevelt wrotea newspaper column called "My Day" which appeared six days a weekfrom 1935 to 1962 and had a readership of over 4 million. Szymko'sscore beautifully embodies the clarity, reflectiveness, and strength ofthe texts in a homophonic choral setting for ssaa and piano. (Example 1)

Ysaye Barnwell's "Crossings," which includesWanting Memoriesand No Mirrors in My Nana's House, was originally commissioned bychoreographer David Rousseve for a dance-theater work of the sametitle. Sweet Honey in the Rock, the Grammy award-winning AfricanAmerican female a cappella vocal ensemble (www.sweethoney.com)of which Dr. Barnwell is a member, subsequently recorded bothworks. The six voices in Sweet Honey have a wide range, so thepublished choral transcriptions / arrangements of these pieces arenotated as 5-part mixed-voice, but can be sung by a women'sensemble which, like Sweet Honey, has strong low altos. Therhythmic propulsion ofMemories carries the unfolding story, writtenby the composer: "I am sitting here wanting memories to teach me tosee the beauty of the world through my own eyes. I think on thethings that made me feel so wonderful when I was young ... thatmade me laugh, made me dance, made me sing ... that made me grow

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Triple Play: Choral Scores Of, By and ForWomen

ICB Repertoire

Dr. Marian DolanChoral Conductor

Ex. 1 – Joan Szymko, The Beauty of Your Dreams, m.56-61

Ex. 2 – Ysaye Barnwell, Wanting Memories, m. 44-47

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Repertoire

...Triple Play: Choral Scores Of, By and ForWomen

into a being full of pride." No Mirrors is the story of a young African-American woman who grew up knowing her own value not bylooking into a mirror but by looking into her reflection in hergrandmother's eyes: "There were no mirrors in my Nan's house, andthe beauty that I saw in everything was in her eyes ... I only knew loveand I didn't know hate."A powerful, up-tempo gospel piece is Rosephanye Powell's Still I

Rise, scored for ssaa, soloist and piano with optional bass and drumset. As the composer explains, “Still I Rise was inspired by the poemof the same name by poet laureate Maya Angelou. It is a women'santhem, saluting the strength of women to persevere through life'sdifficulties: low self-esteem, physical and emotional abuse, rape,incest, prejudice, abandonment, and such like. In summary, thougha woman's life or past may be filled with tears and heartaches, witheach day that she finds herself still living, she finds that she has grownstronger and risen a little higher because her circumstances have notovercome her. Thus, every new day can be one of hope and joybecause regardless of the past, today, 'still I rise!’” Scored for ssaadivisi, Rise is rhythmically powerful and energetic for the chorus, andtakes a good gospel soloist who can improv in the 'shout' section ofthe score. An audio sample is on the composer's website.

Carol Barnett's The Day of Hope is an accessible three-movement,12 minute work in honor of Shirin Ebadi, Iranian human rightslawyer and recipient of the 2003 Nobel Peace Prize. The scoreincludes Ebadi's texts along with those of Persian poets of the 11ththrough 14th centuries, all of which speak of human rights andfreedom from violence. "The music is a free translation into theWestern choral idiom of traditional Persian music, its exoticallyornamented monody..." explains the composer. Oboe, harp andpercussion instruments including doumbek, sistrum, rain stick andrattles accompany voices, mainly homophonic, which are often intwo or three parts. Truly a beautiful and very powerful score.

Chant for Great Compassion was written by Abbie Betinis inresponse to the earthquake that took the lives of nearly 70,000 peoplein Sichuan Province, southwestern China, in May 2008. Betinisexplains that her score "is for anyone in any need or trouble. It isabout calling out for strength and courage – as individuals and alsoon behalf of our generation. The opening melody is inspired by thetraditional chant to the Buddhist goddess Guan Yin, whose namemeans 'she who hears the cries of the world'. To comprehend theneeds of so many, her head split into eleven pieces, hence the 11-partchords in the score." Voiced for ssaa-divisi, the texts in the score arefrom Chinese writer and elegant orator Qiu Jin, Sichuan journalistand editor Wang Erbei, and the 7thc Great Compassion Mantra.

• Joan Szymko (www.joanszymko.com): Beauty of Your Dreams(Eleanor Roosevelt; Eng; ssaa, pf; 5'; Santa Barbara #564),Always Coming Home (Ursula LeGuin; Eng; ssaa, vc, pf; 6';Roger Dean #15/2447R), The Singing Place (Lily Long; Eng;ssaa, pf; 6'30; Earthsongs S-305), Circle (Hadewijch II, 13c;Eng; ssaa; 2'30; Treble Clef TC-192), As aWoman (VirginiaWoolf; Eng; ssa; 2'10; via composer); You are the Music (AmyLowell; Eng; ssaa, pf; 5'; Santa Barbara #804).

• Ysaye Barnwell (www.ysayebarnwell.com):Wanting Memories (Y.Barnwell; Eng; ssaaa; 5'; Musical Source YMB-103), No Mirrorsin My Nana's House (Y. Barnwell; Eng; ssaaa; 3'; Musical SourceYMB-101).

• Rosephanye Powell (www.rosephanyepowell.com): Still I Rise(R. Powell; Eng; ssaa, solo; 4'; Gentry #JG2346)

• Carol Barnett (www.carolbarnett.net): The Day of Hope (ShirinEbadi, et al; Eng; ssaa, ob, perc, harp; 12'; Roger Dean45/1159R), Song of Perfect Propriety (Dorothy Parker; Eng; ssa,pf; 4', Earthsongs S-291)

• Abbie Betinis (www.abbiebetinis.com): Chant for GreatCompassion (Qiu Jin, Wang Erbei, trad. 7c; Eng; ssaa-divsi; 5'30;self-published)

Other scores:• Gwyneth Walker (www.gwynethwalker.com): To Sing is to Fly(Joan Baez; Eng; ssaa, pf; 3'; "Love is a Rain of Daimonds" fromSongs for Women's Voices (set of six texts by May Swenson; Eng;ssaa, pf; ECS Publishing #5023)

• Jocelyn Hagen (www.jocelynhagen.com): Joy (Sara Teasdale;Eng; ssa, vln, pf; 3'30; self-published); Under the Stars, One HolyNight (Anna Driscol; Eng; treble + women, 2 C instr, pf; 3'; self-published)

Ex. 3 – Rosephanye Powell, Still I Rise, m.68-70

• Sally Lamb: The Sadness of the Sea (Lydia Sigourney, EmilyDickinson and Henry Longfellow; Eng; ssaa-div, pf; 9'; RogerDean #45/1151R)

• Elizabeth Alexander: I Write this Poem Out of Darkness (GeorgeElla Lyon; Eng.; ssa, fl, vln, pf; 7'; Seafarer Press);Why I Pity theWomanWho Never Spills (Joan Wolf Prefontaine; Eng; ssaa; 5';Seafarer Press)

• Emma Lou Diemer: Hope is a Thing: An Emily Dickinson Suite(E. Dickinson; Eng: ssa, pf; Treble Clef TC-207)

• Janika Vandervelde: Dance Ablaze! (Jody Johnson; Eng; ssaa opt.perc; Earthsongs S-190), Positive Women: Susan (SusanGladstone; sa, vln, narrator; Earthsongs W-29)

• Naomi Stephan: O virtus Sapientie / O Excellence of Wisdom(Hildegard of Bingen; L; ssa, vibraphone, marimba; Treble ClefTC-209); Hodie (Hildegard von Bingen; L; sssaa, 2 sop; TrebleClef TC-127)

CanadaEleanor Daley, based in Toronto, has garnered quite an

enthusiastic following for her scores. From her larger work Requiem,comes In Remembrance, originally voiced for mixed choir, nowavailable for women. The text, often cited as 'anonymous,' is nowknown to be by Mary Elizabeth Frye: "Do not stand at my grave andweep, I am not there, I did not sleep; I am a thousand winds thatblow, I am the diamond glint on snow..." The imagery is treatedlargely homophonically with great lyric sensitivity and rubato. TheGate of the Year, scored for ssaa and soloist sets Minnie Haskinsuplifting text, "Give me a light that I may tread safely into theunknown. Lux aeterna." Ruth Henderson'sWhen I am an Old

Woman is pure fun! Nancy Telfer's Fireworks literally embodies insound-syllables a fireworks display complete with crackling, fizzing,popping and explosions of vocal colors! Rachel Sauvé's Automne,beautiful settings of ancient Japanese texts, is a hidden gem.

• Eleanor Daley: In Remembrance (Mary Elizabeth Frye; Eng; ssaa;3'; Alfred Music VG-272); The Gate of the Year (Minnie LouiseHaskins; Eng; ssaa, S solo; Walton Music); Echo (ChristinaRossetti; Eng; ssaa, pf; Alliance #639)

• Ruth Watson Henderson:When I Am an OldWoman, I ShallWear Purple (Jenny Joseph; Eng; sa-div, pf; Roger Dean15/2594R); Landscape (Lucy Jun; Eng; ssaa,pf; Treble ClefTC-264)

• Nancy Telfer: Butterfly (N. Telfer; Eng; Eng; ssa acap; EarthsongsS-27), Fireworks (N. Telfer; syllabic; sssaaa; 5'; Edition ChorisMundi #11.07.149).

• Rachel Sauvé: Automne: Trois Poèmes Japonais (anon; ssa-div;www.myspace.com/rachelsauve)

EuropeFinland has experienced a strong resurgence in ancient women's

texts and traditions, which, in turn, has influenced the creation ofmany new settings and arrangements of these stories and texts forwomen's ensembles, including: Riikka Talvitie: Jako (HelenaSinervo; Fin; ssaa; 5'; Sulasol);Mia Makaroff: Namnlösa klippan andKämpande: För att minas (Heidi von Wright; Swe; ssaa; Sulasol);Kynnykselia (M. Makaroff ); Tellu Turkka: Enkelit / Angels,Minnekauneus katosi, Etsijä / Seeker,Mehiläinen (ssaa-div; Sulasol);Others: Säde Rissanen, Liisa Matveinen, Anna Mari KähäräSweden's Karin Rehnqvist has set a number of texts by Edithe

Södergran, a Swedish-speaking Finn, who endured the RussianRevolution, extreme poverty and died of the effects of tuberculosis at31: Ingenting / Nothing (Edith Södergran; Sw/Eng; ssaa, alto fl; 6';Ed. Reimers); Ljusfålten / Fields of Light (Edith Södergran; Sw; ssaa;2'; Ed. Reimers); Trumf att finnas till / A Triumph to Exist (EdithSödergran; Sw; ssaa; 11';Ed. Reimers). Susanne Rosenberg,recognized as a leader in Sweden's various folk traditions, has anynumber of folk-inspired settings (www.susannerosenberg.com).One of Estonia's most important living composers is Ester Mägi.

Two of her 8 treble scores have texts by female writers (SPMuusikaprojekt #2504 – Mägi collection): Kauge maa / A DistantLand (Katrin Väli; Est; ssaa; 2'), Kevad-sonett / Spring Sonnet (MarieUnder; Est; ssaa; 3'). So alsoMiina Härma's Ei saa mitte vaili olla / ICannot Remain Silent (Anna Haava; Est; ssaa; 2').

49

ICB Repertoire

Lumina (USA), Marian Dolan - conductor

Photo:Jim

Hardesty

50 based on the poetry of Jean Kenward. Phillips also set three EmilyDickinson texts in the score Sea Pieces for ssa choir.

AustralasiaAustralian Sandra Milliken's (www.sandramilliken.com.au) "by-

for-of" scores include a setting of her own text in The Gift (ssaa or sa,pf; Sulasol) and 5 piece collection Lumi ja jää / Snow and Ice for ssaato texts by Kirsi Reinikka (Sulasol), a Finnish professor at the Univ.of Queensland in Australia. The Gift is about "looking for thebeauty in everything, especially the small things, like in nature, in thetiniest flowers. I think that finding beauty in music can also be foundin the smallest details - word painting, nuanace, etc." New Zealand"by-for-of" scores include Train Song by Cheryl Camm(www.cherylcamm.co.uk) for sssaa to a text by Lauris Edmond,Jenny McLeod's settings of Janet Frame's poetry, and Dorothy Ker'sclose-up of a daisy (ssaa) to a text by Ruth Dallas.So for all of you who conduct women's ensembles, have a grand

time planning "of, by, for" programs. And please send meinformation on your favorite scores for a second "of, by, for" column!

Marian E. Dolan is founding Artistic Director of The Choir Projectbased in Naples, Florida (USA), has edited international choral scoresfor four publishers, and was IFCM’s chairperson for Voices Conferencesin South Africa and the Baltics. She holds MM, MMA and DMAdegrees in choral conducting from Yale University and was on the facultyof Emory University (Atlanta). She also leads honor choirs, workshops,and repertoire sessions both in the U.S. and abroad, and hascommissioned over 35 new choral scores.E-mail: [email protected] •

In an "of-by-for" review, one would naturally think of thestunning chants and texts by medieval German abbess Hildegard vonBingen. Contemporary German composer Sylke Zimpel's(www.sylkezimpel.de) treble scores frequently appear on Europeanfestival and competition lists. Most are published by Edition ChorisMundi (ECM). Some examples include: Antwort (Rose Ausländer;Ger; ssa; 1'20; ECM-11.09.189); ... dass Töne tragen können(Hildegard Jahn-Reinke; Ger; ssa, S solo; 1'25; ECM-11.06.102);Und oben schwimmt die Sonne davon (Elisabeth Borchers; Ger; ssa,solos, speaker and sound-bowl; 12-score cycle, ECM-31.06.104-115); Dreistufige Drohung (Sarah Kirsch; Ger; ssa; 1'20; ECM-11.09.101).The land of the Scots, in song and text and tradition, is embodied

Sheena Phillips' scores by-of-for women (published bywww.canasg.com or www.sheenaphillips.com). Incantation for ssa,is the traditional Gaelic invocation of St. Brigit. Land o' the Leal(ssaa) is an arrangement of Lady Nairne's lullaby and lament for alost child. TheWinter Wood (ssa, pf ) is a 10 minutes, 3-part cantata

Repertoire

...Triple Play: Choral Scores Of, By and ForWomen

Philomela (Finland), Marjukka Riihimaki - conductor

Photo:DolfRabus

The Kensington Chorale (South Africa), Lizl Gaffley - conductor

Photo:Zaan

Bester

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Events

EventsCompiled by Nadine Robin

I. Conferences, Workshops & Masterclasses

II. Festivals & Competitions

We are pleased to provide these lists ofinternational festivals, competitions,conferences, workshops and master classesto our members. They are based on thebest information available to us. However,we advise you to check the specific detailswith the organizers of the individual eventthat you may be interested in attending.

IFCM does NOT specifically recommendany of the events listed. However, weencourage you to check with the ‘ChoralFestival Network’(www.choralfestivalnetwork.org) whosemembers have signed the IFCM “TotalQuality Charter”, which is an agreementto follow the minimum requirements ofquality, transparency and fairness forchoral festivals.

Please submit event information forpublication to:

ICCM - IFCMAttn. Nadine Robin2 Avenue Jean 1er5000 Namur, BelgiumE-mail: [email protected]

Masterclass for Choral Conducting with MaríaGuinand & Frieder Bernius, Hanover, Germany, 20-24 May 2010. Repertoire: South and NorthAmerican Choir Music with Mrs. Guinand(Venezuela) and Motetten by J.S. Bach, the Bachfamily and Homilius with Frieder Bernius(Germany). Choir in residence: JungesVokalensemble Hanover, cond. Klaus-Jürgen Etzold.Contact: Arbeitskreis Musik in der Jugend AMJ, Tel:+49-5331-46016, Fax: +49-5331-43723, Email:[email protected] - Website:www.amj-musik.de

The Japan Choral Association National Workshop2010, Sapporo, Hokkaido, Japan, 2-4 May 2010.Asia-Pacific choral workshop with Javier Busto(Spain). Lectures also given by some prominentJapanese choral conductors and composers. Contact:Japan Choral Association, , Fax: +81-3-54217151,Email: [email protected] - Website:www.jcanet.or.jp/inter/ncw2010_info_eng.html

International Voice Workshops with RichardArmstrong, Banff, Alberta, Canada, 24-26 May2010. Introductory workshop focusing on exploringand expanding range and character, and emphasizesgood use of breath, body alignment, and physicalgrounding. Contact: The Banff Centre, VictoriaEvans, Tel: +1-403-7626157, Email:[email protected] - Website:www.banffcentre.ca

World Conference on Arts Education, Seoul,Republic of Korea, 25-28 May 2010. Follow-up tothe First World Conference on Arts Education(Lisbon, Portugal, March 2006), highlighting thesignificant role of arts education within and outsidethe school environment as well as to further advocatethe importance of arts education to the internationalcommunity. Contact: Conseil International de laMusique, Tel: +33-1-45684850, Fax: +33-1-43068798, Email: [email protected] - Website:www.unesco.org/imc

International Voice Workshops with RichardArmstrong, Banff, Alberta, Canada, 28 May-6 June2010. Advanced workshop focusing on exploring andexpanding range and character, and emphasizinggood use of breath, body alignment, and physicalgrounding. Contact: The Banff Centre, VictoriaEvans, Tel: +1-403-7626157, Email:[email protected] - Website:www.banffcentre.ca

Music at Monteconero, Ancona, Italy, 13-19 June2010. A week of early music with Eamonn Dougan,for competent choral singers, in a former Camaldoliteabbey on the Adriatic near Ancona. The general aimis to assemble a chamber-scale choir capable ofperforming demanding music to a high standard, in arelaxed and convivial setting. Contact: LacockCourses, Andrew van der Beek, Tel: +44-1249-730468, Email: [email protected] - Website:www.lacock.org

Chorus America Conference 2010, Atlanta, Georgia,USA, 16-19 June 2010. Plenary sessions, workshops,concerts, etc. Contact: Chorus America, JonasCartano, 1156 15th Street, N.W., #310, Washington,DC 20005 1704, USA. Tel: +1-202-3317577 ext.247, Email: [email protected] - Website:www.chorusamerica.org

Summer Choral Composers Forum, LehighUniversity, Bethlehem, Pennsylvania, USA, 20-27June 2010. The American Choral DirectorsAssociation and Lehigh University co-sponsor thisevent where aspiring composers work in a supportiveatmosphere, workshopping new pieces with mentor-composers Chen Chi and Steven Sametz. Contact:American Choral Directors Association, Tel: +1-405-2328161, Fax: +1-405-2328162, Email:[email protected] - Website: http://acda.org

English Weekend, Amsterdam, Netherlands, 26-27June 2010. Choral evensong in Amsterdam's famousOude Kerk. Contact: Andrew van der Beek, Tel: +44-1249-730468, Email: [email protected] - Website:www.lacock.org

Nordic Choir and Cultural Festival, Århus,Denmark, 29 June-4 July 2010. Masterclass withFrieder Bernius (Stuttgart), choirs in residence: theDanish National Radio Ensemble and the VocalgroupConcert Clemens. International Study Tour withGrete Pedersen (NO), Morten Schuldt-Jensen(DK/DE), Jens Johansen (DK) and others. Concertswith the Danish National Radio Choir and TrioMedieval (Norway). Apply before: 1 March. Contact:DAM (Danish Amateur Music), , Email:[email protected] - Website: www.nkkf.dk

51st National Association of Teachers of SingingNational Conference, Salt Lake City, Utah, USA, 2July 2010. Featuring Kristin Chenoweth, Tim Sharp,Courtney Huffman, Stephen King, Carol Kimball,Stephen Austin, Ingo Titze, D.D. Michael, Kurt-Alexander Zeller, Norman Spivey, and Lynn Eustis.Pre-Conference workshops on foreign languagediction pedagogy and reading a spectrogram, usingvisualization software in your studio, plus otherbreakout sessions on various topics of interest.Contact: National Association of Teachers of Singing,Tel: +1-904-992 9101, Fax: +1-904-262 2587, Email:[email protected] - Website: www.nats.org

Masterclass for Choir Conductors, Varese, Italy, 3-7July 2010. Lecturer: Johannes Prinz, with theparticipation of the Varese Chamber Choir. Focus onRomantic and Contemporary Music. Contact:Gabriele Conti, , Fax: +39-0332-255038, Email:[email protected] - Website:www.comune.varese.it/liceomusicale

Oxford Early Music Workshop, United Kingdom, 4-9 July 2010. A workshop week on early Tudorperformance practice led by Andrew Parrott. Themusic will include the Mass Videte miraculum byNicholas Ludford. Contact: Andrew van der Beek,Tel: +44-1249-730468, Email: [email protected] -Website: www.lacock.org

Come and Sing! For the Restoration of St.Stephen's, Vienna, Austria, 8-10 July 2010. ArtisticDirector: Gerald Wirth (Vienna Boys Choir).Workshop piece: Coronation Mass KV 317 (W.A.Mozart). Contact: Kunst & Kultur - ohne Grenzen,Tel: +43-1-586 7308, Fax: +43-1-595 2725, Email:[email protected] - Website:www.kunstkultur.com

Early Music Summer Workshop, Namur, Belgium,12-17 July 2010. Singing class by Gréta de Reyghereand Claire Lefilliâtre, vocal polyphony by BrunoBoterf, masterclass bel Canto by Marcel Vanaud.Contact: Métamusique, Benoit Douchy, coordinator,Tel: +32-67-844667, Email:[email protected] - Website:www.metamusique.com

53

ICB Events

Conferences, Workshops & Masterclasses

Events

54 European Seminar for Young Choral Composers,Aosta, Italy, 18-24 July 2010. For composers andaspiring composers interested in choral music andchoral conductors with composition and elaborationexperience. Contact: FENIARCO (Italian Federationof Regional Choir Associations). Tel: +39-0434-876724, Fax: +39-0434-877554, Email:[email protected] - Website: www.feniarco.it

California American Choral Directors AssociationSummer Conference at ECCO, Oakhurst,California, USA, 25-28 July 2010. HeadlinerClinician Rollo Dilworth. Contact: CaliforniaAmerican Choral Directors Association, Tel: +1-707-255 8012, Email: [email protected] -Website: www.acdacal.org/default.htm

Choral Conducting and Vocal Group Technique,Freiburg, Germany, 28 July-7 Aug 2010. WithVolker Hempfling, Sabine Horstmann, WelfhardLuaber, Michael Reif and Maria Tönnesmann. Applybefore: 15th April 2010. Contact: Arbeitskreis Musikin der Jugend, Tel: +49-5331-46016, Fax: +49-5331-43723, Email: [email protected] -Website: www.amj-musik.de

Texas Choral Directors Association 55th Conventionand New Music Reading Clinic, San Antonio, Texas,USA, 28-31 July 2010. Convention headliners: JohnRutter, Rollo Dilworth, Lynne Gackle, TimLautzenheiser. Convention offers 13 new musicreading sessions, 30+ workshops including specificallydesigned workshops for students, Student Day, and atrade show with over 300 exhibitors. Contact: TexasChoral Directors Association, Tel: +1-512-474 2801,Fax: +1-512-474 7873 - Website:www.eventbrite.com/contactorganizer?eid=541617994

Sarteano Chamber Choral Conducting Workshop,Sarteano, Italy, 31 July-7 Aug 2010. For fullconductors, conducting auditors and singers. Vocalpedagogy ensemble work with Bronislawa Falinskautilizing the Rohmert method of functionalvoicetraining, and clinics on developing a vitalchamber choir with Brian O'Connell. Contact:Sarteano Chamber Choral Conducting Workshop,Tel: +1-781-6520158, Email:[email protected] - Website:www.sarteanochoralworkshop.com

Corsham Consort Workshop, Corsham, Wiltshire,United Kingdom, 1-6 August 2010. A week of one-to-a-part consort singing in Corsham (near Lacock inWiltshire) with JanJoost van Elburg. Contact: Andrewvan der Beek, Tel: +44-1249-730468, Email:[email protected] - Website: www.lacock.org

Rimini International Choral Workshop, Italy, 22-29Aug 2010. For advanced choristers and conductors.With Peter Phillips (Tallis Scholars), GhislaineMorgan and Andrea Angelini. Repertory focused onRenaissance Sacred Music. Final concert and diploma.Individual vocal tuition. Contact: Musica Ficta, Tel:+39-347-2573878, Email: [email protected] -Website: www.musicaficta.org

English Weekend, Dordrecht, Netherlands, 4-5 Sep2010. Choral evensong in Dordrecht's historic GroteKerk. Contact: Andrew van der Beek, Tel: +44-1249-730468, Email: [email protected] - Website:www.lacock.org

North Carolina American Choral DirectorsAssociation Fall Conference, UNC GreensboroSchool of Music, Greensboro, North Carolina, USA,17-18 Sep 2010. Clinician: Dr. Jerry Blackstone.Contact: North Carolina American Choral DirectorsAssociation, - Website: www.ncacdaonline.org/

2010 Berlin International Masterclass, Berlin,Germany, 1-6 Oct 2010. For highly qualified youngchoral conductors. Individual work with SimonHalsey (UK) and Joe Miller (USA) followed by 3 dayswith Rundfunkchor Berlin. Repertoire: O magnummysterium (Morten Lauridsen), Hymn to St. Cecilia(Benjamin Britten), Agnus Dei (Samuel Barber), NoxAurumque (Eric Whitacre), Vollendet ist das großeWerk - Die Schöpfung (Joseph Haydn), movt. 6 - Eindeutsches Requiem (Johannes Brahms), Ave Maria -Quattro pezzi sacri and Sanctus - Messa da Requiem(Giuseppe Verdi), Symphony of Psalms (IgorStravinsky). Contact: Rundfunkchor Berlin, SimonHalsey, Tel: +49-30-202987 330, Fax: +49-30-202987 40 - Website: www.runfunkchor-berlin.de

Singing in Venice, Italy, 10-15 Oct 2010. A week ofVenetian music directed by Erik van Nevel. Thecourse will be held in the Centro Culturale DonOrione Artigianelli. Contact: Andrew van der Beek,Tel: +44-1249-730468, Email: [email protected] -Website: www.lacock.org

One Song Sacred Music Workshop, Marietta FirstUnited Methodist Church, Atlanta, Georgia, USA,21-23 Oct 2010. Co-sponsored by the AmericanChoral Directors Association and American ClassicTours and Music Festivals, this unique, affirminglearning experience is designed to impact professional,amateur, and bi-vocational conductors who leadchoirs in sacred spaces. Includes ample lab time withone-on-one conducting coaches, literature for “reallife” situations, technology for learning, musicalliteracy, administration/time management,approaching major works, rehearsal strategy, andnetworking/mentoring. Contact: American ClassicTours and Music Festivals, Tel: +1-800-733 8384,Email: [email protected] - Website:www.amclass.com

Management in International Choral Events, Saint-Lô, France, 26 Oct-2 Nov 2010. Study Tour foryoung choral managers and every person interested inchoral management at an international level. Incollaboration with Europa Cantat. Apply before 28Feb. Contact: Polyfollia, Tel: +33-2-31736919,Email: [email protected] - Website:www.polyfollia.org

Hay-On-Wye Winter School, United Kingdom, 28Dec-2 Jan 2010. A week of music-making for choralsingers with Paul Spicer. The music will be a mixtureof renaissance settings of Christmas texts andBruckner, Howells and two of James Macmillan'sStrathclyde motets. Contact: Andrew van der Beek,Tel: +44-1249-730468, Email: [email protected] -Website: www.lacock.org

9th World Symposium on Choral Music, PuertoMadryn, Patagonia, Argentina, 3-10 Aug 2011.Organized by the CIC Foundation in cooperationwith ADICORA: the major IFCM event. Motto:"Singing in Nature". Contact: , Tel: +54-2965-439232, Email: [email protected] - Website:www.wscm9.com

...Conferences, Workshops & Masterclasses

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Events

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...Festivals & Competitions

5th International Leevi Madetoja Male VoiceChoir Competition and Choral Weekend, Espoo,Finland, 16-18 Apr 2010. International choircompetition for male voice choirs, gala concertsand possibility for additional performances. Applybefore: 31 Oct 2009. Contact: Finnish Male VoiceChoir Union, Sanna-Mari Hiekka, Tel: +358-10-8200236, Fax: +358-10-8200222, Email:[email protected] - Website:www.mieskuoro.fi/madetoja2010/en

2nd International Choral Competition forChildren's Choirs "Il Garda in Coro", Malcesinesul Garda, Verona, Italy, 20-24 Apr 2010.Children must be born after 1 Jan 1992. Twocategories: secular and sacred music. Contact:Associazione Il Garda In Coro, Renata Peroni,Tel: +39-045-6570332, Fax: +39-178-6017432,Email: [email protected] - Website:www.ilgardaincoro.it

International Choir and Folksong Choir Festival,Bratislava, Slovak Republic, 22-25 Apr 2010.Competition, workshop, concerts in the Bratislavachurches. Contact: Bratislava Choral Agency, Tel:+421-905-111827, Fax: +421-265-957054,Email: [email protected] - Website:www.choral-music.sk

4th International Choir and Folksong ChoirFestival Slovakia Cantat 2010, Bratislava, SlovakRepublic, 22-25 Apr 2010. For all categories.Contact: Bratislava Choral Agency, Tel: +421-905-111827, Fax: +421-265-957054, Email:[email protected] - Website: www.choral-music.sk

Women in Song, Seattle, USA, 22-25 April 2010.Artistic Director: Morna Edmundson. FestivalDirector: Steve Stevens. Contact: ACFEA ToursConsultants, Rachel Flamm, Tel: +1-800-6272141, Fax: +1-425-6728187, Email:[email protected] - Website: www.acfea.com

Charleston International Choral Festival, SouthCarolina, USA, 22-25 Apr 2010. Contact: MusicContact International, , Fax: +1-802-8622251,Email: [email protected] -Website: www.music-contact.com

Corhabana, Havana, Cuba, 23-27 Apr 2010.Performances throughout Havana in the vibrantCuban culture. Contact: Music ContactInternational, , Fax: +1-802-8622251, Email:[email protected] - Website: www.music-contact.com

16th Torrevieja Habaneras Contest forChildren's and Youth Choirs, Torrevieja(Alicante), Spain, 23-25 Apr 2010. Competitiondeveloping new generations of singers. Contact:Aurelio Martínez López, Tel: +34-965-710702,Fax: +34-965-712570, Email:[email protected] - Website:www.habaneras.org

56th Cork International Choral Festival, Ireland,28 Apr-2 May 2010. Opportunity to compete inthe prestigious Fleischmann International TrophyCompetition. Open to any choir of internationalstanding (except specifically children's choirs).Contact: Cork International Choral Festival, Tel:+353-21-4223535, Fax: 353-21-4223536, Email:[email protected] - Website: www.corkchoral.ie

8th Venezia in Musica, Choir Competition andFestival, Venice, Italy, 28 Apr-2 May 2010. For allkinds of choirs from all around the world.Contact: Interkultur Foundation, Tel: +49-6403-956525, Fax: +49-6403-956529, Email:[email protected] - Website:www.interkultur.com

European Music Festival for Young People, 58thVocal Festival, Neerpelt, Belgium, 30 Apr-3 May2010. 7 categories, age limit 25 yrs. Contact:Europees Muziekfestival voor de Jeugd, Tel: +32-11-662339, Fax: +32-11-665048, Email:[email protected] - Website: www.emj.be

Christmas Carol Competition 2010, Edinburgh,United Kingdom, 21 May 2010. Open tocomposers, both new and established, who will beinvited to submit a carol of up to 4 minutesduration for performance by SATB choir. The jurywill be composed by Bob Chilcott, JamesMacMillan and Simon Woods. Contact: WaverleyCare, Tel: +44-131-556 9710 - Website:www.waverleycare.org

1st Choral Competition Voci d'EuropaInternational Prize, Porto Torres, Italy, 1 May2010. For 8 amateur choirs, mixed, male or femalechoirs and choral groups made up by a maximumof 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 protected] - Website:www.coroturritano.altervista.org

13th International Julio Villarroel Choir Festival,Isla de Margarita, Venezuela, 4-8 May 2010. Noncompetitive Festival. Concerts, workshops andconferences by famous conductors from Venezuelaand abroad. Contact: The Julio VillarroelFoundation, Tel: +58-416-6955740, Fax: +58-295-2625048, Email: [email protected] -Website: www.festivaljuliovillarroel.com.ve

International Choir Festival, Porec, Croatia, 6-9May 2010. Contact: Adriatic Music Festivals,Tel: +385-52-452 456, Fax: +385-52-434 055,Email: [email protected]

6th America Cantat Festival, Juiz de Fora, Brazil,7-17 May 2010. Renowned choirs of local andinternational prestige engaged in artistic andacademic activities. Apply before 15 Dec 2009.Contact: , , Email: [email protected] -Website: www.ufjf.br/americacantat

7th European Festival of Youth Choirs, Basel,Switzerland, 12-16 May 2010. Tri-annual festivalfor 18 selected youth and children’s choirs (age-limit 25) from European countries. Nocompetition. Over 20 choral-concerts in churches,concert halls and open air in Basel and thesurrounding region for more than 20’000spectators. Workshop day for all participatingchoirs, open singing, party for the singers, oneweek workshop for music students in conductingchildren and youth choirs organized by Swissmusic academies. Contact: EuropäischesJugendchor Festival Basel, Kathrin Renggli, Tel:+41-61-4012100, Fax: +41-61-4012104, Email:[email protected] - Website: www.ejcf.ch

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ICB Events

Festival Musica Sacra in Venezia, Italy, 13-17May 2010. For choirs and orchestras with sacredmusic repertoire. Contact:MusikReisenFaszination Chor- undOrchesterreisen, , Email: [email protected] - 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 amax. of 16 voices) or choir with instruments(choir as above, and free-chosen instruments from1 up to max. 4 instruments by choice). Contact:Competition secretariat, Tel: +39-0575-356203,Fax: +39-0575-324735, Email:[email protected] - Website:www.polifonico.org

The Esoterics' Polyphonos 2010-2011Competition, Seattle, USA, 15 May 2010.Dedicated to performing and perpetuatingcontemporary a cappella choral settings of poetry,philosophy, and spiritual writings from around theworld. Apply before 15 May. Contact: TheEsoterics POLYPHONOS, Tel: +1-206-9357779,Fax: +1-206-9357779, Email:[email protected] - Website:www.theesoterics.org/polyphonos/

6th International Choir Festival Mundus CantatSopot 2009, Sopot, Poland, 19-23 May 2010. Forchoirs from all over the world. Exchange ofcultural traditions, strengthening natural humanbonds. Contact: Festival Office Mundus CantatSopot, Tel: +48-58-5558458, Fax: +48-58-5558442, Email: [email protected] -Website: www.munduscantat.sopot.pl

5th International Sacred Music Festival,Bratislava, Slovak Republic, 20-23 May 2010.Competition, workshop, concerts in the Bratislavachurches. Contact: Bratislava Choral Agency, Tel:+421-905-111827, Fax: +421-265-957054,Email: [email protected] - Website:www.choral-music.sk

4th International A CAPPELLA Contest,Leipzig, Germany, 20-22 May 2010. Open toyoung talented vocal groups (3 to 8 singers) of allnationalities (max. age of 28 yrs). All groups willcompete in one category, with as well as withoutamplification. Apply before 15 Feb. Contact:International A CAPPELLA Contest Leipzig, Tel:+49-341-2192 186, Fax: +49-341-9107 5576,Email: [email protected] - 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

Festival de la Voix, Châteauroux, France, 21-23may 2010. Concerts, workshops, open stages.Contact: CEPRAVOI, Tel: +33-2-47507002, Fax:+33-2-47507065, Email: [email protected] -Website: www.cepravoi.fr

1st Cantapueblo Villa Carlos Paz, Songs of theBicentennial, Cordoba, Argentina, 22-25 May2010. In honor of Ariel Ramirez. Workshop: bodyand voice. Closing concert with Hugo de la Vega.Contact: Fundación Coppla, Alejandro Scarpetta,Tel: +54-261-4295000, Fax: +54-261-4295000,Email: [email protected] - Website:www.cantapueblo.com.ar or www.coppla.org.ar

39th International Competition "Florilège Vocalde Tours", France, 28-30 May 2010. Limited toensembles from 12 to 40 choristers. 3 Rounds:Qualification (a cappella) on Friday– Final Round(including one piece possibly with piano) onSaturday – Grand Prix (on Sunday). The absolutewinner will be nominated for the 2010 EuropeanGrand Prix. 4 categories: mixed choirs, equalvoices (male or female), mixed vocal ensembles,and free program / Prix spécial Renaissance / Prizefor a first production work. Contact: FlorilègeVocal de Tours, Tel: +33-2-47216526, Fax: +33-2-47216771, Email: [email protected] -Website: www.florilegevocal.com

8th Malaysian Choral Eisteddfod 2010, KualaLumpur, Malaysia, 31 May-7 June 2010.International children's & youth choircompetition & symposium. Contact: InterkulturFoundation e.V., Tel: +49-6403-956525, Fax:+49-6403-956529, Email: [email protected] -Website: www.interkultur.com

Solevoci A Cappella International Contest 2010,Varese, Italy, 5-6 June 2010. Exclusively for Jazz,Pop and Gospel a cappella vocal groups. Applybefore 1 March 2010. Contact: AssociazioneCulturale Solevoci, Tel: +39-332-260869, Fax:+39-332-260869, Email: [email protected] -Website: www.solevoci.it

International Krakow Choir Festival, Krakow,Poland, 10-13 June 2010. Open to all amateurchoirs in the following categories: mixed and equalvoices adult choirs, youth and children choirs,chamber choirs, Gospel, Negro Spirituals, Popularand Barbershop ensembles, sacred music. Contact:International Krakow Choir Festival MELODY,Tel: +48-22-641 6157, Fax: +48-22-641 6157,Email: [email protected] - Website:www.krakowchoirfestival.pl

6th The Loto-Quebec World Choral Festival andWorld Choral Competition, Laval, Québec,Canada, 17-27 June 2010. Annually more than300 concerts, 10 000 choristers, 500 000spectators. Be part of the largest gathering ofchoirs and vocal ensembles in America. Get freeaccess to Choral Village, workshops, friendshipconcerts, morning sing, many services and showsand preferential rates on accommodations,tourism activities. Areas specifically conceived tofavour networking and cultural exchanges. Comesing with us; all levels, all repertoires, all ages; gettogether in our grand competition next summer.Contact: Le Mondial Choral Loto-Québec, Tel:+1-888-9359229, Fax: +1-888-9381682, Email:[email protected] - Website:www.mondialchoral.org

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Kodály Zoltán" International children's ChoirFestival, Komló, Hungary, 18-20 June 2010. Forchildren's choirs (age 16 in 2009/2010).Categories: Polyphonic, folklore and spiritualmusic. Contact: Kodály Zoltán" Internationalchildren's Choir Festival, Eva Horváth, secretaryof the festival, Tel: +36-72-482196, Fax: +36-72-482196, Email: [email protected] - Website:www.khszinhaz.hu

13th Pacific International Children's ChoirFestival (PICCFEST), Eugene, Oregon, USA, 22-28 June 2010. Lynn Gackle guest conductor andPeter Robb artistic director. Non-competitiveevent. All participating choirs present 3performances plus festival chorus performances atthe Oregon Bach Festival and the PICCFEST GalaConcert. Space limited to 10 choirs. Applicationsnow accepted for PICCFEST 2010 andPICCFEST 2011 (with guest conductor BobChilcott). Contact: Oregon Festival Choirs, Tel:+1-541-4659600, Fax: +1-541-4654990, Email:[email protected] - Website:www.piccfest.org

13th Alta Pusteria International Choir Festival,Alto Adige-Südtirol, Italy, 23-27 June 2010.Non-competitive festival in the heart of theDolomites: concerts, open-air reviews, day-meetings. Contact: Alta Pusteria Festival Office,Tel: +39-06-33652422, Fax: +39-06-33652422,Email: [email protected] - Website:www.festivalpusteria.org

Sing A Mile High Children's Choral Festival,Denver, CO, USA, 24-28 June 2010. PaulCaldwell, guest conductor and Jena Dickey,resident conductor. Non-competitive festival forTreble-voiced choirs. Massed and individual choirrehearsals before performances in the finaleconcert. Contact: Young Voices of Colorado, Tel:+1-303-7977464, Fax: +1-303-7940784, Email:[email protected] - Website:www.youngvoices.org

Rotonda con Esprit International Choir andOrchestra Festival, Eisenstadt and Vienna,Austria, 24-27 June 2010. Festival devoted toJoseph Haydn in the cultural and human vibrancyof the Austrian State of Burgenland. Contact:Cultours Carl Pfliegler, Tel: +43-662-821310,Fax: +43-662-821310-40, Email:[email protected] - Website: www.cultours-europe.com

International Choral Festival in Tuscany,Montecatini, Italy, 24-28 June 2010. For all kindof choirs. Contact: Musica Mundi Concert Tours,Tel: +1-650-949-1991, Fax: +1-650-949-1626,Email: [email protected] - Website:www.musicamundi.com

International Choir Festival "Cantemus",Zrenjanin, Serbia, 24-29 June 2010. Non-competitive festival for choirs in all categories.Contact: International Music Center, Tel: +381-2363-993, Fax: +381-2363-993, Email:[email protected] [email protected]

11th Crescent City Choral Festival, NewOrleans, USA, 25 June 2010. For treble chorus(age range between 10 & 18). Conductors: CherylDupont and David Brunner. Contact: NewOrleans Children's Chorus, Tel: +1-504-8330575, Email: [email protected] - Website:wwwneworleanschildrenschorus.org

6th International Cantus MM Festival of SacredMusic, Vienna, Austria, 25-28 June 2010.Performing festival in Vienna and surroundings.Contact: Chorus MM, Tel: +43-662-645972, Fax:+43-662-645972, Email: [email protected] -Website: www.chorus2000.com

International Children's Choir Festival, SanMiguel de Allende, Mexico, 28 June-4 July 2010.Concerts, ensemble workshops with Henry Leck,excursions. Contact: Musica Mundi ConcertTours, Tel: +1-650-9491991, Fax: +1-650-4723883, Email: [email protected] -Website: www.musicamundi.com

International Choir Festival of Preveza,International Competition of Sacred Music,Preveza, Greece, 1-4 July 2010. For mixed, equalvoices', children's, chamber vocal ensembles,mixed youth choirs & choirs of Byzantine chant.Repertory must include a compulsory piece, apiece composed before 1800, a piece composedduring 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 protected] - Website:www.choralpreveza.gr

12th International Cantus MM Choir andOrchestra Festival, Salzburg, Austria, 1-4 July2010. 10 selected choruses or orchestras of any ageand composition (also dance groups).Performances in Salzburg and surroundings.Contact: Chorus MM, Tel: +43-662-874537, Fax:+43-662-874537-30, Email: [email protected] -Website: www.chorus2000.com

DreamVoices of Youth – International ChoirFestival for Children and Youth, Skagafjordur,Iceland, 1-5 July 2010. For children from 10 to15 and youth from 15 to 29. Contact:DreamVoices, Tel: +354-894 5254, Fax: +354-898 6364, Email: [email protected] -Website: www.dreamvoices.is

Summa Cum Laude International Youth MusicFestival, Vienna, Austria, 3-7 July 2010. Cross-cultural and musical exchange event includingworkshops, lectures, seminars, concerts in andaround Vienna, competition with an internationaland highly renowned jury. Contact: Summa CumLaude Youth Music Festival, Tel: +43-650-6192152, Fax: +43-1-968 5750, Email:[email protected] - Website:www.sclfestival.org

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 protected] - Website: www.fcec.cat

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60 47th International Choral Competition Castle ofPorcia, Spittal an der Drau, Austria, 8-11 July2010. 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: +43-4762-5650223, Fax: +43-4762-3237, Email:[email protected] -Website: www.singkreis-porcia.com

Orientale Concentus III, Yilan, Taiwan, 9-13July 2010. Competition for mixed, equal voices,children’s, folklore and chamber choirs. Organisedby the Singapore Federation of Choral Music andAce99 Cultural Pte Ltd. Artistic Director: NelsonKwei. Contact: ACE 99 Cultural Pte Ltd., RyanGoh, Tel: +65-9663-1325 or +65-9295-0777,Fax: +65-6449-6566, Email: [email protected] Website: www.ace99.com.sg

39th International Festival & Competition"Youth & Music in Vienna", Vienna, Austria, 10-13 July 2010. For youth choirs, bands andorchestras! The Festival program includes bandparades through the Inner City of Vienna, massconcerts on St. Stephen’s Square, individualconcerts for all participating music ensembles inVienna and surrounding, (Upper age limit: 29years). Contact: Association for InternationalCultural Exchange, Michael Haring, Tel: +43-664-1800905, Fax: +43-1-3175460, Email:[email protected] - Website:www.austrianfestivals.at

8th International Choral Festival Seghizzi,Gorizia, Italy, 12-19 July 2010. Every choir mustpresent one or two concert programs (maximumduration: about 1 hour); for example: a programof sacred music only and/or a program of profanemusic only. Contact: Associazione CoraleGoriziana "CA Seghizzi", Tel: +39-0481-530288,Fax: +39-0481-536739, Email: [email protected] -Website: www.seghizzi.it

Pacific Rim Children's Chorus Festival,Honolulu, Hawaii, 13-21 July 2010. 9-dayresidential program designed to provide treblechoirs an opportunity to experience the cultures ofthe Pacific Rim through their choral musicrepertoire in an interactive, non-competitiveenvironment. Contact: Pacific Rim MusicResources, Wanda Gereben, Tel: +1-808-5950233, Fax: +1-808-5955129, Email:[email protected] - Website:www.PacRimFestival.org

28th International Music Festival, Cantonigròs,Spain, 15-18 July 2010. Competition andexhibition 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 protected] - Website: www.fimc.es

Rhapsody! Children’s Music Festival, Prague,Czech Republic and Vienna & Salzburg, Austria,15-26 July 2010. With guest conductor Ms. JanetGalván. Participating choirs will perform atfamous venues in three of Europe's most musicaland historical cities: Vienna, Salzburg, and Prague,highlighted by the Grand Final Concert. Choirswill enjoy a workshop, musical exchanges andsightseeing tours. Contact: Zhongjie Shi, ClassicalMovements, Inc., Tel: +1-703-6836040, Fax: +1-703-6836045, Email:[email protected] - Website:www.ClassicalMovements.com

6th World Choir Games, Shaoxing, China, 15-26July 2010. For all kinds of choirs from all aroundthe world. Contact: Interkultur Foundation, Tel:+49-6403-956525, Fax: +49-6403-956529,Email: [email protected] - Website:www.interkultur.com

49th International Competition of ChoralSinging Seghizzi, Gorizia, Italy, 16-18 July 2010.For choirs or musical groups. Categories:Renaissance, Baroque, 19th Century, 1900 to thepresent day, folk and traditional songs or spiritualsand gospels, pop and jazz music, contemporarymusic. 22nd Grand Prix Seghizzi 2010 - 3rdTrophy of the Nations special Categories. Contact:Associazione Corale Goriziana "CA Seghizzi", Tel:+39-0481-530288, Fax: +39-0481-536739,Email: [email protected] - Website: www.seghizzi.it

Neuchâtel International Choral Festival,Switzerland, 6-10 July 2010. Choral competitionopen to amateur ensembles selected on a strictcriteria by international jury members. Contact:Festival Choral International de Neuchâtel, Tel:+41-32-7302028, Fax: +41-32-7302028, Email:[email protected] - Website: www.fcin.ch

International Choral Kathaumixw, Powell River,Canada, 6-10 July 2010. Join adult, youth andchildren's choirs from around the world in 20concerts, competitions, common singing, seminarsand social events on the shores of Canada'smagnificent 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:[email protected] - Website:www.kathaumixw.org

Youth Choirs in Movement, Bonn, Germany, 7July 2010. Children’s and youth choirs, equalvoice and mixed, of all levels. Ateliers: easy musicfor kids in movement, singing and meditation,Broadway-Musicals for kids, modern and funnyGerman folk song arrangements withchoreography, "we will move you" cover versionsof famous rock songs, music from North Americaand Eastern Europe with choreography, s(w)ingingBoys (boys choirs in movement). Contact: EuropaCantat - European Federation of Young Choirs,Tel: +49-228-9125663, Fax: +49-228-9125658,Email: [email protected] - Website:www.EuropaCantat.org

International Youth Music Festival, Bratislava,Slovak Republic, 8-11 July 2010. Competition forchildren's and youth choirs, orchestras, and bands.Contact: Bratislava Choral Agency, Tel: +421-905-111827, Fax: +421-265-957054, Email:[email protected] - Website: www.choral-music.sk

Cantus Salisburgensis International Choir andOrchestra Summer Festival, Salzburg, Austria, 8-12 July 2010. Kaleidoscope of Nations andcultures interacting in the city of W.A. Mozart´sbirth. Contact: Cultours Carl Pfliegler, Tel: +43-662-821310, Fax: +43-662-82131040, Email:[email protected] - Website: www.cultours-europe.com or www.cantussalisburgensis.at


61Melodia! South American Music Festival, BuenosAires, Argentina and Rio de Janeiro, Brazil, 21July-2 Aug 2010. Guest conductor: Doreen Rao.Accepting applications from youth and children'schoirs (treble and mixed voices), as well as youthorchestras. Contact: Alessandra D’Ovidio,Classical Movements, Inc., Tel: +1-703-6836040,Fax: +1-703-6836045, Email:[email protected] - Website:www.ClassicalMovements.com

26th Takarazuka International Chamber ChorusContest, Takarazuka City, Hyogo, Japan, 23-26July 2010. For choirs with a minimum of 8 andmaximum of 20 singers, excluding conductor andaccompanists. Four categories: Renaissance,Romantic era, Folklore and Theater pieces. Nocompulsory pieces. Contact: TakarazukaInternational Chamber Chorus ContestCommittee - Takarazuka Foundation for CulturePromotion, Tel: +81-797-858844, Fax: +81-797-858873, Email: [email protected]

56th International Choral Contest of Habanerasand Polyphony, Torrevieja (Alicante), Spain, 23-30 July 2010. Outdoors habaneras, polyphony inthe auditorium "Eras de la Sal" on theMediterranean Sea coast. Apply before: 15 Feb2010. Contact: Certamen Int'l de Habaneras deTorrevieja, Tel: +34-965-710702, Fax: +34-965-712570, Email: [email protected] -Website: www.habaneras.org

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Events

62 IHLOMBE South African Choral Festival, CapeTown, Pretoria, Johannesburg & Game Park,South Africa, 28 July-9 Aug 2010. In associationwith CHORISA, the Choral Institute of SouthAfrica. Opportunity for 6 choirs, on each fromAsia, Africa, Europe, South Pacific, SouthAmerica, and Central/North America, to receive a10 nights' hosted festival package. Festivalincluding 24 choral directors, 16 workshops, 12concerts, 1000 participants, and 2 newcommissions each year. Contact: Jayci Thomas,Classical Movements, Inc., Tel: +1-800-8820025,Email: [email protected] - Website:www.ClassicalMovements.com

24th Béla Bartók International ChoirCompetition and Folklore Festival, Debrecen,Hungary, 28 July-1 Aug 2010. The onlycompetition in contemporary choral music for fivecategories. The winner of the Grand Prize will beinvited to the Competition for "The Grand Prixfor European Choral Music" held every yearalternately in Arezzo, Debrecen, Maribor, Tolosa,Tours and Varna. Folklore festival, world-premiers,church concerts, master classes and socialmeetings. Contact: Fonix Events Organizer NPO,Tel: +36-52-518400, Fax: +36-52-518404, Email:[email protected] - Website: www.bbcc.hu

8th International Choral Festival and 6thCompetition - The Singing World, St.Petersburg, Russia, 30 July-4 Aug 2010. Forchoirs and vocal ensembles of various styles, levelsand origins from all over the world. Eventpromoting long-term contacts among choirs.Contact: International Choral Festival andCompetition, Tel: +7-812-3283921, Fax: +7-812-3283921, Email: [email protected] [email protected] - Website:www.interfestplus.ru or www.singingworld.spb.ru

20th Choralies of Vaison-la-Romaine, France, 2-10 Aug 2010. Large non-competitive choirmeeting in the beautiful Roman town of Vaison.40 workshops for singers, 2 workshops forconductors, 100 concerts and all kinds of activitiesfor participants and conductors. Internationalstudy tours for choral managers during the festival.Contact: A Coeur Joie France, Tel: +33-4-72198340, Fax: +33-4-78434398, Email:[email protected] - Website:www.choralies.fr

World Peace Choral Festival Vienna 2010,Austria, 3-6 Aug 2010. Concerts, workshops,mass concert "singing for a better world!".Contact: World Peace Choral Festival, Tel: +43-1-2698 699-0, Fax: +43-1-2698 699-21, Email:[email protected] - Website: www.wpcf.at

1st Choir Competition Heart of Europe,Gelnhausen, Germany, 12-15 Aug 2010. 4categories, international jury, meeting and galaconcerts, choir parties, workshops, awards. Pleaseapply before: 31 Dec. Contact: 1st Heart ofEurope Choir Competition, OrganizationCommittee, Rapahel Trageser, Tel: +49-174-2793686, Email: [email protected] - Website:www.heartofeurope.de

Pécs Cantat 2010, Pécs, Hungary, 15-22 Aug2010. For choirs and individual singers. 6 int'lworkshops with focus on the Hungariancomposers: Kodály, Bartók and more. Possibleindividual concerts for choirs, final workshopconcerts, daily open singing. Contact: PécsCultural Centre, Tel: +36-72-510 655 - Website:www.pecscantat.hu

22nd Zimriya World Assembly of Choirs, MountScopus, Jerusalem, Israel, 16-24 Aug 2010. Opensinging, choir to choir sessions, concerts.Workshops: Aharon Harlap (Israel): Jewish andIsraeli Music; Michael Gohl (Switzerland): Songsof all Nations; Fred Sjöberg (Sweden): RomanticMusic; Anton Armstrong (USA): Afro-AmericanSpirituals; Theodora Pavlovitch (Bulgaria):Rhythms from the Balkans to the Jazz; StanleySperber (Israel): Mendelssohn - Psalm 42; VolkerHempfling (Germany): Mozart - Mass in C minor.Contact: ZIMRIYA, Tel: +972-3-6041808, Fax:+972-3-6041688, Email:[email protected] - Website:www.zimriya.org.il

6th International Choral Festival Mario Baeza,Valparaíso, V Región, Chile, 19-22 Aug 2010.Non competitive Festival for choirs in allcategories. Apply before 31 March. Contact:Waldo Aránguiz-Thompson, Tel: +56-2-6627689,Fax: +56-9-4917519, Email:[email protected] [email protected]

World Vision 2010 International Children’sChoir Festival, Seoul, South Korea, 24-30 July2010. From traditional and classical tocontemporary music festival. Artistic Director:Hee-Churl Kim. Contact: World Vision KoreaChildren's Choir, Tel: +82-2-2662 1803, Fax:+82-2-2661 2568, Email:[email protected] - Website:www.wvchoirfestival.or.kr

Taipei International Choral Festival, Taipei,Taiwan, 25 July-1 Aug 2010. 6 to 8 invited choirsfrom around the world, 20 local choirs fromTaiwan, world renowned choral conductors andscholars. Workshops for choral singers, masterclassfor conductors, lectures and session on choralmusic, sight-seeing tours. Contact: TaipeiPhilharmonic Foundation, Tel: +886-2-27733961, Fax: +886-2-27733692, Email:[email protected] - Website: www.tpf.org.tw

Hong Kong International Youth & ChildrenChoral Music Camp, Hong Kong, China, 26-31July 2010. Artistic Director: Prof. Leon Shiu-waiTong. Workshop and concert holding in bestvenues. Attractive accommodation fee, selectivetouring arrangement. Contact: Hong Kong TrebleChoirs' Association, Tel: +852-2381 9262, Fax:+852-2380 7302, Email: [email protected] Website: www.hktreblechoir.com

10th China International Chorus Festival,Beijing, China, 28 July-2 Aug 2010.Competition, concerts, workshops, culturalexchange programs on the theme "Forver Friends".For all kind of choirs. Contact: ChinaInternational Chorus Festival, Tel: +86-10-84038225, Fax: +86-10-8403 8226, Email:[email protected] - Website: http://en.cicfbj.cn/


638th International Youth Chamber ChoirMeeting, Usedom Island (Baltic Sea), Germany,20-29 Aug 2010. Girls' and youth choirs, max 35persons (incl. staff ). Age: 16-26. 3 Ateliers,concerts in churches and open air. Time to get toknow each other on the beautiful island ofUsedom. Contact: Arbeitskreis Musik in derJugend AMJ, Tel: +49-5331-46017, Fax: +49-5331-43723, Email: [email protected] - Website: www.amj-musik.de

Pannonia Cantat Youth Choir Festival 2010,Kaposvar (Lake Balaton), Hungary, 23-28 Aug2010. For children (age 8-12), youth female (age15-21), boy (age 8-21) and youth mixed (age 15-21) choirs. Contact: Pannonia Cantat Youth ChoirFestival, Tel: +36-20-284 0480, Fax: +36-1-5772387, Email: [email protected] -Website: www.youthchoirfestival.org

Bohemia Cantat, Liberec, Czech Republic, 26-29Aug 2010. Non-competitive festival for individualsingers or choirs. 6 workshops on various musicstyles (Czech choir composition, jazz, spirituals,madrigals, folklore songs, overtone singing, etc).Contact: Bohemia Cantat Liberec, Tel: +420-322-507168, Email: [email protected] -Website: www.bohemiacantat.cz

1st NINA Griegfestival for young voices, Bergen,Norway, 14-17 Sep 2010. Choir competiions forchildren's and youth choirs, workshops, concertsand events. Apply before: 1 June 2010. Contact:Annlaug Hus, Tel: +47 55 56 38 65, Fax: +47 5556 38 66, Email: [email protected] - Website:www.griegfestival.no

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64 International Choir Festival of Uruguay 2010,Montevideo, Uruguay, 8-17 Oct 2010. Concertsin different cities, gala concerts includingsymphonic pieces, workshops, tourist activities.Apply before 23 April. Contact: Infinito -Realizaciones Culturales , Tel: +598-2-9247798or 9247943, Fax: +598-2-9246326, Email:[email protected] - Website:www.infinitorc.com

4th Cantapueblo for Children Singing for Earth,Mendoza, Argentina, 12-16 Oct 2010. Forchildren choirs from around the world. Exchangeof cultural traditions through choral singing as ameans to strengthen ties of brotherhood. Contact:CantaPueblo - La Fiesta Coral de América, Tel:+54-261-4295000, Fax: +54-261-4295000,Email: [email protected] - Website:www.cantapueblo.com.ar or www.coppla.org.ar

Lago di Garda Music Festival, Italy, 14-18 Oct2010. International festival of music for choirs andorchestras on Lake Garda. Contact:MusikReisenFaszination Chor- undOrchesterreisen, , Email: [email protected] - Website: www.lagodigarda-musicfestival.com

4th International Choir Festival CorearteBarcelona 2010, Spain, 18-24 Oct 2010. Non-competitive event open to choirs of variousbackgrounds from all over the world.Performances and workshops. Contact: FestivalInternacional de Coros Corearte Barcelona, Tel:+34-93-6350166, Email: [email protected] -Website: www.corearte.es

International Choral Espoo Festival, Espoo,Finland, 20-24 Oct 2010. Work on new musicwith the composers; active participation of theaudience. Artistic director: Club For Five(Finland). Contact: International ChoralEspoo,Tel: +358-50-385 1623, Fax: +358-9-81657500,Email: [email protected] - Website:www.kuoroespoo.fi

International Festival of Choirs Cantus Angeli,Salerno, Italy, 20-24 Oct 2010. Friendly meetingbetween groups of various musical and territorialorigins. Contact: International Festival of ChoirsCantus Angeli, Tel: +39-3494295308, Fax: +39-089879917, Email: [email protected] -Website: www.cantusangeli.com

6th International Robert Schumann ChoirCompetition, Zwickau, Germany, 20-24 Oct2010. Competition in different categories anddifficulties. Contact: Interkultur Foundation, Tel:+49-6403-956525, Fax: +49-6403-956529,Email: [email protected] - Website:www.interkultur.com

International Choral Weekend Voices Unlimited,Veldhoven, Netherlands, 22-24 Oct 2010. Forchoirs with singers aged 15 to 40. Categories:classical, pop/musical/gospel/jazz or closeharmony/a capella. Contact: Voices Unlimited,Tel: +31-40-2545220, Fax: +31-40-2785449,Email: [email protected] - Website:www.voicesunlimited.eu

4th International Showcase for Choir SingingPolyfollia 2010, La Manche, Normandy, France,27 Oct-1 Nov 2010. A reference meeting pointbetween the best amateur choirs and promotersand organizers of festivals, music seasons, etc....Plus a "choral festive party" open to all choirs.Contact: Polyfollia, Jacques Vanherle, Tel: +33-2-31736919, Fax: +33-2-31051590, Email:[email protected] - Website:www.polyfollia.org

Mediterranean Choir Contest, Palmanyola,Mallorca, Spain, 27-31 Oct 2010. For mixedchoirs from all over the world. Contact: Festival deCorals Mediterrani, Tel: +34-971-617 361, Email:[email protected] - Website: http://fcm-mallorca.com

22nd Cantapueblo - La Fiesta Coral de América,Mendoza, Argentina, 2-7 Nov 2010. Great LatinAmerican festival open to mixed choirs, equalvoices, mixed youth choirs, chamber ensemblesand other vocal groups. Contact: CantapuebloArtistic Director: Alejandro Scarpetta, Tel: +54-261-4295000, Fax: +54-261-4295000, Email:[email protected] - Website:www.mendoza.gov.ar or www.coppla.org.ar

Alanya International Choir Festival, Alanya,Turkey, 3-7 Nov 2010. Four sections: "open air"performances (required), competition, folk music,pop music. Contact: Antalya International ChoirFestival, Tel: +90-242-316 4660, Email:[email protected] - Website:www.festivalantalya.com

58th "Guido d'Arezzo" International PolyphonicCompetition, Arezzo, Italy, 15-19 Sep 2010. Foramateur choral ensembles. Categories: Christianplainchant, polyphony, polyphony for children'svoices, special competition, int'l choral festival offolksong. Contact: Competition secretariat, Tel:+39-0575-356203, Fax: +39-0575-324735,Email: [email protected] - Website:www.polifonico.org

International Choir Festival Tonen2000,Westland, Netherlands, 24-26 Sept 2010. Opento mixed choirs and ensembles up to 36 non-professional members, male and female ensemblesup to 24 non-professional members (professionalconductor preferred). Categories: sacred andsecular music, Middle Age, Renaissance, Romatic,Modern. Contact: Tonen2000, Jos Vranken, Tel:+31-174-245520, Fax: +31-174-245520, Email:[email protected] - Website: www.tonen2000.nl

Suwon International Competition & Festival2009, Suwon, Rep. of Korea, 4-9 Oct 2010. Foramateur mixed, male & female choirs of 20 ormore singers (over age 18). Apply before 24 July.Contact: Suwon International ChoralCompetition & Festival, Tel: +82-31-236 5533,Fax: +82-31-236 5523, Email:[email protected] - Website:www.sicc2009.com

Rimini International Choral Competition, Italy,7-10 Oct 2010. Competition for equal voices,mixed, chamber, children, young, folk andSpiritual Choirs in the beautiful and ancient Townof Rimini. Possibility of a sing Mass in TheRenaissance Cathedral. Contact: RiminiInternational Choral Competition, Tel: +39-347-2573878, Email: [email protected] - Website:www.riminichoral.it

Festival Magic Mozart Moments, Salzburg,Austria, 7-10 Oct 2010. Voices from all over theworld and the Salzburg Cathedral Choir &Orchestra. Singers are required to have sung theperformed piece before. Contact: CultoursEurope, Tel: +43-662-821310, Fax: +43-662-82131040, Email: [email protected] - Website:www.cultours-europe.com

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9th International Festival "Coros en el Bosque",Pinamar, Argentina, 5-7 Nov 2010.Workshopson Argentinian and Latin American folk musicwith Néstor Andrenacci and Ricardo Mansilla, forsingers and/or conductors. Concerts byparticipating choirs, adults or youth choirs, mixedor equal voices. Contact: 9no Encuentro Coros enel Bosque - Pinamar 2010, Martín Lettieri, DiegoGarcía Picasso, Tel: +54-114-7712316, Email:[email protected] - Website:www.corosenelbosque.com.ar

3rd International Festival Interfolk in Russia, St.Petersburg, Russia, 11-16 Nov 2010. For folkgroups, vocal and instrumental ensembles, choirsand dance groups of various styles, levels andorigins from all over the world. Contact:International Choral Festival, Tel: +7-812-3283921, Fax: +7-812-3283921, Email:[email protected] or [email protected] -Website: www.interfestplus.ru

6th International Warsaw Choir Festival VarsoviaCantat, Warsaw, Poland, 12-14 Nov 2010. For allamateur choirs. Contact: Choral Society LIRAVarsovia Cantat, Tel: +48-22-641 6157, Fax: +48-22-641 6157, Email: [email protected] [email protected] - Website:www.varsoviacantat.pl

Cantapueblo Brasil 2010 - Vocal Tribute toBrazilian Music, Rio de Janeiro, Brasil, 16-21Nov 2010. Non-competitive festival open tochoirs and vocal groups. Performances, workshopssocialization, cultural exchange, tourism andleisure. Contact: Cantapueblo Brasil, SergioSansao, Tel: +55-21-38526877, Fax: +54-261-4201135, Email: [email protected]

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:[email protected] - Website:www.interkultur.com

27th International Franz Schubert ChoirCompetition, Vienna, Austria, 24-28 Nov 2010.For all kinds of choirs from all around the world.Contact: Interkultur Foundation, Tel: +49-6403-956525, Fax: +49-6403-956529, Email:[email protected] - Website:www.interkultur.com

International Festival of Advent and ChristmasMusic, Bratislava, Slovak Republic, 2-5 Dec2010. Competition, workshop, concerts inchurches. Contact: Bratislava Choral Agency, Tel:+421-905-111827, Fax: +421-265-957054,Email: [email protected] - Website:www.choral-music.sk

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Winter Choral Festival at Hong KongDisneyland Resort, Hong Kong China, 6-10 Dec2010. With Eugene Rogers (USA), Werner Pfaff(Germany), Paulo Lorenço (Portugal). Contact:Ravel Group & Tempest Music, Tel: +65-6336-6518, Fax: +65-6338-8795, Email:[email protected] - Website:www.ravegroup.sg/winterchoralfest

ACDA National Conference, Chicago, USA, 9-12 March 2011. ACDA will hold it biennialconference for choral conductors. Included in theevent will be choral performances, interestsessions, reading sessions, the premier of the 2011Brock Commission, networking, a trade show, andother special events. Contact: American ChoralDirectors Association, Tel: +1-405-2328161, Fax:+1-405-2328162, Email: [email protected] -Website: http://acda.org

66 9th Venezia in Musica, Choir Competition andFestival, Venice, Italy, 27 Apr-1 May 2011. For allkinds of choirs from all around the world.Contact: Interkultur Foundation, Tel: +49-6403-956525, Fax: +49-6403-956529, Email:[email protected] - Website:www.interkultur.com

The American International Choral Festival Reno2011, Nevada, USA, 4-8 May 2011. For all kindsof choirs from all around the world. Contact:Interkultur Foundation, Tel: +49-6403-956525,Fax: +49-6403-956529, Email:[email protected] - Website:www.interkultur.com

3rd International Choral Competition AntonBruckner, Linz, Austria, 1-5 June 2011. For allkinds of choirs from all around the world.Contact: Förderverein Interkultur, Tel: +49-6403-956525, Fax: +49-6403-956529, Email:[email protected] - Website:www.interkultur.com

Harmonie Festival 2011, Limburg-Lindenholzhausen, Germany, 2-6 June 2011. 14different competitions for choirs and folk groups,concerts and folk performances with an audienceof up to 4,000 people and the hospitality of awhole region. Contact: HarmonieLindenholzhausen, Tel: +49-6431-732 68, Fax:+49-6431-97 66 47, Email:[email protected] - Website:www.harmonie-festival.de

14th Alta Pusteria International Choir Festival,Alto Adige-Südtirol, Italy, 22-26 June 2011.Non-competitive festival in the heart of theDolomites: concerts, open-air reviews, day-meetings. Contact: Alta Pusteria Festival Office,Tel: +39-06-33652422, Fax: +39-06-33652422,Email: [email protected] - Website:www.festivalpusteria.org

Serenade! Washington, DC Choral Festival, USA,23-26 June 2011. Individual shared choir concertsin cathedrals, churches, schools, halls and NationalMonuments, workshops, choral evensong eervicesin prestigious cathedrals, churches and basilicas,sightseeing in Washington, DC, Alexandria,Baltimore and surrounding areas. Contact: KatieHickey, Classical Movements, Tel: +1-703-6836040, Fax: +1-703-6836045, Email:[email protected] - Website:www.ClassicalMovements.com

Sing A Mile High Children's Choral Festival,Denver, CO, USA, 23-27 June 2011. RolloDilworth, guest conductor. Non-competitivefestival for Treble-voiced choirs. Each choir willparticipate in massed choir rehearsals andperformance and individually in the finale concertat the Newman Center for the Performing Arts atthe University of Denver. Contact: Young Voicesof Colorado, Tel: +1-303-7977464, Fax: +1-303-7940784, Email: [email protected] -Website: www.singamilehigh.org

7th International Cantus MM Festival of SacredMusic, Vienna, Austria, 24-27 June 2011.Performing festival in Vienna and surroundings.Contact: Chorus MM, Tel: +43-662-645972, Fax:+43-662-645972, Email: [email protected] -Website: www.chorus2000.com

IHLOMBE South African Choral Festival, CapeTown, Pretoria, Johannesburg & Game Park,South Africa, 29 June-11 July 2011. Inassociation with CHORISA, the Choral Instituteof South Africa. Travel to Cape Town, Pretoria,Johannesburg & a Game Park. Concerts,individual and shared with top South AfricanChoirs, Workshops, African drumming, dancing,and singing. Contact: Jayci Thomas, ClassicalMovements, Inc., Tel: +1-800-8820025, Email:[email protected] - Website:www.ClassicalMovements.com

12th International Cantus MM Choir andOrchestra Festival, Salzburg, Austria, 30 June-3July 2011. 10 selected choruses or orchestras ofany age and composition (also dance groups).Performances in Salzburg and surroundings.Contact: Chorus MM, Tel: +43-662-874537, Fax:+43-662-874537-30, Email: [email protected] -Website: www.chorus2000.com

7th Palm Sunday Concerts, Portugal, 11-17 Apr2011. Guest Conductor: Jean-Marie Puissant(France). No participation fee. Join thisInternational sacred choir for a week and perform5 concerts. Stay in private homes of choir singers.Meals will not be organized. Maximum 30 singerswith singing experience. A wonderful andemotional experience! Contact: Vox Laci, MyguelSantos e Castro, Tel: +351-938407985, Email:[email protected] - Website: www.voxlaci.com

12th International Choir Festival, Tallinn,Estonia, 14-17 Apr 2011. Competition in Estoniaconcert hall and concerts in Tallinn churches andconcert houses. Apply before: 4 Nov 2010.Contact: Eesti Kooriühing - Estonian ChoralSociety, Tel: +372-6-274451, Fax: +372-6274450,Email: [email protected] - Website:www.kooriyhing.ee

11th International Choral Competition Maribor2011, Slovenia, 15-17 Apr 2011. Member of theEuropean Grand Prix for Choral SingingAssociation (together with Arezzo, Tours, Tolosa,Debrecen and Varna). For up to 12 selected choirs:female, male and mixed with 16-48 singers (freemeals and accomodation). Non-competitive andthree competing programs (compulsory, free andGrand Prix). Apply before: 22. Nov 2010.Contact: Mihela Jagodic, JSKD, Tel: +386-1-2410525, Fax: +386-1-2410536, Email:[email protected] - Website: www.jskd.si

13th International Choir Competition,Budapest, Hungary, 17-21 Apr 2011.Competition in different categories and difficultiesfor all types of choirs. Contact: FördervereinInterkultur, Tel: +49-6403-956525, Fax: +49-6403-956529, Email: [email protected] -Website: www.interkultur.com

5th Children Festival Vox Pueri, Cascais,Portugal, 18-21 Apr 2011. Non-competitivefestival for all kinds of children´s choirs with manyconcerts and common singing. Contact: Vox Laci,Myguel Santos e Castro, Tel: +351-938407985,Email: [email protected] - Website:www.voxlaci.com

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4th Musica Sacra a Roma, Italy, 2-6 July 2011.Competition in different categories anddifficulties. Contact: Förderverein Interkultur,Tel: +49-6403-956525, Fax: +49-6403-956529,Email: [email protected] - Website:www.interkultur.com

Summa Cum Laude International Youth MusicFestival, Vienna, Austria, 2-6 July 2011. Cross-cultural and musical exchange event includingworkshops, lectures, seminars, concerts in andaround Vienna, competition with an internationaland highly renowned jury. Contact: Summa CumLaude Youth Music Festival, Tel: +43-650-6192152, Fax: +43-1-968 5750, Email:[email protected] - Website:www.sclfestival.org

Songs of the World - Coastal Sound InternationalChoral Festival, Vancouver, BC, Canada, 4-9 July2011. Guest Conductors: Rollo Dilworth &Henry Leck. Imagine these 2 conductors leadingyour Children’s Choir/Boy Choir/Girl Choir oryour SATB Youth Choir at the same festivalfeaturing these voicings in separate repertoire, andalso, exciting massed works. Concert places inmulticultural downtown Vancouver andsurrounding areas. Contact: Coastal SoundInternational Choral Festival, Tel: +1-604-469-5973, Fax: +1-604-469-5974, Email:[email protected] - Website:www.coastalsoundmusic.com

Festival 500 Sharing the Voices, St. John's,Newfoundland & Labrador, Canada, 6-13 July2011. International non-competitive choralfestival featuring multiple performanceopportunities and workshops for choirs as well asindividual “Come Solo” participants. New for2011: our Professional Development Program forsmall vocal ensembles. Deadline for choir andsmall vocal ensemble applications is June 18,2010. Contact: Festival 500 Sharing the Voices,Tel: +1-709-7386013, Fax: +1-709-7386014,Email: [email protected] - Website:www.festival500.com

7th International Johannes Brahms ChoirFestival & Competition, Wernigerode, Germany,6-10 July 2011. Competition in differentcategories and difficulties. Contact: InterkulturFoundation, Tel: +49-6403-956525, Fax: +49-6403-956529, Email: [email protected] -Website: www.interkultur.com

International Choir Festival of Preveza,International Competition of Sacred Music,Preveza, Greece, 7-11 July 2011. For mixed, equalvoices', children's, chamber vocal ensembles,mixed youth choirs & choirs of Byzantine chant.Repertory must include a compulsory piece, apiece composed before 1800, a piece composedduring 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 protected] - Website:www.choralpreveza.gr

Cantus Salisburgensis International Choir andOrchestra Summer Festival, Salzburg, Austria, 7-10 July 2011. Kaleidoscope of Nations andcultures interacting in the city of W.A. Mozart´sbirth. Contact: Cultours Carl Pfliegler, Tel: +43-662-821310, Fax: +43-662-82131040, Email:[email protected] - Website: www.cultours-europe.com or www.cantussalisburgensis.at

2nd World Choir Championships, Graz, Austria,10-17 July 2011. For all kinds of choirs from allaround the world. Contact: InterkulturFoundation, Tel: +49-6403-956525, Fax: +49-6403-956529, Email: [email protected] -Website: www.interkultur.com

29th International Music Festival, Cantonigròs,Spain, 14-17 July 2011. Competition andexhibition 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 protected] - Website: www.fimc.es

Rhapsody! Children’s Music Festival, Prague,Czech Republic and Vienna & Salzburg, Austria,14-25 July 2010. With guest conductor JoanGregoryk. Participating choirs will perform atfamous venues in three of Europe's most musicaland historical cities: Vienna, Salzburg, and Prague,highlighted by the Grand Final Concert. Choirswill enjoy a workshop, musical exchanges andsightseeing tours. Contact: Zhongjie Shi, ClassicalMovements, Inc., Tel: +1-703-6836040, Fax: +1-703-6836045, Email:[email protected] - Website:www.ClassicalMovements.com

Melodia! South American Music Festival, BuenosAires, Argentina and Rio de Janeiro, Brazil, 20July-1 Aug 2011. Guest conductor: FranciscoNuñez. Accepting applications from youth andchildren's choirs (treble and mixed voices), as wellas youth orchestras. Contact: AlessandraD’Ovidio, Classical Movements, Inc., Tel: +1-703-6836040, Fax: +1-703-6836045, Email:[email protected] - Website:www.ClassicalMovements.com

Istanbul International Chorus Competition,Istanbul, Turkey, 20-25 July 2011. For children,female, male, mxed choirs and folk groups.Contact: Istanbul Harman Folklor, Tel: +90-216-3461354, Fax: +90-216-3461308, Email:[email protected] - Website:www.harmanfolk.com

9th World Symposium on Choral Music, PuertoMadryn, Patagonia, Argentina, 3-10 Aug 2011.Organized by the CIC Foundation in cooperationwith ADICORA: the major IFCM event. Motto:"Singing in Nature". Contact: , Tel: +54-2965-439232, Email: [email protected] - Website:www.wscm9.com

ICB Events

A regularly up-dated list of all events may befound on our website: www.ifcm.net

697th International Choral Festival "San Juan Coral2011", Argentina, 11-16 Aug 2011. Noncompetitive choral festival organized byUniversidad Católica de Cuyo´s Choir for 8-10selected mixed, female, male and chamber choirs.Each choir will participate in massed choirrehearsals and performance and individualconcerts at the Auditorio Juan Victoria. Concerts,lectures and workshops for choirs, singers andconductors. Contact: María Elina Mayorga, Tel:+54-264-4234284, Fax: +54-264-4234284,Email: [email protected] [email protected] - Website:www.sanjuancoral.com.ar

11th International Choir Contest of Flanders,Maasmechelen, Belgium, 23-25 Sep 2011.Limited to ensembles from 12 to 40 equal voicesand 16 to 40 mixed voices. Contact: InternationalChoir Contest of Flanders, Gert Vanderlee, Tel:+32-89-769668, Fax: +32-89-721815, Email:[email protected] - Website: www.ikv-maasmechelen.be

9th In... Canto Sul Garda, Riva del Garda, Italy,13-17 Oct 2011. Competition in differentcategories and difficulties. Contact: Interkulture.V., Tel: +49-6403-956525, Fax: +49-6403-956529, Email: [email protected] - Website:www.interkultur.com

Festival Magic Mozart Moments, Salzburg,Austria, 13-16 Oct 2011. Voices from all over theworld and the Salzburg Cathedral Choir &Orchestra. Singers are required to have sung theperformed piece before. Contact: CultoursEurope, Tel: +43-662-821310, Fax: +43-662-82131040, Email: [email protected] - Website:www.cultours-europe.com

4th International Choir Competition andFestival, Malta, 3-7 Nov 2011. Open to allcategories. Contact: Förderverein Interkultur, Tel:+49-6403-956525, Fax: +49-6403-956529,Email: [email protected] - Website:www.interkultur.com

28th International Franz Schubert ChoirCompetition, Vienna, Austria, 16-20 Nov 2011.For all kinds of choirs from all around the world.Contact: Interkultur Foundation, Tel: +49-6403-956525, Fax: +49-6403-956529, Email:[email protected] - Website:www.interkultur.com

Summa Cum Laude International Youth MusicFestival, held in the Musikverein in Vienna,Austria, 1-5 July 2012. Cross-cultural and musicalexchange event including workshops, lectures,seminars, concerts in and around Vienna,competition with an international and highlyrenowned jury. Contact: Summa Cum LaudeYouth Music Festival, Tel: +43-650-619 2152,Fax: +43-1-968 5750, Email: [email protected] Website: www.sclfestival.org

7th World Choir Games, Cincinnati (Ohio),USA, 4-14 July 2012. WCG taking place in theUSA for the first time. The city of Cincinnati,situated on the borderline of the US states of Ohioand Kentucky, has a long cultural traditionincluding the oldest ongoing choral festival in theworld. For choirs from all over the world. Contact:Interkultur Foundation, Tel: +49-6403-956525,Fax: +49-6403-956529, Email:[email protected] - Website:www.interkultur.com

Rhapsody! Children’s Music Festival, Prague,Czech Republic and Vienna & Salzburg, Austria,12-23 July 2012. Participating choirs will performat famous venues in three of Europe's mostmusical and historical cities: Vienna, Salzburg, andPrague, highlighted by the Grand Final Concert.Choirs will enjoy a workshop, musical exchangesand sightseeing tours. Contact: Zhongjie Shi,Classical Movements, Inc., Tel: +1-703-6836040,Fax: +1-703-6836045, Email:[email protected] - Website:www.ClassicalMovements.com

Melodia! South American Music Festival, BuenosAires, Argentina and Rio de Janeiro, Brazil, 18-30 July 2012. Accepting applications from youthand children's choirs (treble and mixed voices), aswell as youth orchestras. Outstanding artisticexperiences are combined with once-in-a-lifetimecultural and outreach opportunities. Contact:Alessandra D’Ovidio, Classical Movements, Inc.,Tel: +1-703-6836040, Fax: +1-703-6836045,Email: [email protected] -Website: www.ClassicalMovements.com

Europa Cantat Festival 2012, Turin, Italy, 27July-5 Aug 2012. Spectacular vocal festival withparticipants from Europe and beyond. Workshopsby international conductors in all vocal genres.Open singing, concerts: sing & listen,international contacts. Contact: Europa CantatFestival 2009, Tel: +49-228-9125663, Fax: +49-228-9125658, Email: [email protected] -Website: www.ectorino2012.it

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A Coeur Joie FranceAlta PusteriaChoral Society “Armonia” of PrevezaClassical Movements, Inc.FeniarcoFestival 500Förderverein InterkulturInternational Choral Competition of HabanerasOrientale Concentus III, TaiwanPacific Rim Music ResourcesRundfunkchor BerlinSmall World MUSICFOLDER.comTempest Music and Ravel GroupTonen 2000World Vision Korea Children’s Choir

p 61p 45p 18p 23, 25 & 71p 15 & 72p 67p 55p 63p 19p 65p 70p 59p 41p 51p 37

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e-ICB 2010-2

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Transcript of e-ICB 2010-2