e-ICB 2010-1

ICBICB

Dossier Choral Music in China

Volume XXIX, Number 1 – 1st 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.

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

Former Managing Editor (now Assistant Editor)Jutta 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: Michael Anderson (coordination), Diana J.

Leland, Irene Auerbach and Graham Lack (text andlinguistic editing and revision)

French: Isabelle Métrope (coordination), FlorenceRécoursé (linguistic editing and revision)

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

Spanish: Maria Catalina Prieto (coordination), JuanCasasbellas (linguistic editing and revision)

LayoutNadine Robin (IFCM Secretariat)

Template DesignMarty Maxwell

CoverDolf Rabus,2005 World Children's Choir Festival, Hong Kong China

Printed byImprimerie Paul Daxhelet, B 4280 Avin, Belgium

The views expressed by the authors of articles arenot necessarily those of IFCMDesign & Content Copyright © InternationalFederation for Choral Music

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Contents

EditorialLupwishi Mbuyamba

Dossier:Choral Music in ChinaGuest Editor: Tong Shiu-wai Leon, IFCMVice-President

The Current Choral Scene in ChinaTong Shiu-wai Leon, Wu Lingfen, TianXiaobao, Meng Dapeng

IFCM NewsFrom the Editor of ICB……Andrea Angelini

Obituaries:Kan Ishii, Gustavo BecerraSchmidt

America Cantat VI, Brazil - Extendeddeadline

Order of Merit for Günter Graulich

Celebrating 20 Years! World Youth ChoirAnniversary CelebrationVladimir OpačićPatagonia is not so Far Away,the Symposium is Getting Closer and CloserAlejandro Daniel Garavano

Choral World NewsEuropa Cantat General Assembly in SofiaBrigitte Siebenkittel

Ars Choralis 2010: Artistic and ScientificSymposium on Choral Music in CroatiaBranko Stark

Let the Peoples Singthe EBU choral competition 2009 in OsloWalter Vorwerk

ChoralNet Merges with ACDATim Sharp

News from the Latin-American Associationfor Choral Singing

What Makes a VolunteerOf Their Own Free WillKellie Bates

Composers’ CornerRisk-taking in ProgrammingWays to Explore New MusicDr. Cara Tasher

World of Children’s and YouthChoirsLet’s Talk MethodLeadershipCristian Grases

Choral Music RecordingsopusChoralThe New On-line Choral Music Boutique isOpen!Emmanuel Noisette de Crauzat

RepertoireChoral Collections: A 'sound' investmentDr. Marian Dolan

EventsCompiled by Nadine Robin

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

Next DossierChoral Music in Brazil

Advertisement

New registration deadline28 February 2010!

world for further demonstrations of theWinneba Youth Choir’s ability andcommitment to excellence.With our best wishes

Lupwishi Mbuyamba, IFCM President •

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ICB Editorial

It is a real pleasure for us to express oursincere congratulations to the WinnebaYouth Choir on the occasion of its verysignificant anniversary: a distinguishedchoral ensemble, coherent, dynamic andvery promising for the future of choralmusic on the African Continent.

The International Federation for ChoralMusic was lucky to identify this elite choir

Editorial

Lupwishi MbuyambaIFCM President

Photo:

DolfRabus

A message from the IFCM President Lupwishi Mbuyamba to the Winneba Youth Choiron the occasion of its 20th anniversary

Happy New Year! Gutes neues Jahr! Bonne Année! Próspero Año Nuevo!

to serve as the nucleus for its AfricanChildren Sing! project. It is our duty to thankthe patron and the leadership of the choir forall its successes.

Let us hope that the celebration of its20th anniversary will boost the Choirmembers and consolidate the work inprogress taking advantage of numerousIFCM projects on the continent and in the

Guest Editor: Tong Shiu-wai Leon, Vice-President

The Current Choral Scene in ChinaTong Shiu-wai Leon, Wu Lingfen, Tian Xiaobao, Meng Dapeng

Choral Music in China

Dossier

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The Current Choral Scene in China

IntroductionChina’s recent and rapidly growing

importance attracts worldwide attention inall manner of different sectors, thus also inthe choral movement. The current status ofchoirs in China is a hot topic. We intendedto publish articles on the above topic longago, but I cannot complete this task on myown because of China’s huge territory.Therefore, I invited Prof. Wu Lingfen, Prof.Tian Xiaobao and Mr. Meng Dapeng, threerenowned and reputable choral experts inChina, to analyse the Chinese choral scenecomprehensively from various perspectives.

Development and HistoricalBackground

Multi-part-singing embedded infolksongs from many national areas in Chinagoes back more than thousands of years. Therecent choral development was generated bythe introduction of Western culture intoChina. Our choral history of about the last100 years has been developing in front of thebackdrop of many years of wars, revolutionand reform in China, which give rise to thedistinguishing features of modern Chinesechoral music. It was only in the mid-20thcentury that China started to concern itselfwith, and accept, choral arts. But during thelate 20th and now the start of the 21stcentury, Chinese choral pieces andperformances have been rapidly developingand yielding fruitful achievements.

This can be seen from Li Shutong’sChunyou, the earliest choral pieces to LuZaiyi’s Yuhou Caihong, written during the1980s and 1990s. These large-scale historicalchoral masterpieces such as HuangheDahechang signify the achievements of thelast century.

ICB Dossier

Within today’s choral music in China, wefind very artistic choral pieces as well asmany choral versions of revolutionary songsfrom different generations. At the same time,the choral pieces most popular with thepublic are folksong arrangements from themore than 60 minority tribes, all withdifferent cultures. As opposed to many othercountries where choral singing is wellestablished thanks to the influence of theChristian churches, China lacks a commonreligion to promote choral singing to themasses. Choral singing takes place for thepurposes of cultural activities andentertainments, and therefore the choral

development so far lacks depth and stability,though there has been wide publicparticipation.

Distribution of ChoirsAs estimated from 500 registered choirs

in the Chinese Choral Association and otherkinds of choral organisations in all theprovinces and cities, roughly more than 10

million people in China participate in choralsinging. They have been jointly pushingforward choral development in China.

There is only a small number ofprofessional choirs in China - they were oncethe best choirs in China. But they graduallyclosed down because of financial difficulty inthe recent revolution. There are many choirsin primary and secondary schools anduniversities, about 1/3 of which practiseregularly. Youth palace choirs whichsupplement music education in schools areusually stable and of a high standard due totheir members of a wide range of ages. Thenumber of community choirs and choirs forthe elderly is enormous. There are more than1000 of them in Beijing alone. They do wellbecause their members have adequate timefor rehearsals. Supported by corporateleaders, some corporate and employee choirshas been established for more than ten yearsand are of a high standard, but some of themfolded after change of corporate leadership.Similar to the situation in Hong Kong,school choirs in China are so popular thatprofessional choirs appear relatively lesssplendid. But there are only a few choirs forthe elderly or corporate choirs in HongKong.

Choral EducationIt is not difficult to conclude that the

unsatisfactory standard of performance ofadult choirs is the result of the lack of in-depth music education in primary andsecondary schools in China. As seen fromGuangzhou, Beijing and Shanghai wherechoirs have been better developed, choirscomposed of students from primary andsecondary schools (“school choirs”) generallyperform better than adult choirs.

Choral singing should be an importantpart of education. Our musical education inprimary and secondary schools seldom

Tong Shiu-wai Leon,Wu Lingfen,

Tian Xiaobao,Meng Dapeng

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...The Current Choral Scene in China

systematically practises pitch-interval andchord-linking, which is the most importantand fundamental training in music lessons atschools in the West.

Renowned Musical Schools inChina

There are many music colleges whichcontribute to choral development in China,including the Central Conservatory ofMusic, the China Conservatory, ShanghaiConservatory of Music, and WuhanConservatory of Music, etc.

ActivitiesChina has supported many types of

choral activities, whether professional, semi-professional or part-time. However, almostall large-scale activities are choralcompetitions. All organisers and participantsare passionate about competitions. Fromyouth to elderly – all promote choraldevelopment by competitions, which mayalso entail a strong sense of materialism.

Competition DescriptionChina Choral Festival High level competition in China

Chungshan Cup National ChoralConductors’ Competition

China Children’s Choir Festival

China International Children’s Choir Festival Co-organised by Hong Kong Treble Choirs’Association (“HKTCA”) and InternationalFederation for Choral Music (“IFCM”)

“Xiyanghong” Choral TV Competition forthe Elderly

National Youth Singer TV Competition Organised by the largest national mediaCCTV

Hong Kong International Youth & Children’sChoir Competition Festival

High level international competition andfestival

Concert DescriptionChina Folk Song Choral Performance 12th November at Zhongshan City,

Guangdong Province

Jinghua Zhi Sheng Choral Music Concert Organised by China Choral Association(“CCA”) continuously for 14 years

Jinfan Xingqi Concert

Yongyuen De Huihuang China Choral Festivalfor the Elderly

The 1st National Socialist New CountrysideChoral Congress

2008 World Youth Choir Concert Tour(China Station)

In August 2008, HKTCA invited renownedchoirs from 33 countries to form a WorldYouth Choir to deliver a concert tour inGuangzhou, Macau and Hong Kong

Conference DescriptionExchange Conference for Chamber Choirs Organised by CCA at Beijing in 2008

Choral Arts Academic Conference In March 2007 at Zhongshan Choral Base,CCA invited national conductors andmusicians to analyse the development andproblems of current choral singing in China

China Choral Creative Development Forum Co-organised by CCA and Tianjin CityEducation Committee

International Federation for Choral MusicAsia-Pacific Choir Summit

In September 2009 held jointly by IFCM,Wuxi Government and CCA

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Many provinces and cities in China nowregularly hold international choral festivalsso as to be better linked to the world. ThePanyu Xinghai International Choral Festivalwas held in December 2008. Many kinds ofchoral exchanges have taken place as well.For example, in March 2008, CSA hostedcultural exchange concerts which wereperformed by California University (LosAngeles Division), USA, and the Orchestraof Zhongyang Minzu University at MinzuUniversity Concert Hall and Beijing ConcertHall.

Important Choral Organisations• China Chorus Association (“CCA”)

Established in 1986 under the CulturalDepartment of the Chinese Government,CCA consists of conductors, choir members,choral composers and choral organisations.It is a first-class national organisation whichhas sub-committees for conductors andtreble choirs. For the past 20 years, it hassignificantly impacted on Chinese chorus,from its hard early days till the present. CCAnow has more than 600 corporate and 3000individual members spread over 25provinces, cities and autonomous regions.

CCA aims at promoting choral knowledgeand choral activities, raising choralstandards, recommending choral pieces,strengthening choral theory and academicstudy, promoting international choral artsexchange, and developing choral arts amongdifferent ethnic groups in China. CCA issuestwo publications – Choral Arts and ChoralNewsletter. It is a platform on which choralgroups within and outside China exchangeinformation, share news and academicresearch and learn from each other.Website: www.cca135.com

• Chinese Musicians Association ChoralAlliance (“CMACA”)

CMACA was recently established inBeijing to promote the establishment ofchoral groups and choral development.CMACA serves national choirs by organisingactivities, direct contact, advice, training,recommending music, informationexchange, appreciation and analyses,performances and competitions, so as tonurture musical ethics and the standard ofchoir members, enhance team awareness andself-esteem.Website: www.chorus-china.com.cn

International Choral ExchangeActivities

In the new century, experienced choirsfrom China have regularly performed to theworld. In 2000, seven choirs from Chinaparticipated in the 1st Choir OlympicCompetition in Linz, Austria. The ChinaPhoenix Inner-Mongolia Youth Choirconducted by Yalun Gerile and GuangdongProvince Secondary School Choir conductedby Xie Jinming respectively won the trophiesfor choral folksongs with and withoutinstrumental accompaniments. Many strongnational choirs like Guangzhou Youth PalaceChoir, Shenzhen Secondary School Choirand Shenzhen High School Choir havedemonstrated their skills to the world.Furthermore, led by Prof. Ren Baoping, theBeiyang Choir of Tianjin University wasawarded the title of “World Choir” as well as$10,000, sponsored by the IFCM at the2008 Hong Kong International YouthCompetition Festival. Hong Kong schoolchoirs such as the Diocesan Boys’ School andthe St. Paul’s Co-educational School also hadoutstanding achievements in internationalcompetitions.

• Music Education Professional Committeeof the Chinese (“MEPCC”)

Established in 1987, MEPCC is anational music education and academicorganisation for tertiary, secondary and basicmusic education. It is a sub-organisation ofthe Chinese Education Academy under theMinistry of Education of the PRCGovernment and a member of theInternational Music Education Associationunder the United Nations Educational,Scientific and Cultural Organisation(UNESCO). The professional committeesfor music education within the educationauthorities of all provinces, autonomousregions and municipalities are members ofMEPCC and consult this body for advice ontheir activities.Website: www.csmes.org

• Hong Kong Treble Choirs’ Association(“HKTCA”)

Established in November 1997, HKTCAis a registered charitable art organisationaiming at promoting children’s and youthsinging and music education in Hong Kong,bringing harmony to every family,strengthening the connection among choirsand encouraging international culturalexchange.

HKTCA has also successfully organisedinternational events such as three ChinaInternational Children’s Choir Festivals andWorld Symposiums on Children’s ChoralMusic, in 2005 a World Children’s ChoirFestival, and it has invited renowned treblechoirs and choral professionals to perform inHong Kong and major cities in China. In2006 and 2008, HKTCA hosted the biennialHong Kong International Youth andChildren’s Choir Festival with the vision of itbecoming one of the best international choirfestivals. From time to time, HKTCA

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introduces composers and choirs from Chinaand Hong Kong to the world in order topromote world harmony and fraternity inmusic.Website: www.hktreblechoir.com

• Macao Chorus AssociationEstablished in 2006, the association aims

at promoting choral music development inMacao, carrying out choral exchanges withChina and the world. The association hasalso successfully organised the FirstInternational Chinese Chorus CentennialConcert in 2007, the 9th Chinese MacaoChorus Festival in 2008, and in 2008 hostedthe World Youth Choir. The association willpresent the 2010 IFCM Asia Pacific ChoralSummit.

• Taipei Philharmonic Foundation forCulture and Education (“TPF”)

Established in 1988, TPF aims atpromoting musical activities and furtherraising the cultural standards of Taiwan. Thefoundation created and supports groups suchas the Philharmonic Children’s Choir, YouthChoir, Philharmonic Chorus, andPhilharmonic Chamber Choir.

TPF has been making great efforts inintroducing outstanding foreign performers,cultivating native talented musicians,bringing local music to the internationalstage by organizing numerous musicfestivals, master classes, cultural exchangeprogrammes and concerts. TPF continues tohold the “Taipei International ChoralFestival” which already took place in 1996,1998, and 2000 and 2002, establishing abrand-new vision to local music-lovers andcontinually bringing stimulation to the localmusic fields.Website: www.tpf.org.tw/english/index.html

RepertoireWestern choral music started to spread in

China since the start of the 20th century.Chinese choral arts gradually developedfrom nothing to something, from simple andtiny songs to huge and complex forms.Chinese choral music demonstrates Chinesechoral features in different aspects: it learnsfrom the characteristics of Western music;and it organically incorporates the elementsof Chinese traditional music and culture intoChinese modern choral compositions.

There are six different forms of Chinesechoral pieces:• The first form has been traditional tochoirs since medieval times. The earlyforms originated from “organum”,“missa”, “motet”, “madrigals” and“chanson de geste”.

• The second form consists of chorusesfromWestern operas of the 19thcentury, after its birth in the 17thcentury.

• The third form is a new, modern Chinesechoral piece that is based on traditionalorganum and opera music from thewest and accompanies these withelements of Chinese traditional opera,sound projection skills and chords inChinese folk songs. Huanghe Dahechangand Changzheng Zuge are examples ofthis form. They represent the majorstream of Chinese choral life.

• The fourth form is supplied by themulti-part folksongs in Chinesetraditional folk music. This form ishistorical and originated from minoritytribes’ daily lives. They have never beeninfluenced by any modern choirs fromthe West or China and keep theirnatural and original forms. Kamzu Dagefrom Guizhou is one example.

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• The fifth form is choral singing by a“band” in pop-songs. This formdemonstrates basic features of choralwork and many of its skills, though itsscale is relatively small compared to aproper choir.

• The sixth form is general and usesmassive choirs originating from plazaculture, people go to plazas or parks forsome leisure and cultural activities likesinging and dancing. It is in fact unisonsinging. Since the Revolutionary War,Reform and Open Door Policy thatbegan 30 years ago and continues tillnow, it is the most popular choral formin China.

These six genres have been changing,developing and are being modernised, andthey are the current splendid and brilliantchoral forms in China.

StandardChinese choral development faces a

number of problems: first, there is littlerepertoire for choirs to choose from, leadingto a lack of breakthrough in the style ofperformance. Secondly, choir members havenot acquired sufficient skills and means tovividly express the affections and the storybehind the songs. Thirdly, Chinese choirssometimes pay too much attention toexterior matters like costumes, make-up,basic skills or technique which have noaffections, but neglect internal elements suchas the emotions of a repertoire and thoroughunderstanding of the lyrics, rhythm andmelody which bring resonance.

The performance style of Chinesefolksongs could be traditional, plain andsolo; but choirs have to demonstrate itsmulti-part character. The expression ofChinese folksongs in choral work does notneed to stick to the original and its

traditional style. Learning theories and skillsfrom foreign countries is for the purpose ofsinging our own songs, expressing our ownaffections, showing our own way of life anddevelopment, our own choral style.International choral singing is no longersatisfied with the style of simple folksong orbel canto singing, but pursues a huge varietyof tune, timbre and sound projection and anew era of “orchestracised” choruses

Local ProductionsThe Chinese choral development has

been left behind by western countries. Thereare few masterpieces in Chinese choralmusic. With the cultural reform in China,choral improvement is a trend of culturaldevelopment. Entering into the 21st century,Chinese choral arts have no reason to rejectmodern music pieces that express thefeelings of Chinese people and should notstop at the expression of classical music fromthe 19th century.

Regarding the adventure of Chinesechoral development, first, Chineseconductors must be open to new ideas,understand the contemporary choralsituation and trends in the world, calmlylisten to modern choral pieces, and acceptthe ideal of variety in modern choral work.Secondly, they must bravely confronttraditional and modern arts, be creative, andactively try various methods of choralpractice so as to prepare for promoting andperforming modern pieces. Further, theyneed to strengthen the originality of newmodern choral pieces.

Bright, creative and interesting tinychoral pieces should be respected whencompared with that large-scale but boringmusic. Our modern Chinese music in the21st century should keep the core of ourown history and culture and develop ourunique style.

Of course, training the talents isimportant. Besides training youngconductors, teachers and leaders to take uptheir roles, we have to train administrativestaff to promote choral arts to ensure thecomprehensiveness of choral musicdevelopment. At the same time, individualand corporate sponsorships are crucial tochoral development in the present world.

Our national cultural policy directlyaffects the Chinese choral development.Choral singing should be one of the creativeindustries in China. We hope that ournational leaders would further supportchoral development through education,media and politics, for example, supportingour excellent choirs when they wish toparticipate in a concert tour at a foreignmusic festival, and hosting internationalchoir festivals in China. The Governmentshould also allow tax exemption tocompanies that sponsor choral development.

To conclude, current Chinese choirs mustfirst step onto the road of popular aestheticculture and then upgrade themselves frompopularism to elite choral work. I believecontemporary Chinese choirs must gothrough all these steps - an historical processto achieve sustainable prosperity anddevelopment.

Our skill for choral development lies atthe heart of the long history of our Chineseculture and the diversified styles of differentethnic groups. If the Chinese choral sceneutilises its strengths of diversity and folkstyles, excellent and creative pieces that canrepresent China will be forthcoming. Ofcourse, I should not generalise and deny thatChen Yi who lives in the United States, SeEnkhbayar of Inner Mongolia, CaoJiangping of Guangzhou, Zhang Yida ofBeijing are internationally renowned andfirst-class Chinese composers.

Current Choirs in China MustDiversify

Regarding music education policy andsustainable development, the PRCGovernment should formulate a systematiceducation policy which is appropriatelylinked and set up with an independent fundto subsidise brilliant young composers forfurther study. We have to promote thepassion and support for choirs by the public,focus on the linkage of music educationamong children, youth, university studentsand the elderly so as to achieve life-longlearning, update ourselves on contemporarychoral ideas in the world, and widen ourhorizons.

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Prof. Tong Shiu-wai LeonVice-President of the International Federationfor Choral MusicPresident of the Hong Kong Treble Choirs’AssociationArtistic Director and Principal Conductor ofthe Hong Kong Treble [email protected]

Prof. Wu LingfenAdvisor of the International Federation forChoral MusicProfessor and Director of China Conservatory,Conducting DepartmentVice-chairman of the China ChorusAssociationMember of Ministry of Education, ArtsCommittee, Professional [email protected]

Mr. Meng DapengExecutive director of the China ChoralAssociationDirector of the Chinese Treble ChoirPermanent conductor of the Central JuniorBroadcasting ChoirMember of the World Choir [email protected]

Prof. Tian XiaobaoProfessor at Huazhong Normal University,Music DepartmentDirector of Huashi Chinese Choral ArtsResearch CenterVice-Chairman of Chinese Musicians’Association, Choral UnionExecutive director of the China ChorusAssociationEmail: [email protected] •

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Advertisement

IFCMFrom the Editor of ICB......Andrea Angelini, Editor of ICB

Obituaries: Kan Ishii, Gustavo Becerra Schmidt

America Cantat VI, Brazil - Extended Deadline!

Order of Merit for Günter Graulich

Celebrating 20 Years! World Youth Choir Anniversary Celebration(21 - 25 October 2009, Örebro, Sweden)Vladimir Opačić

Patagonia is not so Far away, the Symposium is Getting Closer and Closer3 – 10 August 2011, Puerto Madryn, ArgentinaAlejandro Daniel Garavano, IFCM Board Member

International Federation for Choral Music

IFCM News

The first thing the new Editor of amagazine must do, of course, is to introducehimself to his readers. And I should hate tobreak this rule! I am the new ManagingEditor of ICB; I begin my task with thisissue and hope to continue for many moreissues. And what a task! A hugeresponsibility, bearing in mind that ICB hasreaders all over the world and that theEditor’s decisions will be carefully scrutinisedand evaluated and, I hope, appreciated in allfive continents.

Let me first express my warmest goodwishes to Jutta Tagger who has been fulfillingthis task (incredible but true) for all ofseventeen years! A record, I’m certain. Howcan we possibly thank someone who hasdevoted almost twenty years of her life, withinfinite patience, to coordinating musiciansscattered all over the world? It is thanks toher, and to her perseverance, that ICB has

become one of the most valued magazines onthe choral scene today. Needless to say, mythanks extend also to all the collaboratorsand translators who have made this venturepossible. Warmest thanks to the IFCMEditorial Team who had faith enough in mycapabilities to entrust the editorialmanagement of the magazine to me. I shalldo my best not to disappoint them, andhope to surprise you all with ever moreinteresting articles.

And now let me introduce myself: I am afull-time Choir Conductor and I am alreadythe Editor of an Italian Choral Magazine.End of story! From now on, I would like youall to think of me just as “the friend of allChoirs and Choral Associations”. ICB willdo everything in its power to be “a home forall”, a window opening on to theinternational scene through which you can

all take a look at what is happening in theworld of choral music. I expect themaximum from all our collaborators,because a magazine is only a good magazinewhen each and every one of us does our verybest to make it good.

You can write to me at my e-mail addressto ask for advice or submit intellectualcontributions, and also to criticise ordisagree with what we publish.Many thanks to you all.

Andrea AngeliniEmail: [email protected] version by Gillian Forlivesi Heywood,Italy •

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From the Editor of ICB……

Andrea AngeliniEditor of ICB

ICB IFCM News

Mr. Kan Ishii, past President of theJapan Choral Association, former IFCMBoard member and one of its founders(together with Paul Wehrle (Germany),Royce H. Saltzman (USA), Claude Tagger(France) and others, passed away onNovember 24, 2009. Kan Ishii was born onMarch 30, 1921. He graduated fromMusashino Academia Musicae in Tokyoand from the University for Music andPerforming Arts in Munich. He studiedcomposition under Carl Orff. He wroteworks for opera, ballet, orchestra, chambermusic, chorus, concert band and films.

The Chilean composer Gustavo BecerraSchmidt passed away on January 3, 2010.He lived in Germany since 1973 andtaught at Oldenburg University since 1974.Becerra was the most prolific Chileancomposer. His catalogue includes hundredsof compositions that goes from the mosttraditional to the most avant-garde, frompopular songs to large scale cantatas,symphonies and oratorios. •

Order of Merit for Günter GraulichGünter Graulich, Senior Partner of the German publishing house Carus-Verlag has been awarded the Order of Merit of the FederalRepublic of Germany (Bundesverdienstkreuz) for his life-long work in the service of choral music. Congratulations! •

Obituary AMERICA CANTAT VI, BrazilExtended Deadline!We inform that the deadline forapplications has been extended up toFebruary 28th, 2010.We regret to inform that the Secretary ofthe Festival passed away last December2nd. Roberta was the daughter of thePresident of the America Cantat VIFestival, Dr. André Pires.You are welcome to visit our web site atwww.ufjf.br/americacantat

Argentine Association for Choral MusicAMERICA CANTAT (AAMCANT)

IFCM News

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Celebrating 20 Years!

“There is no greater task than to supportsomebody’s development; help the human beingin its striving!”

Ivo Andrić, Nobel Prize winnerFrom Signs beside the road

The World Youth Choir is a genuineeducational and social experience that drawson many vocal traditions and aims to work atthe highest artistic level. For 20 years now,the World Youth Choir has built bridgesbetween young singers from diverse cultures.Many articles and reports have been writtenabout this project, many stories told, andmany videos recordings made over the lasttwo decades. These tell of the philosophy ofthe ensemble, and document its value in thechoral world from an artistic, social andhuman point of view.

The question is always raised regardinghow to present the various projects andevents undertaken by this choir. Also, how topresent its current role. So how should this“child”, born in 1989, be described? It cameinto being through the efforts of a group ofchoral music enthusiasts, who were led bythe ideas of equality and an historical questfor multicultural diversity. This diversity is apeace found deep within our soul. It is aninner legacy, given to all of us by birth, andto be experienced during our short lives as akind of personal balance held between ourexternal self and our internal one. Diversityin this sense is a “country” inhabited by theWorld Youth Choir for some 20 years now. Itis where we have “lived” during this time,and has helped over 1000 young people allover the globe to subsist. Over 1000 singers,conductors, organizers and choral musicenthusiasts have worked within its “borders”.

This is the World Youth Choir at the endof these two decades, our dreams, hard work,constant belief, artistic professionalism andenormous enthusiasm for remarkable idea. Itis our lives before the dream, and remainsour lives whilst we are still dreaming!

The World Youth Choir has been themeeting point for young singers from aroundthe world, and many individuals have takenpart and left an indelible mark on theensemble, imbuing it with their uniquetalent, personality, creativity, warmth andhumour. From October 18-25, 2009, for thefirst time in the history of the ensemble, over200 former singers, conductors andorganizers throughout the globe werereunited in order to celebrate the choir’sbirthday. This was a true anniversarycelebration, simple in its greatness, and thebest possible present to the World YouthChoir.“Happy birthday, World Youth Choir”, thiswas said so many times!“Happy birthday to you all”, people said toeach other!

One simple sentence, so innocent, yetone that recalled thousands of memories forus all. Singing, laughing, we gazed at many afading photograph from the 1980s. Welooked at singers and their families, littlechildren running around, people huggingeach other, and remembered this and that.Plus the conductors and their stories, and theemotional moments when the quality of theperformance was broached. As for concertuniforms…do you remember him….orremember her? And so on in this vein for tenwhole days and nights. A veritable beehive ofactivity. This is how the celebration started,thanks to the collaboration of theInternational Center of Choral Music andSwedish International Choral Center,Örebro, for these were the organizers of theAnniversary celebration together with the

International Federation for Choral Music(IFCM), Jeunesses Musicales International(JMI) and Europa Cantat (EC), the WorldYouth Choir patron organizations, who wereall proud to present a week of celebrations inSweden, the first host country of the WorldYouth Choir.Concerts were given by:• The World Chamber Choir anniversaryensemble, gathering singers from 22countries, with Nikolaj Znaider and theSwedish Chamber Orchestraperforming two works by JohannesBrahms.

• “The World Sings for you” show, aninternational showcase presenting pastand present World Youth Choirmembers, soloists, instrumentalists,vocal groups: Kaori Tsushima, Japan;“Jazz trio” presenting David Izard,piano, Ryan Andrews percussions andZachary Lane, double bass, all fromUSA; Hildegunn Coucheron, soprano,Norway; “Cherry Blossoms” vocalgroup Japan; “VOXTET”, Czech jazzvocal group, founder Martin Mikesformer WYC member; FabienneCarlier, France, solo voice, piano andaccordion accompanied by violinistRadoslaw Pawel Stawarz and “WitloofBay”, jazz vocal ensemble, Belgium.

• “GALA” Anniversary ensembles andtutti ensemble gathering more that 200singers from 45 countries, conducted byMaría Guinand, Venezuela; NobuakiTanaka, Japan; Fred Sjöberg, Sweden;Sidumo Jacobs, South Africa and SteveZegree, USA, presenting choral musicand traditions of five continents: Theworld on stage.

Vladimir OpačićWorld Youth Choir Project Manager

World Youth Choir Anniversary Celebration (21 - 25 October 2009, Örebro, Sweden)

17

Whoever was with us in Örebro wouldhave felt the joy of this gathering.Generations of singers from 1989 to 2009made it happen. They made a huge effortand built up a unique international group ofpeople with special musical andcommunication skills, people so different intheir sound, lives, and minds but so similarwhen their expression, human and musicalemotions are the main actors on the stage.

If you were not there with us, there is nobetter way to feel and hear how great was theimpact of this project and its 20thanniversary. It impinged on all our lives andstill does. This is documented in the lineswritten by founders, organizers and singersof that first summer session of 1989. (Morethan 20 singers from the first summersession were present). This then was the faceof the World Youth Choir. For humansexhibited a certain simplicity felt at everycorner of the globe.

The 2009 anniversary will be one more“stone” in the foundation will underpin theWorld Youth Choir for future generations,and is an investment for all of us, for thenext 20 years.

When singers from various past sessions meet

“Global Unity and Future Hope”Facebook: Comments from someof the early World Youth ChoirSingers

“Dear friends! The World Youth Choir wasonce a dream and a vision shared by many ina time where it was extremely difficult formany countries all over the world. In thisyear of 2009, we have celebrated two strongand symbolic events that took place in 1989- the realization of the dreamWorld YouthChoir and the breaking down of the wallsymbolizing the Iron curtain. For StefanSköld and myself who poured our hearts inthe process with the ground work, it was adream come true to help out in the birthprocess of this wonderful vision - to uniteyoung souls and voices from all over theworld. We are today grateful for thewonderful work that IFCM, Europa Cantatand Jeunesses Musicales together have donebringing this child up to what it representstoday - the very sound and strong soundingsymbol for the ideology that music is allabout humanity! It means the world to us! We

hope that all the children of the vision withWorld Youth Choir will adopt that visionand relentlessly work for humanity withmusic as the instrument - thus we can makea difference! Meeting all wonderful singersfromWYC - and particularly from the veryfirst WYC in Örebro - made a great impacton me. You all reminded me of the beauty ofhumanity and music in perfect harmony.Let's hope for another reunion very soon!Thank you! I would like to finish with twoverses from a poem sent to us in 1989 afterthe first assembly of the World Youth Choirby Alec Jackson - our wonderful Englishtenor.”United, we riseA melodyA lyric of greatest depthThe most beautiful songWe are the hopeWe are the unityWe have the loveWe are the new seeds in the heart of ourcountriesWe will last forever

Stefan Sköld, Thomas Caplin,Founders of the World Youth Choir

Photos:AndreaAngelini

1989 World Youth Choir singers and Thomas Caplin

ICB IFCM News

IFCM News

18 was not just the choir. I sometimes did havesome emotionally very hard times in the last15 years with lots of changes and crises,especially in the last year. So, probably it wasa mixture of emotions that came over me andit often overwhelmed me. Nevertheless nowsomething came up again that hadcompletely occupied my heart 20 years ago.And on the one side there was this paradise-like atmosphere. I felt this optimistic andidealistic power of youth again. On the otherside I met so many new singers and realizedthat I’m not that young anymore. Butnevertheless: the fantastic thing was, that wesang together. It wasn`t just a meeting withstories of old times. It was a meeting tocontinue in what we have done before: singon an extraordinary good level and meetlovely people from all over the world. That isfantastic and it has to go on! It can help tobuild up a network of former singers whomay support the organization andperformance of the WYC sessions all over theworld and keep the idea of the World YouthChoir running!”

Heiner Geerlings, GermanyWorld Youth Choir 1989

Music teacher, secondary schoolOtto- Hahn- Schule for children of

50 different nationalities, Frankfurt, Germany

“The World Youth Choir is still The WorldYouth Choir, 20 years later! - With itsprofessional sound made in peace andharmony, from young people around theworld. A joy to see, for a former participant,that the choir is in its good shape, as it waswhen it started in 1989. This also means, themanagement behind is doing its job to makethis choir alive. The world needs this choir!Not only for the music aspect, but to showthe world and the young singers themselves,that its possible to come together in this way,though there are conflicts and maybe even

war between the countries the young singerscome from. Creating music makes peacebetween humans and in us. So it’s even agreater joy to see that the WYC has becomeUNESCO Ambassadors for Peace. Many ofus former singers had been waiting for thisreunion, simply because, the very beginningof the World Youth Choir was such a greatexperience in our lives, when we were youngsingers. Coming together in this way, withpeople you don’t know anything about, tomake wonderful music, travel the world andshare social time, is THE BEST thing youcan ever do in your life. You feel FREE! Ijoined for the World Youth Choir for 5summers, from 1989 till 1993. For me,coming from a small island in the North ofNorway, it made a huge impact on my life.I’m now a professional singer, do I need tosay more? Of course the WYC fulfilled itspurpose in my choice of career. I’m alsohelping young singers to develop as a singer,and that gives me great pleasure. It was sogood to see my old friends again. Wedecided, 20 years later, that it would not be20 years till next time. It will actuallyprobably happen already next year. Maybethe world needs another choir? - With oldWorld Youth Choir singers? - Who knows,only the future will tell? But for sure, “we’llmeet again, don’t know where, and don’tknow when…!”

Hildegunn Coucheron, NorwayWorld Youth Choir 1989

“To reunite with those I first met 20 yearsago was like coming home to the place whereyou have the happiest early memories. Icouldn't help but feel like we were justpicking up from where we left off 19 or soyears ago. It was also wonderful to sing withthe group which continues to provide highquality training and development for singersfrom around the world. Still I felt a little

“What an emotion in Örebro... so manyfaces I hadn’t seen for 20 years... and howstrong the friendship and network hasremained! I was far from imagining how theproject would develop when I decided in1990 to take over the management of WorldYouth Choir, a project that JeunessesMusicales Sweden had started in 1989. I amvery proud of the work accomplished and Iam also very moved by the real worldwidenetwork the World Youth Choir has createdamong young very talented singers. I wishthat the project will continue for the next 20years to be a place for high-level musiceducation, intercultural exchange, globalunity and factor of arts development. Maythe alumni of the 20 past years, togetherwith the patrons help to contribute to thosegoals and aims. Long life to the World YouthChoir!”

Jean-Claude Wilkens, BelgiumFounder and manager of the

World Youth Choir, 1990-1999

“I'm a system administrator with anengineering company in Germany. InÖrebro I had the chance to escape mynutshell and share my voice with friendsfrom all over the world, which I had last seen20 years ago. Singing in this choir on thathigh level is amazing. Feelings -overwhelming. These are the real bigmoments of my live, I'll never forget. It feelslike another world. A world of unity andfreedom, nations joined. These projects andcelebrations must continue for the nextgenerations. Give all singers the chance tounite the world.”

Christoph Jandek, GermanyWorld Youth Choir 1989

“For me this meeting was one of the greatestevents in my life. I never have been crying somany tears of joy in my entire life. It maybe

...Celebrating 20 Years!

19

ICB IFCM News

melancholy that so many of our old friendsstill didn't manage to make it. One of themost wonderful aspects was finding andchatting with our friends before the eventstarted. I think that had emails existed whenthe choir began in 1989 we would all havebeen in contact much earlier. Since the eventI have managed to contact about 50 formermembers who hadn't managed to attend andwe are trying to set up another reunion nextyear. The anniversary project really re-kick-started my love for these people and theWYC as a melting pot for internationaltalent and choral coaching. Now the event isover I feel the same I did 19 years ago when Icouldn't attend any more WYC meetingsand that is great loss and a feeling that thismust never end; and it must not end. 20years ago we didn't know where the projectwould go, or where it would end up. Possiblethe best thing that happened was the coughand splutter of the first year, thankfullysomeone took up the project and breathednew life into the project and kept it alive.Regardless though, everyone who has had a

hand in this project over the last 20 years hashelped to create an institution of worldcooperation and creativity. Not manyinternational projects can claim that whenthey get together they speak with one voice.The WYC and the people I have metthrough the project will remain close friendsfor the rest of my life and hopefully we willall help to enrich our world through thesewonderful experiences.”

Alec Jackson, United KingdomWorld Youth Choir 1989

“Music and singing is my whole life, but myprofession is businessman, entrepreneur andmanager, so my point of view will be a littlebit different than opinions of active andprofessional musicians. As at the beginningin 1989, the quality of a choir, conductorsand chosen musical substance, is at anexcellent level. The main vision of WorldYouth Choir /global unity and future hope/and its social aspect is equally important,beautiful and courageous, as it was 20 yearsago. World Youth Choir ’89 was an amazingexperience of freedom, which is written inmy memory for the rest of my life. For me,the WYC 20th Anniversary was a proof thatin case of friendship time is not important.And in case of good music time has no role.The opportunity given to all musicians from45 countries all around the world, which cancommunicate and be together for one week,is a wonderful experience for their furtherprofessional life. The fact, than in this wayall musicians from 45 countries cancommunicate, including the fact that there isa generation gap between them, is anexperience which value we can’t evaluate.The idea of organizing the 20th Anniversaryis absolutely great. If it could be up to me, Iwould organize this type of anniversary every5 years as during past 20 years of my life Ihave outlasted a lot. I have got a wonderful Jean-Claude Wilkens and Eli BelgranoWhen singers, conductors and founders meet

Photos:AndreaAngelini

wife and three beautiful children. I had 2serious diseases. Each day is a gift for me!The WYC 20th Anniversary, the meetingwith people and the musical experience is agreat gift for me too. Every time I thinkabout memories from this meeting, I havegot a big smile on my face. And I would liketo say thank you all”

Oliver Salon, SlovakiaWorld Youth Choir 1989

“I am one of the "very first" singers of theWorld Youth Choir. I sang in 1989, 1990,1991 and 1992. In 1991 I was also theproject manager for the Prague portion ofthe tour. I am having a hard time findingwords to express what the World YouthChoir experience means to me. I neverimagined I would be a part of such talentedgroup of people. I was sad once I became"too old" to be a member anymore. I wouldmiss my friends; I would miss the incrediblyhigh level of music we were making together.I often thought about us "old" memberssinging and spending time together again, so

IFCM News

20 I was ecstatic to find out that there will be ananniversary reunion. I knew I would doeverything I could to be there. I wasn't theonly one, apparently. Even in the time of theeconomic downturn, World Youth Choirformer members from all over the worldturned up at the Stockholm Central Stationlooking for the train to Orebro! The reunionwas marvelous and way too short. Seeing myfriends and catching up was priceless. So wassinging together again. And yes, we werecrying at the end, just like we did every year.Thank you, Thomas Caplin and StefanSköld for the World Youth Choir and it'sfirst year, thank you, Jean-Claude Wilkensfor keeping it alive till today, thank youVladimir Opacic (and everyone else) whomade this anniversary possible. And some ofus 89'ers are already planning World YouthChoir Alumni sessions for 2010 and 2011.”

Jamila Hla Shwe, Czech Republic/USAWorld Youth Choir 1989

For the past 20 years many volunteershave worked to keep the World Youth Choirrunning. All of them, all over the world, willrecognize themselves in this article. TheWorld Youth Choir simply says thanks to allof them, to those people around the worldwho recognized the importance of choir’s

existence, and who believed in its future. Wehope you and others will continue to believefor the next 20 years!

On behalf of the International Center forChoral Music, which oversees the project,gratitude must be expressed to:Stefan Sköld, Thomas Caplin the founders;Jean-Claude Wilkens founder and previousWorld Youth Choir manager; Benoit Giauxand Jean-Marc Poncelet, executive directorsand previous managers; Alessandro Cortese,former singer and previous manager of thechoir; former and presentemployees/trainees of the ICCM and IFCMVéronique Bour; Nadine Robin; MariaCatalina Prieto; Victoria Liedbergius; themanagement and editorial team of the ICB,Jutta Tagger, managing editor; InternationalFederation for Choral Music, JeunessesMusicales International and Europa Cantat,patron organizations of the World YouthChoir; the members of the World YouthChoir Committee, and of course to theProvince of Namur, Martine Jacques, andVille de Namur with their appointedrepresentatives, for their support through allthese years.

Special gratitude must also be expressedto more than 40 renowned world conductors

...Celebrating 20 years!

Photos:MelodyRönnlund

(www.melodypics.com)

When children and World Youth Choirs meet

of the choir in past 20 years, andhosts/organizational teams of Sweden,Belgium, Hungary, Spain, Norway, Uruguay,Canada, Estonia, Japan, Taiwan R.O.C.,Slovenia, Venezuela, United States ofAmerica, Switzerland, South Korea, Israel,South Africa, P.R.O. China, countries whichwelcomed the World Youth Choir on itstours at more than 25 summer and wintersessions since 1989.

Finally a big thank you to ChristinaKühlewein, IFCM programme coordinatorfor her immeasurable, invaluable work onthe 20th Anniversary Celebration, as well asto Fred Sjöberg, president of the SwedishInternational Choral Center, and his wife,Gunnel Sjöberg, the producer, for theirtremendous work and devotion in hostingthe 20th Anniversary celebration within theframe of the “Raise Your Voices” choralfestival, Örebro, Sweden.

Vladimir Opačić, SerbiaWYC singer 1999-2004,WCC singer 2004, 2009World Youth Choir project manager since2004/05Conductor, music teacherEmail: [email protected] •

Gunnel and Fred Sjöberg,producer and manager of the 20th Anniversary event

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22 Updated NewsNew and important advancements have

taken place in the organization of the 9thWorld Symposium on Choral Music to beheld in Puerto Madryn, Patagonia,Argentina, from 3 to 10 August 2011, someof which were explained by the Symposium’sExecutive Director, Daniel Garavano, in theGeneral Assembly of the IFCM held in lateOctober in Örebro.

Thanks to cooperative agreementscelebrated with the founding members of theIFCM including Europa Cantat, A CoeurJoie and Japan Chorus League, it waspossible to send information to every regionof the world. Tim Sharp and DanielGaravano recorded a video, which wasuploaded to the ACDA website, toencourage choirs and conductors to come toPatagonia for the coming Symposium.

As had been established, November 1 wasthe registration deadline for choirs interestedin being considered for the Symposium. Ahundred and nineteen choirs from fortycountries of the five continents registered atwww.wscm9.com. The registered choirs werefrom Australia and New Zealand to Estoniaand Canada, from South Africa throughSpain to Finland and from China andPhilippines through Hungary, to Cuba andVenezuela. Argentina and the United Stateswere the two countries with the biggestnumber of registered choirs.

November 15 was the deadline for thereception of Conference and Round Tableproposals, with the presentation of eighty-five projects coming from more than thirtycountries, with topics for conferences,workshops and round tables. The 9th WorldSymposium on Choral Music ArtisticCommittee met in Puerto Madryn from 18to 23 November 2009 to analyze and discussthe presented material. Theodora Pavlovitch,

Lyn Williams, Philip Brunelle, NestorAndrenacci and Daniel Garavano, membersof the Artistic Committee, worked through ahuge amount of material, previouslyorganized by Diego Lenger, general secretaryof the Artistic Committee.

By the end of long sessions carried out ina friendly and relaxed atmosphere, thegeneral programme for the Symposium wasdetermined and, to that end, twenty-fiveensembles from twenty-one countries with atotal number of seven hundred and sixty-fivesingers were chosen to constitute a beautifulmosaic of the World Choral Singing. Inaddition, the Committee appointed fourMaestros in charge of the four master classesin choral conducting, two conductors for theCommon Singing, and thirty lecturers andother participants in the round tables.

More news: three of the six composerscommissioned to create new choral pieces forthe Symposium have already finished theirwork and their beautiful compositions areready to be sent to the selected choirs.

Once more, the World Symposium onChoral Music will demonstrate themagnitude of the choral movement in theworld and the high quality of choirs andmaestros who will lend their prestige to thegreatest of the IFCM activities.

The Organizing Committee is nowworking to contact the choirs and lecturersto confirm their participation; all of themwill be announced during the second half ofFebruary 2010 on the Symposium’s websitewww.wscm9.com. On the same site,individual participants will also find updatedinformation. Costs for accommodation andfood at various price levels will be availabletogether with tourist services offered byArgentina Visión, the event’s official touroperator. The website will offer interestingside trips as well as the essentialAPPLICATION FORM for participation inthe 9th WORLD SYMPOSIUM ONCHORAL MUSIC.

Patagonia is not so far away, theSymposium is getting closer and closer. WEAREWAITING TOWELCOME YOU!

Email: [email protected]

Translated from the Spanish by Maria de laMercedes Zavala Tello, Argentina. Revised byPhilip Brunelle, USA •

Patagonia is not so Far Away, the Symposium is Getting Closer and Closer3-10 August 2011, Puerto Madryn, Argentina

IFCM News

Artistic Committee members during the last meeting

Alejandro Daniel GaravanoIFCM Board Member

Photo:

DolfRabus

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23

WorldEuropa Cantat General Assembly in SofiaBrigitte Siebenkittel

Ars Choralis 2010Artistic and Scientific Symposium on Choral Music8-10 April 2010 in Zagreb, CroatiaBranko Stark

Let the Peoples SingThe EBU choral competition 2009 in OsloWalter Vorwerk

ChoralNet Merges with ACDA

New from the Latin-American Association for Choral Singing

What Makes a VolunteerOf Their Own Free WillKellie Bates

Choral World News

News

Choral

25

ICB Choral World News

It was a long held wish of long-time board member Theodora Pavlovitch, to host the ECgeneral meeting in Sofia. And one could see how happy she was to greet us at the Hochhaus-Hotel Moskva, 15 minutes from the Sofia airport.

Afterwards the Bulgarian Union of Choirs hosted about 100 people from 20 countries atthe opening reception.

In 2008 in San Sebastian, we heard Basque words and choral sounds at the greeting, whichweren’t understood by anyone except the locals. This time it was the Bulgarian language wewere hearing, with its soft, vocally rich sounds, similar to Russian and Czech. We traveled bybus into the center of the city for the first evening concert, encountering Friday afternoontraffic jams. We heard the Academic Female Folklore Choir of the Academy of Music, Danceand Fine Arts from the city of Plovdiv, Kostadin Buradjiev, dir. Unfortunately they didn’tdance in their pretty costumes, but their voices made a powerful, unusual impression. It wasamazing and a little disconcerting to hear how they could carry their chest voices up to thehigh register without visible strain. But in every piece, primarily folk songs from renownedcomposers, the choir showed their power, experience, and perfection. This was also theimpression made from the Saturday concert: the very good Youth Section of the Sofia Boys’Choir, Adriana Blagoeva, conductor; the wonderful legato of the St. Trinity Church Choir,Sofia, Elianka Mihaylova, conductor; and the wonderful, lively and radiant singing of theSofia Chamber Choir Vassil Arnaudov, under the director of our hostess for the weekend,Theodora Pavlovitch! Many thanks, Theodora, it was a special experience to hear your choir!

The Saturday morning general session made two resolutions with importance for thefuture:1. Sante Fornasier from Italy was elected as President of the federation as successor ofJeroen Schrijner whose mandate ended after a nine-year period on the Europa CantatBoard. The General Assembly elected a Board of 13 persons from 12 EuropeanCountries.The President will be supported in his work by three further Executive Board members:

• Gábor Móczár from Hungary as 1st Vice-President• Fred Sjöberg from Sweden who was confirmed as 2nd Vice-President / Chair of the MusicCommission

• Jean Smeets from Belgium as treasurer.

Europa Cantat General Assembly in SofiaWhere Theodora is at Home

• Further Board members are SéverineDelforge (Belgium), Montserrat Gual(Spain), Guido Helbling (Switzerland),Mihela Jagodic (Slovenia), ReijoKekkonen (Finland), Jan Schumacher(Germany), Kaie Tanner (Estonia),Thierry Thiebaut (France), DaphneWassink (The Netherlands)

2. The General Assembly also approved ofthe program of activities for the comingyears and decided on a merger of thetwo major European choralorganizations, Europa Cantat –European Federation of Young Choirsand AGEC (ArbeitsgemeinschaftEuropäischer Chorverbände) intoEuropean Choral Association – EuropaCantat.

Europa Cantat New Board

Sante Fornasier, new elected President of EC

Brigitte SiebenkittelVice-President of AMJ*

Choral World News

26 on health and about the beauty of bel canto.We heard about singing with handicaps,

about practical and healthy practices in vocaltechnique, and from Theodora Pavlovitchabout 1200 years of music in Bulgaria. Iasked some of the soloists she’d broughtalong if they could also sing in head voice,and they responded by singing a beautifullysung madrigal. The sopranos, whose voiceswere particularly multifaceted, told me theydidn’t know how they could sing with thatloud, almost screeching chest voice – theylearned it from their mothers, who learned if

The merger shall be prepared in 2010 andthe organization shall be merged at thebeginning of 2011. With the fusion the twoorganizations wish to bring together theknowledge and experience of two importantEuropean organizations, offer the choralworld the best possible service, form onemajor European Choir Federation in Europeand strengthen the position of choral musicwithin Europe.

On Saturday afternoon, there werestimulating workshops on singing as ablessing for body and soul, of the effect it has

...Europa Cantat General Assembly in Sofia

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ment

from their mothers. For Theodora it wasnormal that her students could singprofessionally in these different ways.

All this and more could be discussed withcolleagues on both evenings in the pleasant,plush, bar on the 19th floor. All theparticipants surely experienced an interestingweekend with rich content – there, whereTheodora is at home!

*AMJ = Arbeitsgemeinschaft Musik in derJugend (Music and Youth)

E-mail: [email protected] •

27In 2010 we resolved to improve choral life inCroatia. As that sort of thing cannot beachieved in a short time we set up a 20-yearplan which we called CHOROATIA 2010. Atthe time there was no association of choralconductors, nor any place where choralconductors could train. Thus we started bysetting up the Croatian Association of ChoralConductors HUZ. After that, in 2004, theschool for choral conductors was founded(www.vocal-academy.com). In addition tothat we established a website on which allinformation and links of importance to choralconductors and choirs can be found(www.choralcroatia.com). Then, in 2008, westarted the international choral competitionSounds of June, and we also produced a CDwith Croatian choral music that is beingdistributed free of charge all over the world.In view of our experiences and successes so farin respect of the training of choral conductorsand the informed promotion of choral life, webegan an international project in order tomake our knowledge available to colleaguesand choirs all over the world. It is calledIPDCM (International Project for theDevelopment of Choral Music) and at themoment it is run in South Africa incollaboration with the BloemfonteinInternational Choral Centre. Our next goal isthe organisation of an internationalSymposium on choral music. It will take placein the Croatian capital, Zagreb, from 8-10April 2010, entitled ARS CHORALIS 2010.The idea is to connect choral music andscience. The Symposium is intended tocontribute to the international improvementof choral music and sees itself ascomplementing other symposia. Thus wehope to supply a stimulus for choralconductors to incorporate more of today’sscientific insights in their artistic and

educational work. We feel particularlystrongly about the comparatively newdiscipline of vocology. Today’s objectiveknowledge about the voice and singing ishuge, but in our opinion choral conductors arenot sufficiently aware of it. On the other handwe are equally keen on researchers andscientists finding out more about choralsinging and choral music, in order to identifythe aims of their future work more preciselyand more consciously. Therefore we haveflung the areas open to discussion at ourSymposium very widely, so that all those whohave any – direct or indirect – contact withchoral music and singing can take part. Theofficial languages of the Symposium will beCroatian, English and Slovenian. Thefollowing topics will be discussed: Choir/Choirdirector, Singing/Vocal pedagogy,Conducting/Interpretation,Composition/Analysis, Voice/Vocal style,Science/Voice/Hearing, Science/Music, Musicpedagogy/Education, Sacred Music, Musicmedia/Technology, other topics.

Amongst others we are expecting thefollowing guest lecturers to take part: ThomasCaplin (Norway), Rudolf de Beer (SouthAfrica),Werner Jauk (Austria), Joy Hill (GreatBritain), Johan Sunberg (Sweden), JosefSchlömicher-Thier (Austria), Giovanni Acciai(Italy), Vanangs Romans (Lithuania), VatovecMarko (Slovenia), Andrea Angelini (Italy),Annemarie van derWalt (South Africa),HaraldJers (Germany), Irena Hočevar-Boltežar(Slovenia). Alongside the papers to be readthere will also be workshops and masterclasses.. Annemarie van derWalt and AndreaAngelini will speak to the participants in orderto introduce them to the IFCM and the ICB.The women’s choir Tokio Josei Choir fromJapan with its conductor Yoichi Adachi will bethe guest choir of the Symposium(www.geocities.co.jp/tokyo_josei_choir/). On


Ars Choralis 2010Artistic and Scientific Symposium on Choral Music, 8-10 April 2010 in Zagreb, Croatia

Branko StarkPresident of the Croatian

Association of Choral Conductors

the second day a major choral concert will takeplace. Within the framework of theSymposium there will also be the award ofprizes and recognitions to persons of merit.All further information about the Symposiumand the Croatian Association of ChoralConductors can be found atwww.choralcroatia.com.

Branko Stark (1954), composer, choral directorand voice instructor, is a teacher at the ArtsAcademy (University of Split-Croatia). He haswritten over two hundred compositions for whichhe is the recipient of numerous awards. Heteaches singers, choral directors, actors, speechtherapists, phoneticians and speakers and alsoengages in voice rehabilitation. Mr. Stark hasparticipated in more than 30 scientificsymposiums and has been guest professor at manyfaculties in Croatia and abroad. His speciality isvoice theory and its scientific-pedagogic researchand works published on this subject. He holdsseminars, master classes, lectures and workshopsfor choral conductors and singers worldwide(Argentina, Indonesia, Hong Kong, Korea,Slovenia, Malaysia, Thailand, Germany, France,Austria, South Africa). Mr. Stark is also aprominent adjudicator for many internationalchoral competitions (Germany, Austria, China,Japan, Indonesia, Malaysia, Italy, Korea,Croatia). He is President of the Croatian ChoralDirectors Association, head of the Vocal Academy,a member of theWorld Choir Council andAdvisor for Croatia in the InternationalFederation for Choral Music.(www.brankostark.com)

Translated from the German by Irene Auerbach,United Kingdom •

It was like their first big test to organizethis competition and the final round “Let thePeoples Sing” in Oslo. It is praiseworthythat the EBU furthers the development ofchoral music in this way, in calling amateurchoirs to raise the level of their performance.This is also true of radio stations which sentvery good amateur choirs to the competition,giving them support. For example,Deutschlandradio Kultur nominated themen’s ensemble Camerata Musica Limburg,directed by Jan Schumacher. At the festivalof German choral associations in Bremen in2008, this ensemble won two first prizes andthe special prize of the broadcasters, a CDproduction. Afterwards the radio stationand the ensemble made a media partnershipunder which they were sent to the “Let thePeoples Sing” competition. After asuccessful semifinal the choir flew to Oslo onOctober 18th for the finals. This excellentchoir returned home without a prize,perhaps due to the perception their programwas too “heavy” (including a world premiere– the only one of the evening), perhaps notkeeping the motto “Let The Peoples Sing”enough in consideration.

The girls’ choir from the ClassicalGymnasium of the Diocese of Ljubljana,Slovenia, under the direction of HelenaFojkar Zupancic, made a particularly strong

28 impression. With their choice ofprogramming, ranging from sacred music toSlovenian folksong in excellentarrangements, and their wonderfully blendedchoral sound brought them the first prize inthe youth choir category, and the travelingtrophy “Silver Rosebowl” for excellence asthe overall winner.

Among the finalists were choirs fromAustria, Poland, Canada, Lithuania, Finland,Germany and Norway, where the NovaKammerchor under Anne Karin Sundal-Askwon 1st prize in the adult choir category.

Ingval Eikaas, the music division headfrom NRK Oslo, said this about thecompetition:We have heard excellent choirs here. I think it’simportant to reach listeners, particularly theyoung listeners. It not only has to do withbroadcasting to many countries through theEBU, but also to use other electronic means, forexample the online connection, the websites, toshow these choirs around the whole world, to

In 1961, music editors at the BBC came upwith the idea to create a special competitionto stimulate fine amateur choral singing inGreat Britain.. This was also in the thoughtsof Pathe, to renew their choral recordingstocks with more modern and technicallybetter recordings. At the same time amateurchoirs had a platform to perform on theradio. The competition was named “Let thePeoples Sing”, representing the completebreadth of the choral movement. Its successeventually moved outside English borders.

In 1965 the competition was opened toforeign choirs, and in 1966 the competitioncame under the responsibility of theEuropean Broadcasting Union (EBU). Since1989 the re-named radio competition hasbeen held every two years, with alternatingresponsibility among the EBU memberstations. From this year’s submissions thejury chose the choirs for the final round,which since 2001 have been presented in alive concert broadcast.

Winners were chosen in the followingcategories: youth choirs (15-20 years old),children’s choirs (up to age 14), and adultchoirs. The overall winner receives atraveling trophy, the “Silver Rose Bowl”.Since the EBU no longer has as much moneyto invest in the competition, the choirs mustnow support their own expenses.

Despite this hurdle, the radiocompetition has remained a worthwhileaddress on the itineraries of high qualityamateur choirs. And a worldwide broadcastis still a big incentive.

The organization is in the hands of theMusic Group EBU, whose chairman sinceMay 2009 is the music director of theSaarländischen Rundfunk, FriedrichSpangenmacher. His deputy chair, JorunnHope, is responsible for internationalexchange for the Norwegian network NRKOslo.

Choral World NewsLet the Peoples SingThe EBU Choral Competition 2009 in Oslo

Walter VorwerkMusic Journalist

The Girls' Chamber Choir of the Diocesan ClassicalGymnasium Ljubljana (Slovenia)

Male Vocal Ensemble Camerata Musica Limburg,conductor Jan Schumacher (Germany)

Photo:

Sabine

Vorwerk

Photos:WalterVorwerk

29


show how they sing. This is the modern way toreach listeners.Jorunn Hope, the new deputy chief of theEBU music group, adds:In my opinion, choral music is a veryimportant part of the music offerings on theradio. It’s right to reach listeners across borderswith high-quality music. In the past, we had“radio people” on the jury, but this year we hadfor the first time a conductor from Estonia who

led his children’s choir to a prize in Colognetwo years ago. Also, we need feedback fromchoirs and associations for “Let the PeoplesSing”. in this way the response can be muchlarger. It’s interesting that not just Europeanchoirs participated – this year we had aCanadian choir here, and an associate jurymember came from America. This broadeningmakes this radio competition more attractivefor the choirs.

In this way, the EBU competition “Letthe Peoples Sing” has a perspective – it is nolonger just a radio opportunity, but it isbecoming more and more an internationalinstitution with an international broadcast.

E-Mail: [email protected]

Translated from the German by Dr. ClaytonParr, DePaul University School of Music, USA

•

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Tim SharpACDA Executive Director

ChoralNet Merges with ACDAPress Release

In a joint statement by ChoralNet PresidentJames D. Feiszli and ACDA ExecutiveDirector Tim Sharp, ChoralNet, the onlinechoral communications and socialnetworking site (www.choralnet.org), andACDA, the professional association forAmerican choral directors (www.acda.org),will merge effective November 30, 2009.Feiszli, a former two-term President of SouthDakota ACDA and life member of ACDAstated, “ChoralNet has always been aboutconnecting choral musicians to each otherand to resources which assist them in theirwork. ACDA shares those goals, and at thispoint in time the two entities are perfectlysituated to create a synergy that is mutuallybeneficial.” Commenting on the merger,Tim Sharp said, “This action advancesACDA’s initiative to utilize the full extent oftechnological communication for the benefitof choral directors without reinventing thewheel. ChoralNet is the premierecommunications and social networking

source for the global choral community, andit is an honor for ACDA to be partner to thisfusion as we better advance one of our corepurposes ‘to disseminate professional newsand information about choral music'.“Feiszli founded Choralist in 1993 withformer ACDA President Walter Collins andthen-ACDA President-Elect Lynn Whitten.Choralist, an email distribution list,developed into ChoralNet, which is now anonprofit corporation supported by majorchoral associations including ACDA, theInternational Federation for Choral Music,Chorus America, along with commercialpartners Smallworld Musicfolder, RehearsalArts, J. W. Pepper, and KingswayInternational.ChoralNet operates online forums toexchange ideas, make professionalconnections, and share information aboutchoral music. An estimated 10,000individuals access these forums. ChoralNetprovides links to other choral communitiesand organizations and over 5,000 choir

websites. Over 3,000 individuals visit theChoralNet website daily and read over 9,000pages. ChoralNet's online resources includerepertoire lists, reference materials, rehearsaltips, choral accessories and technology, andareas in which items may be announced oradvertised. Its ever-expanding Multimediasection has podcasts, blogs, videos, anddownloadable scores and recordings. InApril, it launched an entirely new formatwhich allows users the flexibility to interactwith ChoralNet in ways similar to othersocial networking sites such as MySpace andFacebook.ChoralNet will remain freely available to allusers, and will maintain its leadershipstructure, domain location, and revenuestreams. It will merge into ACDA’sadministrative structure through the ACDATechnology Committee, one of ACDA’s sixstanding committees, and the TechnologyCommittee’s constitutional connection tothe ACDA Executive Committee. ChoralNetusers will see no change in services as a resultof the merger, with ACDA providingadditiional forums and moderators,sustainable resources drawn from its strengthas an association, and database and websitedevelopment resources.Commenting on this structure, ACDAExecutive Director Tim Sharp stated, “Icelebrate an independent and uncensoredcommunications and social networking sitefor the global choral community.”ChoralNet will benefit from new featurescurrently in development by ACDAincluding the implementation of SOLR, asearchable index for information from bothChoralNet and ACDA's websites, ACDAChoral Radio and collaboration with NaxosRecordings, ChoralPedia, a wiki basedinformation and research tool, ACDA'sDigital Publishing House, and additionalfuture web-based tools and resources. •

Latin-American Association forChoral Singing(Asociación Latinoamericana de CantoCoral ALACC) - ChileNews from the Southern Hemisphere

The Latin-American Association forChoral Singing ALACC-Chile celebrated itstenth year of existence under the presidencyof Maestro Waldo Aránguiz Thompson. Inthese ten years it continued to makeprogress by dedicating all its forces to thedevelopment of choral singing, helping thecountry’s choirs by networking with otherLatin-American countries and the world, inparticular by organizing the InternationalChoir Festival "Mario Baeza", which takesplace every two years. The sixth festival willtake place in Valparaíso and in Viña del Marin 2010.

In September 2009, a new Board waselected; its members will continue to workin the spirit of its now Honorary President,Maestro Aránguiz.The new Board consists of:• President: Maestra Ruth Godoy, auniversity teacher and choral directorof great renown in the choral world ofChile

• Vice-Presidene: Maestro GuillermoVergara

• Secretary: Sylvia Frische• Treasurer: Carlos Obaíd• Members: Ana Luisa Pérez, Hernán

Cuevas and Sergio CamposSylvia Frische, Secretary of ALACC-ChileE-mail: [email protected] from the Spanish by Jutta Tagger,France •

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Choral World News

32 Volunteers: a people who fervently commithours of their time and energy for nofinancial gain. A people who face the samechallenges, disappointments and deadlines aspaid staff: yet freely give their output. Thewords ‘volunteer’ or ‘amateur’ are too-oftenspoken by ‘professionals’ with (whetherintentional or not) a sense of condescension.And, I’ll admit, I’ve been known to hail ashow as “excellent; for an amateurproduction”. Don’t get me wrong: mostprofessionals realize they could not get bywithout the commitment and skills of theirvolunteers, and strongly appreciate theirefforts. Some may be taciturn, however mostmanagers are very vocal when attributing thesuccess of their concert/festival/event/operations to the commitment of theirvolunteers. Managers wishing to payvolunteers with a salary consummate withtheir output: both boundless often recognizethis impossibility. So these are the peoplethat fit in the little box at the very bottom ofthe organigram.

Why do they do it? Surely they must begetting something in return, because nobodydoes anything for nothing, right?

Without becoming too deeplyphilosophical, perhaps it’s true that there isno such thing as true benevolence andaltruism; that there’s always some gain indonating one’s time and efforts- be it to fulfilone’s own love of working within the arts, orto fulfil part of Maslow’s Hierarchy in feelingneeded and loved, or to give something backto others. True cynics may even look deeper,incorporating the two terms ‘tax deduction’and ‘volunteering’ in the same sentence. Ithink, what it comes down to is that nomatter their motivation: these people are notthe wheel that steers the ship, nor the crewthat guide its journey: they’re the timber, theportholes, and the sails.

As these people form such an integralbody of staff, it is therefore crucial that theyreceive the training, motivation and ongoingsupport necessary to ensure their success. Itwould be disingenuous to hail every personwho has ever displayed a volunteer badge asan asset in their embodiment of anorganization, however many volunteersdemonstrate a commitment to achieving asmuch (and sometimes, additional) excellencethan paid staff.

What does this mean though, for aManaging Director or Chief of Staff? Herewe havea) an essential ingredient in the recipe to an

organization’s successb) a group of people who will strive to

achieve excellencec) a group of people who could, with

‘antisocial’ behaviours undermine the“face” of an organization and (let’sassume)

d) no possibility of remunerating these stafffor their effortsIf we look to market surveys, we see

questions such as “How highly do you valueon-the-job training?” and “How often doyou receive feedback from your Manager?”and “How do you rate your organization’sflexible working options?”. These types ofquestions provide us with some clues totapping into this elusive group of worker-bees through alternatives to the traditionalfinancial incentives.

Google the meaning and etymology of‘volunteer’, and you’ll see the words ‘willing’and ‘free will’ often appear. Let’s not forgetthe volunteers have chosen to donate theirunique skills to this particular organization.So, one could assume there is something thataligns them; be it the company goals, vision,the position itself or the industry. Volunteersare (presumably) representing anorganization to the public, and the public

will not make concessions for unsatisfactoryperformance on the basis that ‘they’re avolunteer’. Therefore, these volunteers needand deserve a commitment from theirorganization to the same transparency ofinformation as paid staff; a clear inductionand regular feedback; on the job (or otherappropriate) training and ongoing support.These are all fundamental to theunderpinning right of these volunteers, andthat’s around ‘respect’.

The entire company’s staff may be awareof who is paid and who isn’t, but this neednot be reflected in the treatment of avolunteer. A manager need not walk oneggshells where constructive criticism isnecessary. Nor should a manager delegatemenial tasks on the basis that a paid staffmember would be ‘above that’ (in fact, thismay be counter-productive where avolunteer has a useful set of skills). If thepublic see a paid staff member and avolunteer as one and the same: so too shoulda manager. And this will filter down throughthe staff, encouraging a harmonious andrespectful workplace.

So next time you think of someone as‘just a volunteer’, think of all of theinternational artistic (and other non-profitorganizations) on a global, national and local

What Makes a VolunteerOf Their Own Free Will

Kellie BatesJournalist

33


level. Consider the Chairman of the Board ofthe international festival who labours formonths over its inception and during theevent gains minimal sleep; firmly committedto ensuring its success. Consider the staffmember who greets every patron with a smileas they answer the same few questionsrepeatedly; paraphrasing often the onlyvariety in their day. Don’t think of why it isthey do it, but how more people can beconvinced they should.

© Written (in a voluntary capacity*) by KellieBates

Australian born Kellie Bates is a journalistand broadcaster, and has attended theEUROPA CANTAT Utrecht XVII YoungEvent Management Program in TheNetherlands and Young Arts ManagementProject in Caen, France, with the InternationalFederation of Choral Music. With aperformance diploma in violin and singing,Kellie has a diverse career history includingmarketing and journalism in both in Australiaand the United Kingdom. Kellie is currentlyacting as Chair of the Australian Youth MusicCouncil.

E-mail: [email protected] •

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Composers’ Corner

Composers’ Corner

Risk-taking in ProgrammingWays to Explore New MusicDr. Cara Tasher

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

Please contact Cara S. Tasher, Editor


How many conductors are programmingmusic outside of their comfort zone throughthe exploration of new cultural idioms orcommissioning composers? If a conductorwants to explore new music but has neverdone so, it is my hope that this article willserve as a small inspiration. I have asked afew seasoned conductors from varyingbackgrounds to respond to this with theirreflections.

What is the comfort zone? In essence,some of us have a clear line between ourcomfort zone and a discomfort zone. AndréDe Quadros (Boston University) and Idiscussed this at length, exploring the ideathat the “comfort zone” is the stuff that wethink we know about, a Bach cantata, forinstance. If someone asks you to perform aPhilipino mass, it may seem out of yourrealm. Yet one can use the same microscopefor any seemingly exotic piece that onewould use for Bach.

Excellent and thoughtful conductors usethe same questions for every piece they areconducting so that nothing will beunfamiliar as they introduce the score totheir ensemble. When approaching a work(old or new), Robert Shaw started fromscratch as if nothing were familiar. When onedoes background on any work to be

performed, it should be consistent: What doI know about that period? What kind ofvocal color is distinctive for the music of(insert composer or genre) that I can get frommy choir? What is its context in thecomposer’s life, harmonic language,rhythmic complexity? How do I approachtexts/transliterations? These are the samequestions no matter which repertoire youperform. It seems that many people makeassumptions about their familiarity withcertain subjects and in essence, neglectcertain repertoire for the wrong reasons.People think they are familiar with Bachbecause they have studied him, performedsome of his works, can pronounce theGerman using IPA, and so forth. Therefore,they choose to not visit the unfamiliarbecause they think they know about Bach,and they think they do NOT know aboutIndonesian music. André put it succinctly.“What do most conductors know about theAge of Enlightenment? Yet they areperforming music from this period as if it iswell within their comfort zone. And,simultaneously, they think they need toknow everything about Indonesian culturebefore performing that repertoire and thusdo not.” The clarity and simplicity of thisstatement was overwhelming – the reasonthat certain repertoire has been neglected isnot in the “I don’t know”, but because we areusing over-simplistic reasoning regarding ourfamiliarity with a subject.Cara Tasher (CT): Why should one performmusic outside of their comfort zone?André de Quadros (ADQ):Why should onestudy world history? Why should one botherto study another language? Our world isincreasingly globalized. When the Chinesecurrency moves, that affects the Americaneconomy, and so forth. André de Quadrosrecently finished editing an Arab piece (FogElna Khel) by a Syrian-Iraqi composer. “The

35

Dr. Cara TasherDirector of Choral Activities

ICB Composers’ Corner

most interesting part is its beautifultraditional Iraqi melody; it’s a love song—likening the moon to the face of thebeloved…” This work, and a carefullycrafted translation and transliteration ispublished in a new earthsongs series calledSalamu Aleikum Choral Music of the MuslimWorld. Yu-Chung Johnny Ku (TaipeiPhilharmonic Chorus): To me, one of the corevalues of the arts is the creativity factor. Itcan be a new point of view regarding acomposer, a new approach to an old piece, anew philosophy of programming, a new wayto perform, or simply a new composition.Creativity is one of the most importantforces to propel the arts—to evolve, to moveforward. Look at Dufay, Monteverdi, J. S.

Bach, Beethoven, Liszt, Wagner, Stravinsky,and many others. Without their creativity,we would not have the music we areexperiencing in the present. Therefore, inorder to further develop our music, toperform never-before performed music issomething that we must do. It is a challengeto the performers and audience alike,requiring courage and an open mind,disregarding the fear of a negative audience

Risk-taking in ProgrammingWays to Explore New Music

Yu-Chung Johnny Ku, Taipei Philharmonic Chorus

André de Quadros

36 energy in a way I had never heard expressedin choral music. Likewise, in “How the soulspeaks to God”, the soprano and tenordialogue with the chorus on two harmonicplanes, creating a kaleidoscope of interestingharmonic progressions. I performed EcstaticMeditations with both the CCM ChamberChoir and the Vocal Arts Ensemble ofCincinnati. (I had also programmed Kernis’“Teach me Thy way, O Lord”, an accessibleanthem featuring an original compositionaldevice of a repeating 4’ organ pedalostinato.) When a commissioningopportunity arrived to celebrate therestoration of a mid-19th century organ inCincinnati’s historic Plum Street Temple, myfirst choice was Kernis. I had had severalyears to hear, study, and conduct his music,and believed him to be an outstandingcomposer with original compositional ideas.His Two Meditations, commissioned byCCM’s Tangeman Sacred Music Center andpremiered by the Vocal Arts Ensemble in2006, was fulfilling in many ways, especiallyin the handling of long phrases, punctuationof organ passages, and contrasts of textures.When I have the next opportunity tocommission a work, in selecting a composerI will first draw upon the resources of myexperiences with his/her works, to includelistening, studying, performing andreflecting.(CT): Describe some of your experiences incommissioning or performing new music.(ER): I am currently learning two new worksfor February 2010. I have programmedAugusta Read Thomas’ “Ring Out WildBells, To The Wild Sky,” and Penderecki’s“Credo”. I began serious study of both worksin early spring 2009. Having previouslyperformed and studied works of eachcomposer, I was better prepared to begin ananalysis of each work. Score study, scorepreparation and listening further illuminated

reaction as it may be more difficult for anaudience to accept new music or even attendsuch a concert.(CT): How would you describe your approachto never-before performed music, or music thatis less performed in your particular culture?Dr. Earl Rivers (University of CincinnatiConservatory of Music-CCM): Inapproaching a newly commissioned work ora work that I have never performed, I firstseek more information about the composerand her/his works. I seek not only choralworks, but also more importantly, works forother mediums – orchestral, opera, stringquartet and chamber music. Insight of abroad range of a composer’s output betterprepares me to analyze a new work, toanticipate compositional proceduresincluding forms, melodic and harmonictreatment, text setting and facility withinstrumental writing. I complete a large ormacro analysis of the formal structure todetermine how the work is unified and howcontrasts are offered. Next, I begin a moredetailed analysis to delineate phrasestructures and harmonic treatment. Adetailed analysis is a long, on-goingprocedure, as I add layers of detail withadditional study, continuing to refine myunderstanding of and ability to internalizethe work.(CT): As a conductor who has commissionedseveral composers, please share how you choosewhich composer to commission.(ER): In a commission, I seek original ideasfor expressing text and music. To cite a recentcommissioning experience, I encounteredAaron Jay Kernis’ a cappella work, EcstaticMeditations, at the 1999 IFCMWorldSymposium in Rotterdam and wasenraptured with this three-movement work.In “I Cannot Dance, O Lord” Kernis,through mixed meters and rhythmiccounterpoint, captures and stores enormous

Composers’ Corner

...Risk-taking in Programming

the works and has given me ideas forinterpretation that I would not have gainedby simply listening to the recordings. Havingcompleted a macro and microanalysis, I feelwell prepared to begin rehearsals. A thoroughanalysis has also given me confidence in therehearsal plans I have devised for thechoruses (mixed and children), soloists (solo,quintet and octet) and orchestra and in myability to produce fine performances of theseworks. (JK): Performing new music is notonly a required duty for me, but also fun.During the process of learning/rehearsing/performing a new piece, you may beproducing a new sound, making a newvision, discovering a new world, creating anenjoyable experience for audience andperformers alike. I believe that with the rightwork [in the right context]–a newcomposition or music of another culture candeliver a new vision, a newlistening/watching experience, or evensurprise the audience–it has the potential tobe accepted and appreciated even in theconservative Asia. Compared to performingnew music, playing music that is lessperformed in a particular culture seemseasier for people to accept. I have taughtChinese and Taiwanese music to Americanchoirs several times, and performed Chineseand Taiwanese music in the U.S. andEurope. On the other hand, I perform a lotof Western repertoire in Asia. No matterwhich way, audiences usually can acceptmusic from different cultures easily. Maybethey are surprised, amazed, and charmed bythe exotic flavor. That said, I believe it willtake a long time for people to actually

EarlRivers

37

ICB Composers’ Corner

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understand and perform music fromdifferent cultures, but we are well on theway.” Agreed.Thank you to André De Quadros, Johnny Chu,and Earl Rivers for their input on this issue'sComposer’s Corner. As we welcome our newICB editor, we are still open to input regardingwhat you would like this section to include.Please contact me at [email protected]

Due to her own meaningful experiences inorganizations such as the Glen Ellyn Children’sChorus, Chicago Symphony Chorus, Atlanta

Symphony Chorus, Trinity Choir at WallStreet, Conspirare, and Experiment inInternational Living, Dr. Cara Tasher,Director of Choral Activities at University ofNorth Florida (Jacksonville), strives to instill inher singers the passion for excellence with anappreciation of different cultures. She recentlyserved as chorus master for Opera de BellasArtes in Mexico City. Tasher has preparedmasterworks for professional organizations andworked with numerous high schools andcommunity ensembles. While associateconductor of the Young People's Chorus of New

York City, she designed two ensembles and twoannual workshops that continue to bloom. Forthe past 5 years she has continued thatmomentum as artistic director/conductor of theVocalizze Festival in Portugal and has beenactive in the U.S. as guest conductor, clinician,and adjudicator. Cara studied at the Universityof Cincinnati College-Conservatory of Music,University of Texas at Austin, La Sorbonne,Northwestern University, and currently serveson the Florida board of the American ChoralDirector's Association. •

Let’s Talk MethodLeadershipCristian Grases

World of Children’s & Youth Choirs

Children’sand Youth

World of

Choirs


Please contact Cristian Grases, Editor


As the editor for the World of Children’sand Youth Choirs column in the ICB, Iwould like to introduce the concept of fixedthemes in upcoming issues of the ChoralBulletin. Let’s Talk Method is the first of thesecolumns which will offer our readersinformation on technical aspects of choralconducting and thoughts from artistic andexecutive leaders. We will share ideas onconducting and rehearsing with children’sand youth choirs and strategies to developtheir supporting institutions which will behelpful to many colleagues. This thematiccolumn will always appear in the Januaryissue of the bulletin.

Previously, we discussed the importanceof having a strategy to deal with crisis. In thisarticle I would like to explore ideas in regardto what I consider to be the mostfundamental aspect in the choral world:Leadership. This often overused termencompasses many diverse traits andcharacteristics in being a choral conductor.

Leadership is intimately linked with thenotion of accomplishment since a successfulleader is capable of generating effectivecooperation from other people and is able tochannel the efforts and results of this supportto attaining one’s final goal. The choralleader is immersed in an adventure that seeksthe fulfillment of the mission and goals ofthe organization he/she leads. Whilereaching one’s ultimate goal, many facetsmay need constant reevaluation andadjustment. Following are several areas inwhich choral leaders should dedicate somethought:

EducationOne of the most important characteristics

of choral music is that it can be performedwith untrained musicians. Orchestralperformers require a certain proficiency levelon their respective instruments which is

usually accompanied by a required level ofmusicianship. On the other hand, thechorister does not have to be musicallytrained to be a choral singer. Choirscomposed of trained singers can attain veryhigh levels of excellence in their musicmaking; however, amateur choirs comprisedof mostly untrained singers can also presentbeautifully crafted performances that areequally valuable.

Therefore, the choral leader mustunderstand that a great deal of rehearsal time

will be devoted to education—to prepare thesingers in two most critical areas: 1) vocalproduction, and 2) musicianship and scorereading; and in other complementary areasincluding music history, style, expression,repertoire, diction, acoustics, etc. Thisrequires that a choral conductor be a MasterTeacher who must be adequately prepared inall these areas in order to properly educatethe ensemble.

Education is not only a concern withinthe ensemble. An important part of this facetis to educate and build an audience: toprovide them with interesting programmingthroughout the year’s activities; to includethoughtful and interesting, yet simple andshort program notes; and to interact with theaudience during and after the concert. Wemust also emphasize how important it is toeducate our funders. The entities that offerfinancial support to our choral ensembles

often need to understand our purpose andthe historical and artistic platform on whichwe operate and build our choral musicprograms and institutions.

Community and ServiceWe have talked about how important it is

to interact with our community, but thechoral leader must also consider theimportance of how the community is beingserved. Choral organizations must reach outto create solid partnerships with otherorganizations in the community other thantheir funders. Finding institutions that havesimilar missions, goals, or target populationsis crucial so that the efforts can be alignedand the results can be multiplied—usuallyexponentially. The choral leader isresponsible for finding such partners and forsteering the choral institution into acommunal effort in the service of society andits greater good. Music appears to be an ideallanguage to achieve these results underdifficult circumstances.

Financial sustainabilityFinances are also an important part of a

choral leader’s duty. This involves a variety ofaspects which deal with money matters. Oneof the most important components is tocreate an ambitious but realistic budget thatallows the choral institution to fulfill itsmission and goals and to find sufficient andreliable income streams that can successfullyfund the organization. These revenue streamsinvolve not only receiving grants from publicor private institutions which are committedto the organization’s ideals, but also theensemble must develop projects to generateincome from concerts, events, exchanges,etc. Creativity is also a key word in findingnew streams of revenue or financial partnersand in developing musical events thatproduce both artistic and economic success.

39

ICB World of Children’s and Youth Choirs

Cristian GrasesIFCM Board Member

Let’s Talk MethodLeadership

Iowa Youth Chorus State Fair

40

• Be respectful. Respect your colleagues,fellow musicians and singers. Theirtime, presence, and efforts are veryvaluable. Be equally respectful ofyourself —of your time and yourintegrity as a musician and as a person.And above all, respect the music, forstaying true to it allows us to becomesolemn stewards and genuine artists.

• Expect superior scholarship andmusicianship so that you cannot only bea master teacher but also an example ofmusical and academic integrity forothers to follow.

• Strive for refined and effectivecommunication skills which implyconveying your thoughts and wishesand also nurturing your listening skills.

• Good humor is a powerful tool to leadany group to success. It helps release theinevitable tensions, deal withdifficulties, and it ultimately allows youto create a better environment for all.

• Self-evaluation and improvement arecritical for you to constantly reviewyour current situation—both mistakesand achievements are equallyimportant—and to move yourorganization and ensemble forwardtoward a better and more improvedentity.

• Set high attainable goals to keep yourchoristers both challenged and engaged.To achieve these goals, be enthusiasticand motivational while maintaining astrong but yet fair discipline.

• Most of all, love what you do, becausemany times your journey will bedifficult but yet your leadership mustalways be inspiring to others.

Many choral music colleagues innumerous places around the world havefallen into the trap of thinking that asuccessful choral institution should befounded on outside components includingtrained singers, generous donors, state-of-the-arts facilities, etc; no doubt anyensemble can benefit with such componentsin place. Unfortunately, some choral leaderstend to have feelings of envy and jealousy forother colleagues’ successes. I truly believethat, despite the makeup of a choir, itsinfrastructure, and its support network, thesuccess of any choir totally reflects theguidance, essence, skill, and degree ofcommitment of its choral leader. Alwaysremember how significant our role andimpact as a choral leader is for our choralorganization and the communities in whichwe work and live.

Cristian Grases obtained his Masters Degreein Choral Conducting under Alberto Grau andMaria Guinand in Caracas, Venezuela; andhis Doctorate in Choral Conducting at theUniversity of Miami. He is an award-winning

Excellent financial leadership, fiscalresponsibility and accountability areimportant aspects of a true leader in choralmusic.

Rehearsal and EnsembleA crucial aspect of a conductor’s

leadership is one’s effectiveness andmanagement of a choral rehearsal. A greatchoral leader understands that anoutstanding choral ensemble and its artisticexcellence are developed during rehearsals.We have already mentioned the importanceof an ongoing educational approach duringchoral rehearsals—thus a successful and well-planned rehearsal is essential for all choralgroups. Important personal qualities thatchoral leaders must cultivate which aredirectly related to leadership and personalinteraction with the ensemble are:• Know who you are and be true toyourself. Your choral institution will bea reflection of your core and uniqueness.

Dossier

...Let’s Talk Method

Cantoría Juvenil de la Schola Cantorum (Venezuela)

composer active as a guest conductor, clinician,adjudicator and pedagogue in North and SouthAmerica, Europe, and Asia. He is a BoardMember for IFCM and a member of theInternational Artistic Committee forSongbridge. He is currently an assistantprofessor at California State University LosAngeles, in the United States.E-mail: [email protected] •

ICB World of Children’s and Youth Choirs

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opusChoralThe New On-line Choral Music Boutique is Open!

Choral Music Recordings

If you would like a CD to be consideredfor review

Please contact Emmanuel Noisette deCrauzat, opusChoral President

4 place de la Chapelle75018 ParisFrance


Choral Music Recordings

Download Possibilities&

BackgroundThe idea of a sound data-bank dedicated

to choral music was first discussed in Dakar(Senegal) by IFCM president LupwishiMbuyamba and then secretary-general Jean-Claude Wilkens, in January 2007. It waslater transformed from an IFCM project intoa commercial one in order to interestproducers and ensure sufficient futurerevenues to enable project expansion. Aninitial team was appointed to researchfinancial and technical solutions. Followingthe resignation of the technical director anddifficulties with the original investor, thecurrent team assumed responsibility for theproject. Over a six-month period, this teammade numerous contacts to secure fundingand search out technical partners. Whenthat search proved unfruitful, they decidedto create a simplified corporation underFrench law, with 83,500 Euros in capital,held by the IFCM, the A Coeur JoieFederation, Emmanuel Noisette de Crauzatand several other investors. Following the2008 Copenhagen symposium, where theproject and organization were publiclyannounced, the articles of incorporationwere registered with the Paris Chamber ofCommerce, on October 20, 2008. Atechnical partner was found: Imedia, aSenegalese company specializing in websitedevelopment. The service contract wassigned in January 2009, a scope of work wascreated jointly and the Senegalese teambegan work, with the goal of making the sitefunctional at the earliest possible date.Concurrently, the site design was developedby Cécile Mérino-Coutureau, currentlyartistic director of the weekly supplement tothe French newspaper of record, le Monde.OpusChoral has already made two trips toMidem to expand the catalog of recordingsavailable on the site and to meet with musicpublishers to open additional salesterritories.

The opusChoral site www.opuschoral.comis now open

The entire catalog of five hundred albumsis available for sale in France, Luxemburg,Cuba and Canada; all recordings in thepublic domain are available world-wide. Ahuge negotiation effort is still underway withnumerous rights-holders in order to obtainaccess to the largest number of availablecatalogs possible, in the greatest number ofsales territories, as rapidly as possible.OpusChoral has already signed withGerman, American, English, Belgian, Frenchand Dutch labels. Recordings of Japanese,Tibetan, European and American choirs areavailable on OpusChoral. A search enginewith multiple functionalities (search bycountry, music genre, type of choir,composer, artist) permits rapid access to theOpusChoral catalog. Also available arerecent articles on choral music recordings,short texts highlighting various parts of thecatalog, and an admittedly subjective“Favorites” section, all there to help Internet-users navigate through the catalog. Once arecording has been found, a description andthe cover of the CD are displayed, as well asa brief description and the possibility ofhearing a short excerpt of each track (limitedto 30 seconds for legal reasons). Afteradding the desired recordings to their

shopping cart, the user must register, if theyhave not already done so. The purchase canbe completed within the PayPal securepayment system, using a purchasing card,credit card, PayPal account or other method,depending on the country.

The OpusChoral site is making everyeffort to remain entirely legal, no easy taskgiven the quantity and complexity of thetexts and constantly evolving situations ineach territory. We retain the right to modifythe appearance or content of the site at anytime in order to comply with all applicablelaws. Recordings downloaded from theOpusChoral are completely legal, and weintend to remunerate their copyright-holdersfairly.

Future developmentsFuture improvements will not necessarily

be visible to the public, for example, in thearea of reports to publishers, labels andcopyright-holders designed to ensure acompletely transparent relationship betweenthese entities and OpusChoral. Additionalpriorities include adding new catalogs andmaking the entire OpusChoral catalogavailable in new territories.OpusChoral: www.opuschoral.com

Translated from the French by Anita Shaperd,USA •

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ICB Collector’s Corner

opusChoralThe New On-line Choral Music Boutique is Open!

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

Choral Collections: A 'sound' investmentDr. Marian Dolan

Repertoire

Repertoire


Please contact Marian Dolan, Editor


Collections. A good investment. Whetheryour choir is in Argentina, Romania,Indonesia or Canada, buying scores is a trueinvestment in today's globally tighteconomy. Many directors look to choralcollections as a smart way to buy a set ofscores – as one book – for less money thanpurchasing individual scores. So here are afew recommendations.

Let's Get Singing (ISBN 978-3-7649-2439-3; Gustav Bosse Verlag/Bärenreiter) is aglobal choral collection of 100+ SATB scoresfrom 35 countries and almost as manylanguages, edited by 4 German choral musiceducators. About 50 scores are folksongs,half from Europe and half from othercountries including Haïti, Bolivia, Kenya,Congo, Madagascar, Macedonia, Mexico,Samoa, Serbia, Slovenia, South Africa,Tanzania, Jamaica and the Ukraine. Theother 50+ scores are equally divided intosecular, sacred and Christmas. Many of theoriginal non-German texts also have asingable German translation underlay, butthis practice is not consistent throughout thecollection. Some scores are originalarrangements from the culture of origin("Haïti Chérie" by Electo Silva; "Três CantosNativos" by Marcos Leite; "Pusi Nofo" byChris Marshall); the editors themselvesarranged the other international songs. Mostof the works are a cappella. A few scorescontain chord symbols but unfortunately noexplanation for the instrumentation. Mostpieces are brief in duration and musicallyaccessible to an ensemble from anotherculture or language group. The book has astrong paper cover, is well engraved and readsvery clearly, including numbers on allmeasures. Translations of texts are usuallygiven in both German and English. Noperformance recording exists, however anaudio-CD "with 99 tracks and lyrics of everynon-English song" is available. Thepronunciation tracks are also freely accessibleonline (http://bit.ly/4J6aLV). These

pronunciation tracks, while a nice idea,needed editing. Some are spoken much toorapidly or in rhythms not from the score;others are intoned or quasi-chanted ratherthan clearly and slowly spoken with care todiphthongs and unusual consonants.Puzzling why the English texts are omittedfrom these audio recordings. Still, this is oneof the most 'global' single-volume choralcollections published today. If you arelooking for a comprehensive, accessible,global compilation then this volume may bea good start.

Collections of scores from a specificcountry or region may be published for usein that area, or, on the other hand, may bepublished for international choirs wishing toexplore that region's repertoire. Forexample, from Finland and publisherSULASOL come two collections, onetargeted mainly to Finnish choirs and one tointernational ensembles. SULASOLpublishes three volumes of a cappella mixedchoir scores in a series calledSekakuorolauluja, meaning 'songs for mixedchoirs,' for use mainly by Finnish ensembles.Since all of the information is only inFinnish, there is no need for a pronunciationguide! But given the breadth, depth andaccessibility of these scores, one would loveto have available an English translation ofthe information notes along with a copy ofSULASOL's excellent "How to Sing inFinnish" guide. Volume 3, for example,contains 78 works, half of which are byFinnish composers both historic and livingincluding Chydenius, Johansson, Kekkonen,Kortekangas, Kostiainen, Kuula, Makaroff,Mäntyjärvi, Rautavaara, Sibelius.International composers include Bárdos(Dana-dana), Čopi ("Pie Jesu"), Erb("Shenandoah"), Kreek ("Õnnis oninimine"), Sisask ("Oremus") as well as16th-17thC Latin motets. The engraving isclean and very readable.

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Choral Collections: A 'sound' investment

ICB Repertoire

Is it Spring in Finland? is SULASOL'snew collection of 14 Finnish NationalRomantic scores edited brilliantly bycomposer Jaakko Mäntyjärvi. Again, all ofthe scores are a cappella in various mixedchoir voicings. Jaakko's contextual, culturaland biographical notes (in English) openwide the door to non-Finns in understandingthis important and beautiful era of Finnishchoral music. He provides very clearpronunciation guides for both Finnish andSwedish texts. Composers include Sibelius (4scores), Palmgren (3), Kuula (3), Madetoja(3) and Sallinen (1). Since he is also trainedas a professional translator, Jaakko providessingable English translations in addition tothe score's original Finnish or Swedish texts.My only critique is that the size of themusic/text is a bit smaller than in mostscores. That aside, if you want to beginexploring Finnish choral music with yoursingers, this collection is an excellent place tostart.

Norwegian conductor Kåre Hanken hascollected and edited a stunning anthology,Norwegian Choral Music 1905-2005 (ISBN82-7093-532-8; Norsk Musikforlag). Thishardcover A4 volume is a conductor'scollection of 45 scores for mixed voices thatthe editor hopes "will seed a curiosity todelve deep into the choral repertoire from anexciting and rich period." Because theindividual scores are available, this volume ismeant as a reference for a conductor ratherthan a book for individual singers. A full listof the composers and scores is here(http://bit.ly/5JI28F). Part 1 / 1905-1955includes Grieg, Valen, Sandvold, Solberg andothers. Part 2 / 1955-2005 includesHovland, Nystedt, Kverno, Sommerro,Gjeilo and others. Part 3 / Folksongsincludes settings by Sløgedal, Sæverud,Alnæs, Kruse, Egge and Nystedt. All of thescores are a cappella, with much divisiwriting. Scores are of moderate tochallenging difficulty. The conductor with

Dr. Marian DolanChoral Conductor

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Repertoire

...Choral Collections: A ‘sound’ investment

an experienced ensemble will find muchchoral gold here. Two CD recordings by sixtop Norwegian choirs are included.Composers' biographies and otherinformation are in both Norwegian andEnglish. The engraving varies from score toscore because these are facsimiles of existingprint editions, all of which can be orderedindividually for the choir.

Are you interested in exploring theexciting, rhythmic and very diverse LatinAmerican choral repertoire with your mixedvoice choir? Then the following collectionsare excellent, accessible starting points. Therenowned choral maestra María Guinand isyour guide via Makumbebé: Latin AmericanChoral Repertoire (Carus Verlag 2.302), vol 1of the Carmina mundi series. This all-folksong collection includes 12 mixed voice acappella works from Argentina, Brazil, Chile,Colombia, Ecuador, Peru, Uruguay andVenezuela. A full list of scores/composers isavailable on the Carus website(http://bit.ly/5J6o3d). María's experience aseditor of Earthsongs' respected LatinAmerican scores is also reflected in theediting of this collection: commentaryinformation, English translations of texts,excellent guidelines for percussion and guitaraccompaniments, composers' biographies,and a brief pronunciation guide.

Esteemed Argentinianconductor/composer/musicologist NéstorZadoff edited Polyphonies latino-américaines,two collections of Latin American mixedvoice a cappella scores for Editions a CœurJoie. Scores in both volumes are fromArgenina, Colombia, Bolivia, Peru,Venezuela and Uruguay. Vol 1 contains tenworks ranging from transcriptions of thehistoric 17c "Hanac Pachap" and "Eccevidimus eum" to the Venezuelan joropo "LaPuerca" and the choral arrangement ofPiazzolla's classic tango "Adios Nonino." Vol2's nine scores include two 18c sacred

motets, Favero's passionate "Te Quiero",Cuban classic "Guantanamera", and theexhuberant candombe "Ronda Catonga"from Uruguay. Basic information about thescores, as well as translations, appears in bothFrench and Spanish. One only wishes thatboth the Carus and Cœur Joie collectionshad cd's or mp3's of authentic performancesof this wonderful repertoire as aural 'roadmaps' for non-Latino singers andconductors.

In the past few years, Oxford haspublished a number of choral collectionsincluding those compiled and edited bycomposer-conductor, Bob Chilcott. The 5Songs for Upper Voices (ISBN 978-0-19-335920-8) is a set of scores commissionedfor various treble/youth choir festivals. Textsare in English, voicing is unison and twoparts with piano, and the level is veryaccessible. Native American Joy Harjo's"Eagle Poem" is used in the reflective"Circles of Motion." Kit Wright's "RedBoots On" gets a funky-jazzy setting fromChilcott, and the reflective "All Things Pass"uses a beautiful 6c text by Lau-Tzu.

Do you work with youth choirs andsearch high-and-low for SAB scores? Thentake a look at Oxford's SongStreamcollections, compiled and edited by BobChilcott and Peter Hunt. Each volume'swebsite contains pdf score samples(http://bit.ly/8Zzqxf andhttp://bit.ly/5nMACu) of some of the 10scores, in SAB voicing, usually with piano,with texts that relate well to young people.Vol 1's array of styles includes "Aka-Tonbo"by Kousaku Yamada, an energetic setting ofthe spiritual "Swing Low, Sweet Chariot",and the rumba-styled energetic "Shake theBottle" complete with cowbells, congas andtom-toms. Vol 2, An American Journey,includes Canadian composers (EleanorDaley's "Erosion" and Mark Sirett'sarrangement of the traditional Québecoissong "Les Raftsmen"), the Mexican lullaby

"Señora Santa Ana", Alberto Grau'sarrangement of the traditional Venezuelansong "El Gavilán," various U.S. folksongsand Ysaye Barnwell's very emotive score"Wanting Memories" which she wrote forthe famed African-American women'sensemble Sweet Honey in the Rock. Let'shope Oxford continues this much-neededSAB series with an even broader range ofinternational repertoire.

The PraiSing sacred choral collections byBärenreiter (www.baerenreiter.com) includefour volumes to date: Bulgaria, Israel, Russiaand Sweden. Each volume, edited by anative, contains 8 to 12 original sacred worksby composers from that country. Again, allscores are for a cappella mixed voices and areof moderate accessibility. Some scores havekeyboard reductions. There are nopronunciation guides or recordings, and onlya very minimal comment about thecomposer or score is given. Some scores havea singable English translation under theoriginal text.

Do you know of other choral collectionsthat could be highlighted in this column?Then please send me an email with yourrecommendations. Until then, have awonderful time exploring music from ourglobal choral family!

Marian E. Dolan is founding Artistic Directorof The Choir Project based in Naples, Florida(USA), has edited international choral scoresfor four publishers, and was IFCM’schairperson for Voices Conferences in SouthAfrica and the Baltics. She holds MM, MMAand DMA degrees in choral conducting fromYale University and was on the faculty ofEmory University (Atlanta). She also leadshonor choirs, workshops, and repertoire sessionsboth in the U.S. and abroad, and hascommissioned over 35 new choral scores.E-mail: [email protected] •

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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, BelgiumEmail: [email protected]

Taipei Bach Festival, Taipei, Taiwan, 6-14 Mar2010. Repertoire: St. John Passion, BWV 245.Lecturer and conductor: Helmuth Rilling. MasterClass Director: Thomas Davies. Discovery concertsand gala concert with the Taipei PhilharmonicChorus and the Evergreen Symphony Orchestra.Contact: Taipei Bach Festival Master Class,Tel: +886-2-27733691, Fax: +886-2-27733692,Email: [email protected] - Website:www.tpf.org.tw/bachfestival

Buitrago Easter Music Week, Buitrago del Lozoya,Madrid, Spain, 28 March-2 April 2010. Centred onone of the great works of late Renaissance music: TheRequiem Mass for six voices by Tomás Luis deVictoria. With Carlos Fernández Aransay. Contact:Lacock Courses, Andrew van der Beek,Tel: +44-1249-730468, Email: [email protected] -Website: www.lacock.org

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

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

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

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

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

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

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

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. Motto: "Singing in Nature".Contact: , Tel: +54-2965-439232, Email:[email protected] - Website: www.wscm9.com

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ICB Events

Conferences, Workshops & Masterclasses

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EventsFestivals & Competitions

1st Spring Festival Cantus Salisburgensis 2010,Salzburg, Austria, 18-22 Mar 2010. CompulsoryPieces: Carl Orff - excerpts from Carmina Burana,Johann Sebastian Bach - choir pieces for PassionSunday. Contact: Cultours Carl Pfliegler, Tel:+43-662-821310, Fax: +43-662-82131040,Email: [email protected] - Website:www.cultours-europe.com orwww.cantussalisburgensis.at

6th Palm Sunday Concerts, Portugal, 21-28 Mar2010. Guest Conductor: David McConnell(USA). 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

Young Prague 2010, Prague, Czech Republic, 24-28 Mar 2010. International Festival for YoungMusicians. Contact: Music Contact International,Tel: +1-800-6240166, Fax: +1-802-8622251,Email: [email protected] -Website: www.music-contact.com

Choral Exchange New York City, USA, 25-28March 2010. Contact: Music ContactInternational, Tel: +1-800-6240166, Fax: +1-802-8622251, Email: [email protected] -Website: www.music-contact.com

11th Concorso Corale Internazionale, Riva delGarda, Italy, 28 Mar-1 Apr 2010. Competition indifferent categories and difficulties. Contact:Interkultur e.V., Tel: +49-6403-956525, Fax:+49-6403-956529, Email: [email protected] -Website: www.interkultur.com

4th Children Festival Vox Pueri, Cascais,Portugal, 29 Mar-1 Apr 2010. Internationalsinging week for children with guest conductors:Manuel Coley (Fr) & Myguel Santos e Castro (Pt).Non-competitive festival for all kinds of children´schoirs with many concerts and common singing.Contact: Vox Laci, Myguel Santos e Castro, Tel:+351-938407985, Email: [email protected] -Website: www.voxlaci.com

Days of International Choir Music, Verona, Italy,7-11 Apr 2010. Concerts and friendships.Contact: Music Contact International, , Fax: +1-802-8622251, Email: [email protected] -Website: www.music-contact.com

International Choral Festival Asturias Joven,Avilés, Spain, 8-17 Apr 2010. Open to allchildren and youth groups from all over the world.Contact: Cultural Association Avilés Joven,Tel: +34-699-980 341,Email: [email protected] -Website: www.festivalasturiasjoven.es

Ars Choralis 2010, 1st International Artistic andScientific Symposium on Choral Music, Zagreb,Croatia, 8-10 April 2010. Topic categories oflectures and workshops: choir/choral director, artof singing/vocal pedagogy, conducting/interpretation, composition/analysis, vocalperformance/vocal stylistics, science/voice andhearing, science/music, music pedagogy/education, musica sacra, music media/technology,... Call for papers: apply before 1 Feb 2010.Contact: Croatian Choral Directors Association,Branko Starc, Tel: +385-1-6198479, Fax: +385-1-6198468, Email: [email protected] -Website: www.choralcroatia.com

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

518th 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

ICB Events

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:Manuel Martinez, 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

Events

52

...Festivals & Competitions

Events


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

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

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

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

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

International Krakow Choir Festival, Krakow,Poland, 10-13 June 2010. For all amateur choirs:mixed & equal voices adult choirs, youth &children choirs, chamber choirs, Gospel, NegroSpirituals, Popular and Barbershop ensembles,sacred music. Contact: International KrakowChoir Festival, Tel: +48-22-641 6157, Fax: +48-22-641 6157, Email: [email protected] Website: www.krakowchoirfestival.pl

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ICB Events

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

13th Pacific International Children's Choir Festival (PICCFEST), Eugene,Oregon, USA, 22-28 June 2010. Lynn Gackle guest conductor and PeterRobb artistic director. Non-competitive event. All participating choirs present3 performances plus festival chorus performances at the Oregon Bach Festivaland the PICCFEST Gala Concert. Space limited to 10 choirs. Applicationsnow accepted for PICCFEST 2010 and PICCFEST 2011 (with guestconductor Bob Chilcott). Contact: Oregon Festival Choirs, Tel: +1-541-4659600, Fax: +1-541-4654990, Email: [email protected] -Website: www.piccfest.org

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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. Each choir will participatein massed choir rehearsals and performance andindividually in the finale concert at the NewmanCenter for the Performing Arts at the University ofDenver. 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: +354-8986364, Email: [email protected] -Website: www.dreamvoices.is

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

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

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

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ICB Events

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 orwww.cantussalisburgensis.at

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 & 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

Melodia! South American Music Festival, BuenosAires, Argentina & 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. Outstanding artistic experiences arecombined with once-in-a-lifetime cultural andoutreach opportunities. Contact: AlessandraD’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]

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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

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

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/

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

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

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58 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

International Choir Festival of Uruguay 2010,Montevideo, Uruguay, 8-17 Oct 2010. Concertsin different cities, gala concerts includingsymphonic pieces, workshops. Apply before 23April. Contact: Infinito - Realizaciones Culturales, Tel: +598-2-9247798 or 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

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

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]

8th 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

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

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60 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

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

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

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

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

22nd Cantapueblo - La Fiesta Coral de América,Mendoza, Argentina, 2-22 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

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

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

Dossier


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62 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. Contact: CoastalSound International Choral Festival, Tel: +1-604-469-5973, Fax: +1-604-469-5974, Email:[email protected] - Website:www.coastalsoundmusic.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, InternationalCompetition of Sacred Music, Preveza, Greece, 7-11July 2011. For mixed, equal voices', children's,chamber vocal ensembles, mixed youth choirs &choirs of Byzantine chant. Repertory’ll include acompulsory piece, a piece composed before 1800, onecomposed during 1800/1950, one composed after1950 & 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

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

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

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

7th International Choral Festival "San Juan Coral2011", Argentina, 11-16 Aug 2011. Noncompetitive choral festival . Contact: María ElinaMayorga, Tel: +54-264-4234284, Fax: +54-264-4234284, Email: [email protected] [email protected] - Website:www.sanjuancoral.com.ar

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

Dossier

Advertisers IndexA Coeur Joie FranceAlta PusteriaArs Choralis 2010America Cantat 6American Choral Directors Association ACDAChoral Society “Armonia” of PrevezaClassical Movements, Inc.FeniarcoFestival Choral International de NeuchâtelFestival 500 Sharing the VoicesFörderverein InterkulturInternational Choral Competition of HabanerasMusica FictaOrientale Concentus III, TaiwanPacific Rim Music ResourcesPécs Cultural CentreSignum Records ltd.Small World MUSICFOLDER.comWaverley Care

p 37p 61p 53p 4p 31p 43p47&63p 33 & 64p 13p 21p 29 & 41p 51p 53p 23p 41p 26p 57p 23p 53

My deepest apologies to FENIARCO for mistakenly inserting outdated artworks in thelast ICB issue. Please see correct dates of their next events on page 33 & 60.

Nadine RobinA regularly up-dated list of all events may be

found on our website: www.ifcm.net


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