ChoralNet - ChoralNet Daily

Board of Directors/Conflict of Interest

Robert Calhoon — %pm, %11 %b %2013 %13:%Jun:%th 13JunGMT+0000

Hello,

The spouse of our choir's Conductor is interested in sitting on our Board of Directors. The question of his service being a conflict of interest came up, but in my opinion if the spouse recuses himself from votes concerning Conductor contract and salary, the conflict would be resolved. Are there any other leagal roadblocks/dangers that we might face by having a family member of a paid staffer on the Board? One more piece of info: the association does not have any employees. Any of our staff members are independent contractors.

Thanks,

Rob Calhoon

Tenor Section Singer for High Holiday Choir

Steve Marcus — %pm, %11 %b %2013 %12:%Jun:%th 12JunGMT+0000

Here is a professionally, musically, and socially satisfying opportunity for a position that will utliize your ability to confidently blend in a small choral ensemble (12-15 members) that is not too vocally taxing.

Congregation Kol Emeth in Skokie is seeking professional tenor section singers for its High Holiday Choir. The 2013 schedule of rehearsals (all 7:30-9:30 PM) and holiday services is:

REHEARSAL 1: Wednesday, July 10
REHEARSAL 2: July 18
REHEARSAL 3: July 25
REHEARSAL 4: Aug. 1
REHEARSAL 5: Aug. 8
REHEARSAL 6: Aug, 15
REHEARSAL 7: Aug. 22

REHEARSAL 8: Aug. 29

Selichot Saturday, Aug. 31, 10:00-11:10 PM
Erev Rosh Hashanah Wednesday, Sept. 4, 8:30-9:30 PM

Rosh Hashanah Day 1 Thursday, Sept. 5, 10:30-1:30

Rosh Hashanah Day 2 Friday, Sept. 6, 10:30-1:30
REHEARSAL 9: Sept. 12

Kol Nidre Friday, Sept. 13, 6:00-9:20 PM

Yom Kippur Saturday, Sept. 14, 10:30-2:30

Compensation is $1,000.00.

Please email your résumé, questions, and, if possible, a recording of your singing (attached MP3 or link to YouTube or another site) to Steve Marcus, Choir Director, at semarcus1@yahoo.com.

Thank you very much for your interest!

Exultate Chamber Singers - Auditions and our new Artistic Director

Lynn Janes — %am, %11 %b %2013 %03:%Jun:%th 3JunGMT+0000

Our Artistic Director
Dr. Hilary Apfelstadt

Call for auditions:
We are looking for talented singers to join our ranks for next season. First round auditions will be held on Wednesday June 19th starting at 4:30 at UofT faculty of music. Please see our audition page here for more details of the audition process.

Dr. Hilary Apfelstadt is Professor and Director of Choral Activities at the University of Toronto where she conducts the MacMillan Singers, the Women’s Chamber Choir, and teaches choral literature and conducting at the graduate and undergraduate levels. Raised in Nova Scotia, she earned degrees from the University of Toronto, the University of Illinois, and the University of Wisconsin-Madison. She has an ARCT in piano performance from the Royal Conservatory in Toronto.

She has conducted choirs at conferences of the American Choral Directors Association (ACDA), as well as led festivals in Europe, and at Carnegie Hall and Lincoln Centre in New York. In 2009, she conducted the Mormon Tabernacle Choir in a live broadcast of “Music and the Spoken Word,” and led a choral festival at St. Peter’s Basilica in Rome in 2011. She has conducted all-state choruses in more than thirty states, in addition to the 2011 Ontario Youth Choir. In 2014 she will conduct the National Youth Choir of Canada.

Hilary Apfelstadt has published numerous articles as well as chapters in two books, one about women choral conductors and the other about conducting women’s choirs. She serves on the editorial boards of three professional journals and edits a choral column in the Canadian Music Educator. While teaching in the U.S., she sang in the Robert Shaw Festival Singers and recorded two Grammy-winning CD’s with them in France. She is passionate about choral chamber music, particularly of Canadian composers, and is thrilled to be appointed Artistic Director of Exultate Chamber Singers.

CJ Replay: The Role of the Choral Conductor

Scott Dorsey — %pm, %06 %b %2013 %17:%Jun:%th 17JunGMT+0000

(An excerpt from the Choral Journal article, “The Role of the Choral Conductor,” by Charles Hirt)

The composer first transmits his musical image to the conductor through the medium of the music score. The conductor in turn recreates this image as faithfully as possible in his own mind, and communicates it to his chorus through conductorial and verbal signs and symbols, supplemented by the score in the hands of the singers. Then, manifest in the magic of sound. the music finds fulfillment in the response of the listener.

What a complex of communication this is, and how fraught with the chance of error! During this entire process the music should not change its elemental nature any more than water does as it permutes from icy solid to liquid and then to gas. But the chemistry of music is less predictable than that of water. Without constant vigilance the chain of communication may break down at several points and the elements of the music be distorted in transit.

In the first place, efficient transmission of the music from the mind of the composer to the mind of the conductor relies on a very primitive and anachronistic medium, music notation. Secondly, communication of this recreated image to the chorus is efficient or not according to the effectiveness of the conductor's conducting techniques, his verbal expressiveness and the receptivity of the singers. Most critical of all is the final phase of this chain of communication when the breath of life is breathed into the music through the miracle of concerted response.

It is the conductor who stands at the very center of this transmission complex, and who must accept major responsibility for its success or failure. Indeed. he is involved in communication as surely as AT&T. And he is well-named "conductor", for like the conductor of electricity, the copper wire, he provides the chief channel for the current.

Section Leader Positions for 2013-2014 Choral Season in MetroWest Boston

Adam Kurihara — %am, %11 %b %2013 %00:%Jun:%th 0JunGMT+0000

Description:

Trinitarian Congregational Church, an independent Evangelical church in Wayland, MA seeks one bass/baritone and one alto section leader to augment the current sanctuary choir. The current choir is composed of 22 volunteer singers and 1 tenor section leader. The section leader would be responsible for helping reinforce parts in rehearsal and singing in two morning worship services on one Sunday per month (typically 1st and 3rd Sundays). Visit www.tccwayland.org/musicandworship for more info.

Wage/Salary:

$400/month; additional services compensated at $100/service

Additional opportunities for solo work as needed.

Requirements:

• Strong sight reading abilities

• Experience singing in choral ensemble

• Enthusiasm for working with amateur singers

Responsibilities:

• Attend Thursday night rehearsal Sanctuary Choir

• Sing in the sanctuary choir 2 Sundays per month in two morning services

• Extra services will be compensated at $100/call (rehearsal and service)

Application Instructions:

Email music@tccwayland.org to schedule an audition. Positions open until filled and begin September 2013

Transportation to and from Boston may be available.

CHOIRS - 52nd INTERNATIONAL CHORAL SINGING COMPETITION SEGHIZZI AND 11th FESTIVAL

Choral Festival and Competition Seghizzi — %pm, %10 %b %2013 %23:%Jun:%th 23JunGMT+0000

CAPELLA CANTABILE (Hollabrunn, Austria), Dir. Alfred Tuzar

Female Vocal Ensemble CORONA (Sarajevo, Bosnia Erzegovina), Dir. Tijana Vignjević

Vocal Ensemble OCTAVOICE (Sofia, Bulgaria)

Chamber Choir GOOD NIGHT, BROTHER (Tallinn, Estonia).Dir. Pärt Uusberg e Külli Klivet

THE NEO NOCTURNE (Manila, Filippine).Diretto da Jeandro F. Rabang

BRAWIJAYA UNIVERSITY STUDENT CHOIR (Malang, Indonesia), Dir. Ira Purnamasari

NAAMA Women’s Choir (Ein Hashofet, Israele), Dir. Pnina Inbar

Coro Femminile MULTIFARIAM (Ruda, Italia), Dir. Gianna Visintin

Mixed Choir SÕLA (Riga, Lettonia), Dir. Kaspars Ādamsons

Youth Choir KIVI (Vilnius, Lituania), Dir. Danguole Aukseliene

Youth Choir CANTEMUS (Chisinau, Moldavia), Dir. Denis Ceausov

NORVEGIAN NATIONAL YOUTH CHOIR (Oslo, Norvegia), Dir. Tone Bianca Sparre Dahl

CORO DE CONCIERTOS de la Escuela Libre de Música (S. Juan, Porto Rico), Dir. A.L.R.González

LJUBLJANSKI MADRIGALISTI (Lubiana, Slovenia), Dir.Mateja Kališnik

JAZZVA (Lubiana, Slovenia)

CORO DE CAMARA AINUR (Las Palmas, Spagna), dir. Mariola Rodríguez Suárez

ANKARA VOKAL (Ankara, Turchia), Dir. Tayfun Ünver

SCHOLA CANTORUM SOPIANENSIS (Pecs, Ungheria), Dir. Valér Jobbagy

PORTLAND STATE Chamber Choir (Portland, USA), Dir.Ethan Sperry

Chamber Choir COLLEGIUM MUSICALE (Tallinn, Estonia), Dir.Endrik Üksvärav

CORO LORENZO PEROSI (Fiumicello, Italia)

CORO DELLA BASILICA (Aquileia, Italia)

CORO SEGHIZZI (Gorizia, Italia)

Diretti da Italo Montiglio

FILARMONICA DI TURRIACO (Turriaco, Italia)

Diretta da Maurizio Zaccaria

CORO GIALUTH (Roveredo in P., Italia), Dir. Lorenzo Benedet

CORO TOURDION (Cavalicco, Italia), Dir. Federico Lepre

OTTETTO HERMANN (Roveredo in P., Italia), Dir. Alessandro Pisano

SEGHIZZI HOME PAGE

47 Choir robes.

Tambra Lee — %pm, %10 %b %2013 %21:%Jun:%th 21JunGMT+0000

6 year old choir robes in like new condition. (3 have minor zipper issues.) We are replacing them because our school district changed our colors.

There are 47 dark blue choir robes. They each have a two-sided satin stole-red on one side, gold on the other. On the gold side, there is an S monogrammed in old English style. They were used by middle school students. There are a variety of sizes fitting very short, to very tall students. We paid close to $6,000.00 for these robes 6 years ago. Our new ones cost close to $9,000.00.

Please let me know if you are interested! I can send pictures.

Hoping to borrow or rent scores

Peggy Haas Howell — %pm, %10 %b %2013 %20:%Jun:%th 20JunGMT+0000

Item: St. Nicolas choral scores

Composer/Arranger/Edition: Britten/ Boosey and Hawkes

Starting: Late August 2013

For: Through December 2013

Copies: 100

Willing to rent: Yes

Church Organist

Pamela Goody — %pm, %10 %b %2013 %19:%Jun:%th 19JunGMT+0000

Church organist position is available beginning September 2013 through mid-June 2014. Christ Episcopal Church in Needham, MA. Responsibilities: Organ and piano accompaniment. Accompany the adult choir during rehearsals on Thursday nights, plus one church service each Sunday morning. On Sundays, play prelude, accompany congregational hymns and service music, accompany choir anthems, play postlude. Extra services include: Longest Night Service, Christmas Eve, Christmas Day, Ash Wednesday, Maundy Thursday, Good Friday, Saturday Easter Vigil, Easter Day (2 morning services), Evensong service. Funerals and weddings.

Please send resume to:

Pamela Goody, Music Director

Christ Episcopal Church

1132 Highland Ave.

Needham, MA 02494

PART-TIME PIANO ACCOMPANIST

Nao Tsurumaki — %pm, %10 %b %2013 %18:%Jun:%th 18JunGMT+0000

The Children’s Chorus of Washington (CCW) seeks a part-time piano accompanist for the upcoming season. The accompanist will primarily accompany the intermediate-level ensemble, Bel Canto Chorus, throughout the season, but will also support any other CCW ensemble when needed. Bel Canto Chorus currently meets twice a week, Monday and Wednesday evenings, from 6:00pm to 7:30pm.

The ideal candidate should have:

- Bachelor’s degree (minimum) / Master’s degree or higher / or comparable educational or professional experience
- Excellent sight reading and music transposition skills
- Experience in working with young singers
- An availability to participate in required chorus activities

Please submit your cover letter and resume by email to: ccw@childrenschorus.com

Holst Planets Neptune Choral Score

Bill Paisner — %pm, %10 %b %2013 %18:%Jun:%th 18JunGMT+0000

Item: A clean copy of the choral parts at the end of Neptune

Composer/Arranger/Edition: Holst

Starting: In June

For: Indefinite - it's for reference for a possible future concert

Copies: 1

Willing to rent: No

I have a cpdl-type full score, but the choral parts are awfully tiny.

Raycreations Music Recent Posts

John Ray — %pm, %10 %b %2013 %22:%Jun:%th 22JunGMT+0000

Raycreation Music's newest titles may be previewed and heard at scoreexchange.com by typing either the title or my name, John Ray, in the search engine on the top right corner of the home page. I invite you to visit and check out these new titles:

ASEELP, O SLEEP

MERRY CHRISTMAS, BABY

DIG THE PIG

TEXT ME

It's Our Party - Vox Femina LA's Sweet/Sassy 16th Birthday!

Missy Nieto — %pm, %10 %b %2013 %22:%Jun:%th 22JunGMT+0000

IT'S OUR PARTY! A SWEET/SASSY 16 PARTY

Saturday, June 15, 2013
8 PM

Zipper Concert Hall, The Colburn School
200 S. Grand Ave., Los Angeles, CA 90012

Music, choreography, costumes! Don your party hats and get ready for our Sweet 16 Party. Remember your first kiss? Laughing until you fell off your chair? Talking with friends until the sun came up? Delve with us into fond, fast, fun memories in the fabulous girl group style of the 1960's. Playful, sassy and a whole lot of Vox!

Advance tickets available for $25-30. Order now and choose your seats online! The best seats go quickly, so don't delay.

BUY YOUR TICKET NOW AND SAVE!

All tickets will be $35 at the door! Group and student rates are available, call 310-922-0025 for more information.

Performance held in Zipper Concert Hall at Colburn School of Music in downtown Los Angeles. Concert begins promptly at 8:00 pm. Public parking is available at lots adjacent to the school and limited street parking is also available within the area.

http://www.voxfeminala.org/c3-13_its_our_party.htm

Gala Concert! Join Pennsylvania Girlchoir and Keystone State Boychoir on JUNE 17

Susan Ashbaker — %pm, %10 %b %2013 %19:%Jun:%th 19JunGMT+0000

Please join Pennsylvania Girlchoir and Keystone State Boychoir on Monday, June 17, 2013, 7:30 p.m. for their Gala Concert at the Perelman Theater at the Kimmel Center for Performing Arts in Philadelphia. This celebration of music features our most experienced choristers as well as special guest, opera baritone, Stephen Powell. The musical selections range from Britten to Copland to Barber to Stroop to Daley to Glen Ballard and Siedah Garrett. Keystone State Boychoir and Pennsylvania Girlchoir are proud to be the official youthchoirs of Opera Philadelphia.

Pennsylvania Girlchoir Music Director, Vincent Metallo will be honored at the Gala when he receives the Founders Award.

For tickets, please see our website: http://cychoirs.org/Gala2013.html

Please help! Program and scheduling conflicts!

Paul von Kampen — %pm, %10 %b %2013 %19:%Jun:%th 19JunGMT+0000

I am a high school choir/orchestra teacher and have a school schedule that is very unfriendly to the two main auditioned music group - Orchestra and Choir. We're in a state of building and growth, so the choir is at 45 and the Orchestra is around 35 members. Every member I put in the groups deserves to be in and is necessary for growth.

We build our schedule based upon students filling out forms requesting which classes they want/need. it's year round block schedule, with students going to different classes every other day, so nothing changes at semester. This hurts the music department because depending on how the schedule ends up working out, I can never tell students what period choir will be, or what classes it 'normally' conflicts with. Therefore, I do auditions for the next year in May, then all throughout June and July and August I have students coming up to me telling me they have a conflict and can't do Choir/Orchestra/Jazz Band/etc... because that is when the master schedule is getting finalized.

Obviously the easiest solution would be to have the students value my groups more than AP classes, but we all know that's a pipe dream and won't work in all cases. The true solution is to have a daily school schedule that builds into itself a block of time that is really only for music/art/electives. Therefore not pitting something like Concert Choir up against numerous and popular AP and honors courses.

Does anyone have a modified block schedule that would solve this problem?? Perhaps have one block a day that's only 50 minutes, where choir can meet all 5 days? If you don't have a block schedule, any other ideas I can take to the administration?

The admins admit freely to me that 1. They know nothing about music, and 2. they want me to build a program, and I trust them on both accounts. They're not nefarious or the enemy.

If someone makes the football team, there's no way they would let 'academics' get in the way of participation. Why must my classes suffer that fate? Thanks in advance.

Edwin Fissinger Choral Composition Competition Winners Announced

Michael Weber — %pm, %10 %b %2013 %16:%Jun:%th 16JunGMT+0000

The NDSU School of Music is pleased to announce Andrew J. Miller as first place recipient and Elizabeth Lim as second place recipient of the Edwin Fissinger Choral Competition. As the first place winner, The Tyger, written by Miller will be premiered by the NDSU Concert Choir at their Fall Concert on Sunday, October 6, 2013. The Concert Choir is conducted by Jo Ann Miller. The Lark, composed by Lim, will receive it's first performance by the NDSU Madrigal Singers on the same concert. The Madrigal Singers are conducted by Michael Weber.

Andrew Miller is an active choral conductor, clinician, vocalist, composer, arranger and educator in Bismarck, North Dakota. He earned his bachelor’s degree in vocal music education from Bemidji State University prior to receiving his master’s degree in choral conducting from Minnesota State University-Mankato. He has been teaching choral music in Minnesota and North Dakota since 2007 and currently serves as director of choral activities for Bismarck State College.

Miller was the founder and artistic director of the Minnesota-based professional vocal ensemble From Age to Age, which has performed at American Choral Director Association (ACDA) state and regional conferences. The ensemble was also featured in Minnesota Public Radio’s A Taste of the Holiday and Regional Spotlight. Miller currently directs a vocal chamber ensemble in Bismarck called Inspiraré andserves as the R & S Chair of Student and Youth Activities for the ND ACDA.

Santa Barbara Music Publishing has distributed several of Miller’s compositions, including If Music Be the Food of Love, I Carry Your Heart with Me, and Seeds. Hope Music Publishing distributed his piece titled Alleluia.

A Juilliard graduate, award-winning composer Elizabeth Lim wrote her first song when she was five years old. Since then, her music has been performed throughout the United States, Europe, and Asia.

Elizabeth is an alumnus of Harvard University, where she graduated magna cum laude with highest honors. Last year, VocalEssence co-presented her choral work, The Tempest, during the 2012 Essentially Choral readings, directed by Philip Brunelle. Following the readings, Elizabeth received a commission to write for VocalEssence's WITNESS Concert in February 2013. Her choral music has also been performed by the New Amsterdam Singers, Ghostlight, Convivium, and the International Orange Chorale in San Francisco.

Please visit http://www.ndsu.edu/finearts/music/fissinger/ for more information about the Fissinger Choral Competition.

Sounds Like Love Choral Festival

Susie Anderson — %pm, %10 %b %2013 %15:%Jun:%th 15JunGMT+0000

Join 25+ plus high school church choirs at the 31st year of Sounds Like Love. This festival started in 1982 in Anoka, MN and is now held in Mahtomedi, MN. The event is November 8-10, 2013 and features nationally known and recognized conductor, John Jacobson. The event registration opens on August 1st and is $80 per person. We begin on Friday November 8th with an energetic worship with a guest artist from the Twin Cities area. The students spend Friday night and Saturday getting to know the music and learning choreography for each song. The weekend culminates with 2 concerts on Sunday November 10th at 1:30 and 3:00 pm.

Event Location;

St. Andrew's Lutheran Church

900 Stillwater Rd

Mahtomedi, MN 55115

Registration Information;

Susie Anderson

Youth Encounter

3490 Lexington Ave N ste 300

St Paul, MN 55126

www.youthencounter.org

651-287-8481

susie@youthencounter.org

June 29 Summer Vocal Workshop from Vienna Choral Society (with The Reston Chorale)

Sohini Baliga — %pm, %10 %b %2013 %15:%Jun:%th 15JunGMT+0000

Summer Singing Workshops - Vocal Theory and Technique for Area Singers

Click HERE for tickets. Masterclass spots are very limited and going fast!

Immerse yourself in a unique day-long learning experience (Saturday June 29, from 9 am to 4 pm), designed to help singers:

Improve vocal technique
Enhance sight-singing skills
Strengthen musicianship

A full day of workshop options in vocal production, rhythm and notation, and music theory will be offered, along with Masterclasses and that give hands-on coaching application for singers and listeners. All voice types and skill levels are welcome. All who register attend the Masterclass - the "Masterclass" level of registration is for those who will perform.

A lunch option will be provided at an additional cost for participants who don't wish to bring their own.

This workshop will repeat on July 27.

(This workshop is presented and endorsed by the Vienna Choral Society and The Reston Chorale. And led by members their artistic staff.)

Revised: The National Children's Chorus Performing Finale Concert "Americana" June 14 at The Broad Stage

Karin Olsen — %pm, %10 %b %2013 %15:%Jun:%th 15JunGMT+0000

The National Children’s Chorus Performing Finale Concert "Americana" June 14 at The Broad Stage

June 8 the Junior Division to perform The Spring Showcase at St. Paul the Apostle Church

LOS ANGELES – America's leading youth choral institution, the National Children’s Chorus (NCC) has two performances in Los Angeles in June. One of the most highly anticipated shows of the year and the season finale is Americana at The Broad Stage June 14 at 7 p.m. The Spring Showcase, featuring the NCC's junior division, is June 8 at 2 p.m. at St. Paul the Apostle Church.

Americana, which the NCC is fittingly staging on Flag Day, celebrates the greatest music of Americans, tracing the influence of American compositional techniques from the start of the last century into the present day. The evening will feature the rousing music of Copland, Gershwin, and Ives paired with contemporary works by some of the late 20th-century's most renowned composers.

The NCC is also presenting a world premiere by Phillip Golub, a Los Angeles Philharmonic composing fellow. The work entitled Weathered and Revealed is a cycle on the seasons, composed specifically for the National Children’s Chorus. Scored for harp, piano and six-part treble voices, this new composition highlights the NCC’s strong commitment to new music and expanding the repertoire for children’s voices.

Featuring the NCC's junior division, the Spring Showcase is one of two each year and focuses on students ages 5 - 12 from beginner to the intermediate level. Appearing in six ensembles, the showcase gives these younger performers, relatively new to the stage, an opportunity to demonstrate and share their skills.

Referencing the final two performances of the season, NCC's artistic director Luke McEndarfer said, "We highly anticipate our final performances of the 2012/13 season, which serve to punctuate a brilliant year of music making artistry on both coasts, and are especially proud to present new music by Phillip Golub at The Broad Stage. The score is simply stunning, and rings out with the core message of the NCC’s mission. Excellence, creativity and innovation—our audience members will experience all these things and more as the NCC grows to make significant cultural contributions in the Los Angeles and New York communities."

Tickets for the Americana performance are sold out. Seats may become available via waitlist by calling The Broad Stage box office at 310-434-3200. Tickets for The Spring Showcase are $25, $45 and $65 and are available through the NCC website.

McEndarfer and associate artistic director Dr. Pamela Blackstone will conduct Americana and will be joined by NCC associate conductors for the Spring Showcase.

With a set of ensembles in Los Angeles and New York, the NCC trains students from more than 60 schools in each city who meet weekly for rehearsal and musicianship study. In residence at The Broad Stage in Santa Monica, the NCC is one of a few youth arts organizations in the world to have its entire concert season presented by a professional concert hall. This is the fourth season at The Broad Stage and the second in New York. The 2012/13 season is entitled Traditions, presenting an eclectic array of musical styles, drawing on American cultural roots.

The NCC provides musically talented children with first-rate vocal training and an unparalleled musicianship curriculum. Each child, regardless of educational or financial background, has the possible opportunity to develop vocal skills from the most basic concepts through the college level. Expert instructors work to cultivate tone quality, breath support and musical expression in each student while collaborating as an ensemble culminates in world-class performances at The Broad Stage in Santa Monica, St. Paul the Apostle Church in West Los Angeles, and The Church of St. Paul the Apostle in New York.

A pianist, conductor and voice coach, McEndarfer has been artistic director since 2004 and is integral to all facets of the chorus’ development from spearheading auditions and vocal training, to choosing material, to fostering relationships and securing collaborations with artists and organizations.

McEndarfer oversees NCC’s extensive curriculum which includes college-level conducting, composition, music theory, sight-singing in the Kodály Method, and individual voice training in the bel canto style under the guidance of Michael Dean, department chair at the UCLA School of Music. He is recognized for establishing the organization’s reputation for excellence and adventurous programming including numerous critically acclaimed interpretations of Poulenc’s Gloria, Mozart’s Requiem, and Lauridsen’s Lux Aeterna. Forging unique performance relationships, he has also orchestrated concert appearances with a long list of artists and performing arts organizations that include the Los Angeles Philharmonic, the Los Angeles Opera Company, the Los Angeles Master Chorale, and the Joffrey Ballet.

His work includes several motion picture soundtracks; most recently on Paramount Pictures’ 2009 feature film Imagine That, starring Eddie Murphy. For the film, McEndarfer selected, arranged and conducted sections of the score and also appeared as the Music Teacher on screen. Television and radio credits include conducting performances in the musical act on Jay Leno’s former Tonight Show, and live performances on KLSX.

# # #

Contact: Karin Olsen / karin@amazonmarketingpartners.com / 310-497-0052

Looking for a copy of Wikander's Kung Liljekonvalje TTBB

Frank Albinder — %pm, %10 %b %2013 %14:%Jun:%th 14JunGMT+0000

Item: Kung Liljekonvalje (King Lily of the Valley)

Composer/Arranger/Edition: David Wikander

Starting: Whenever

For: For perusal

Copies: 1

Willing to rent: No

Hi all,

I'm looking for a copy of David Wikander's Kung Liljekonvalje (King Lily of the Valley) in the TTBB version. The publisher will sell it online, but there's a 20 copy minimum purchase, and I'm unwilling to commit until I see the score. Thanks!

Frank

Choir Directors: The Audience View

Stephen Edwards — %pm, %03 %b %2013 %13:%Jun:%rd 13JunGMT+0000

When I started conducting for a GALA Chorus and became the "face" of the organization...I had a "wake-up" call. Vain as I am, I realized that in the concerts the audience watches my behind and my love handles throughout the program....and the glowing faces of the chorus, of course. I was mortified because I realized I was both the "face" and the "ass" of the organization. So, I decided to make a change. After much work, I started getting comments on how pleasant it was to watch me from behind by audience members.

I have undergone quite a health and fitness transformation. I also "woke-up" after my father had quadruple bypass surgery and a stroke that left him unable to speak and paralyzed on the the right side of his body (he is recovering, moving and speaking again). The pic of me in the tie was another wake up call.

I write this because I want to help you. I thought it was going to be so hard to lose the weight and work out...but it was actually easy because of the support group that I was a part of...all on line. I would love to do the same with a group of Choral Directors. I am a coach for BEACH BODY, which is the company that does P90X, Insanity, Body Beast and much more. If you are interested in finding out more, shoot me an email at singingstephen@gmail.com. What will your choir and audiences think when you come back from summer vacation with an amazing body and new lease on life??? We could start this group in two weeks and support and motivate each other through the process! I look forward to hearing from you!!

Stephen C Edwards
Artistic Director - Allegrezza

Advice for a new teacher?

Tyler Lentz — %pm, %10 %b %2013 %13:%Jun:%th 13JunGMT+0000

I just finished my first year of teaching as a choir director and felt like I "flew by the seat of my pants" for most of the year. Now that I have 1 year under my belt, I want to make sure that I am prepared for year 2!

I am looking for any advice/techniques that have worked well with your choirs that I can hopefully implement into my own. What is good repertoire? Are there good warmups? And how can I teach choir when the majority of students do not read music?

Any advice would be welcome!

I come from a band background and I teach both band and choir at my school. I can play the piano and can hear correct pitches well, but that is where my choral training ends.

I have 2 Choirs: One auditioned and the other voluntary. They have not had any training in "how to sing" and mostly prefer to sing show songs or ones with familiar melodies.

Thank you for your help!

Tyler Lentz

The Play of Daniel - June 22, 23, 29 & 30

J. Jeff Badger — %am, %10 %b %2013 %04:%Jun:%th 4JunGMT+0000

OPERA EARLY & ANCIENT: The Play of Daniel (Ludus Danielis) - June 22, 23, 29 & 30

The Play of Daniel (Ludus Danielis) was written sometime between 1227 and 1234 by students at the Beauvais Cathedral in France and is one of the earliest examples of what we now call opera.

Rarely performed today, "Daniel" roars to life in this new production by San Francisco Renaissance Voices under the direction of Assistant Music Director Katherine McKee. The highly poetic text, a mixture of Latin, Aramaic and Old French, closely follows the story of the prophet Daniel in the Persian court of King Belshazzar and is filled with kings, queens, angels and ... of course ... lions. The score, built on Medieval dance tunes, skips along brought to life by the stellar singers of San Francisco Renaissance Voices ("As might be imagined from the name of the ensemble, these vocal episodes were the high point of the music of the evening ..." - San Francisco Examiner, August 2011) with accompaniment by some of the best period instrumental specialists in the Bay Area including lute, oud, dulcian, shawm, folk harp, recorders, bowed psaltery and all sorts of percussion! Our production interprets this piece imagining how "Daniel" might look today if it was staged by students and includes original costuming and staging.

San Francisco Renaissance Voices is the San Francisco Bay Area's professional mixed-voice a cappella vocal ensemble dedicated to the music of the Renaissance and related periods. Since we began just nine years ago we have consistently earned praise for our "gossamer sound ... a sound something akin to spiritual levitation" as well as recognition for our imaginative programming and christened the Bay Area's"hipper than thou" Early Music ensemble by San Francisco Classical Voice. In 2010 SFWeekly chose us as "Best Classical Music" for their Best of San Francisco edition and said, "The SFRV performs [these] classics from the golden age of European polyphony the way they were meant to be heard: large ensemble voices lifting the soul for sacred moments. Living history doesn't get any better." .

Our Opera Early & Ancient series has garnered special recognition by critics and our audiences alike, and has included such works as our "technicolor" production of Hildegard von Bingen's Ordo Virtutum ("Hildegard's little-performed musical mantra rang out anew" - Los Angeles Times) and the west coast premiere of William Boyce's Solomon ("The performance was often exciting and even eye-opening ... a performance other groups struggle to achieve on record" - San Francisco Classical Voice).

No "lion" ... don't wait another 800 years to catch our concerts of this rarely-performed piece!

WHO: San Francisco Renaissance Voices (Katherine McKee, conducting) with San Francisco Renaissance Dancers (Jennifer Meller, director)

WHAT: Ludus Danielis (The Play of Daniel) an installment in our Opera Early & Ancient series
WHEN/WHERE: (Note - FOUR Concerts):
Saturday, June 22 - 7:30 pm - Seventh Avenue Presbyterian Church, 1329 Seventh Avenue, San Francisco (pre-concert talk at 6:45 pm)
Sunday, June 23 - 2:00 pm - Congregation Kol Shofar, 215 Blackfield Drive, Tiburon (no pre-concert talk for this date)
Saturday, June 29 - 8:00 pm - All Saints' Episcopal Church, 555 Waverley Street, Palo Alto (pre-concert talk at 7:15 pm)
Sunday, June 30 - 4:00 pm - Congregation Beth El, 1301 Oxford Street, Berkeley (pre-concert talk at 3:15 pm)
WEBSITE: www.SFRVoices.org (please note - this is a new website address for our organization)
TICKETS: $30 General, $25 Student/Senior, $15 Children age 12 and under

#####

Why Music Makes Our Brain Sing

Scott Dorsey — %pm, %10 %b %2013 %14:%Jun:%th 14JunGMT+0000

(An excerpt from the New York Times article, "Why Music Makes Our Brain Sing," by Robert J. Zatorre & Valorie N. Salimpoor)

MUSIC is not tangible. You can’t eat it, drink it or mate with it. It doesn’t protect against the rain, wind or cold. It doesn’t vanquish predators or mend broken bones. And yet humans have always prized music — or well beyond prized, loved it.

In the modern age we spend great sums of money to attend concerts, download music files, play instruments and listen to our favorite artists whether we’re in a subway or salon. But even in Paleolithic times, people invested significant time and effort to create music, as the discovery of flutes carved from animal bones would suggest.

So why does this thingless “thing” — at its core, a mere sequence of sounds — hold such potentially enormous intrinsic value?

The quick and easy explanation is that music brings a unique pleasure to humans. Of course, that still leaves the question of why. But for that, neuroscience is starting to provide some answers.

More than a decade ago, our research team used brain imaging to show that music that people described as highly emotional engaged the reward system deep in their brains — activating subcortical nuclei known to be important in reward, motivation and emotion. Subsequently we found that listening to what might be called “peak emotional moments” in music — that moment when you feel a “chill” of pleasure to a musical passage — causes the release of the neurotransmitter dopamine, an essential signaling molecule in the brain. READ THE ENTIRE ARTICLE . . .

need to borrow

Patricia Smith — %am, %10 %b %2013 %03:%Jun:%th 3JunGMT+0000

Item: O Clap Your Hands

Composer/Arranger/Edition: Douglas Wagner

Starting: as soon as possible

For: long enough to get permission to copy

Copies: 1

Willing to rent: No

Another request to borrow a piece lost in flooding: "O Clap your Hands" by Douglas Wagner, published by Hope. Hope has referred us to Mr. Wagner but he does not have any copies this piece in his possesion. Again, the piece is out of print & Mr. Wagner has already graciously offered to let us make copies for my husband's church use. Thanks!

need to borrow

Patricia Smith — %am, %10 %b %2013 %03:%Jun:%th 3JunGMT+0000

Item: Agnus Dei

Composer/Arranger/Edition: Michael W. Smith/Robert Sterling arranger

Starting: as soon as possible

For: long enough to get permission to copy

Copies: 1

Willing to rent: No

My husband conducts a church choir & a community a cappella choir & we lost a LOT of personal inventory (i.e. music we inherited from other churches) & inventory for the a cappella choir. We are looking to borrow a copy of Michael W. Smith's "Agnus Dei" as arranged by Robert Sterling & published by Word so we can get permission to copy for the church choir. This piece is currently out of print, per Word's website. Thanks!

Wanted Used Choir Robes!!!!

Pastor George Asiamah — %pm, %09 %b %2013 %22:%Jun:%th 22JunGMT+0000

Dear All

I hope you are fine by his grace. Please I have just started a new choir in my newly formed church in Telford,UK and am desperately need choir robes for them. May I know if your church or choir want to get rid of their used choir robes at least 40 in number, We are ready to pay for the shipping cost. Please contact me if you are ready to help us. With Best Wishes

Can "Non-auditioned" still have a screening process for members?

Diana Clark — %am, %09 %b %2013 %05:%Jun:%th 5JunGMT+0000

I have a favor to ask those of you who work with non-auditioned Adult community type groups: Do any of you have SOME kind of pre-screening or interview or reference process in place, so that you don't end up getting Mr. & Mrs. Poison-Litigious suddenly joining the choir? We have always said that we want to be open and welcoming to all, but there are risks to other members and the choir organization with this "come on in, no questions asked" approach. I'm sure I sound oddly paranoid about this... before it becomes a real issue, I am hoping to get some advice on how other organizations deal with this.

Thank you for sharing!

~Diana

The American Prize 2013 FINALISTS in Choral Composition

david katz — %am, %09 %b %2013 %10:%Jun:%th 10JunGMT+0000

The American Prize national nonprofit competitions in the performing arts is pleased to announced FINALISTS in the area of choral composition for 2013.

Complete information about TAP can be found on the website http://www.theamericanprize.org/, where news of 2014 contests will be posted in mid-summer.

Congratulations to all finalists.

David Katz, chief judge

The American Prize

www.theamericanprize.org

www.museoffireplay.squarespace.com

***

FINALISTS: The American Prize in Composition—Choral, Professional Division

David Avshalomov   Santa Monica CA
   Songs of Innocence and of Experience
Greg Bartholomew   Seattle WA
   selected choral works
Susan LaBarr
   selected choral works
Elise Letourneau   Orleans, ON Canada
   selected choral works
David Lipten   Tallahassee FL
   Time’s Dream
Daniel McCarthy   Akron OH
   Song of Summer
John Muehleisen   Mukilteo WA
   selected choral works
Richard Rice   Alexandria VA
   Mental Cases (Wilfred Owen)
Paul John Rudoi   Minneapolis MN
   selected choral works
Jake Runestad   Minneapolis MN
   selected choral works
Jonathan Santore   Plymouth NH
   selected choral works
Ted Vives   Los Alamos NM
   The Soldier (1914); Premonition

FINALISTS: The American Prize in Composition—Choral, Student Division

Luke Flynn   Dubuque IA
Beneath the Wave
Joseph Gregorio   West Chester PA
   Love, thricewise; The Maid of Culmore
Elizabeth Lim   New York NY
   Tempest; Sisyphean
Brian Mark   Holbrook NY
   Ecce nunc benedicite Dominum
Steven Serpa   Coventry RI
   Of Birds; Psalm 30
Liza Sobel   Cresskill NJ
   Requiem

Messiah orch parts

William Spencer — %am, %09 %b %2013 %01:%Jun:%th 1JunGMT+0000

Hi there: Has anyone here ever used the IMSLP orchestra parts for Messiah? If so, how do they stack up against commercial ones? Thanks! Bill

Lara Hoggard's choral arrangement of Enescu's Romanian Rhapsody?

Lori McHugh — %am, %09 %b %2013 %01:%Jun:%th 1JunGMT+0000

An 80-year old singer mentioned singing this when she was a young adult - am trying to find a copy of the music. Does anyone have it or know where I can get it?

Children's Choir Director Wanted

Robert Calhoon — %am, %09 %b %2013 %01:%Jun:%th 1JunGMT+0000

The Grande Prairie Children's Chorus (formerly Children's Choral Workshop) is searching for a conductor for the upcoming season. The ideal candidate will be an enthusiastic, and creative teacher, experienced in working with developing young voices. Please send a cover letter, and resume to Robert Calhoon, President, Grande Prairie Choral Arts.

Worship Organist/Pianist - Part Time

Ann Bormann — %am, %09 %b %2013 %01:%Jun:%th 1JunGMT+0000

First Lutheran Church, Bothell, Washington
Worship Organist/Pianist - Part Time
First Lutheran Church, an ELCA church in Bothell, Washington, is searching for a Worship Organist/Pianist. This position is responsible for providing organ and piano music at all worship services, including accompanying the choir, soloists and rehearsals. Previous experience in a Lutheran church is desired. A qualified candidate will be an accomplished musician with experience with various liturgical styles. You can find the position description by visiting http://www.flcbothell.org/3346.html. Select News. Please send resume and cover letter to: Organist/Pianist Search Committee, First Lutheran Church, 10207 NE 183rd St, Bothell, WA 98011 or email office@flcbothell.org.

Director of Choirs - Part Time

Ann Bormann — %am, %09 %b %2013 %01:%Jun:%th 1JunGMT+0000

First Lutheran Church, Bothell, Washington
Director of Choirs - Part Time
First Lutheran Church, an ELCA church in Bothell, Washington, is searching for a part-time Director of Choirs, beginning September 5th, 2013. This position is responsible for directing the sanctuary choir and children’s choir in addition to other duties in cooperation with the senior pastor and other professional staff. Previous experience in a Lutheran church is desired. A qualified candidate will be an accomplished musician with experience with various liturgical styles of choir directing and have a degree in music. You can find the position description by visiting http://www.flcbothell.org/3346.html. Select News. Please send resume and cover letter to: Director of Choirs Search Committee, First Lutheran Church, 10207 NE 183rd St, Bothell, WA 98011 or email office@flcbothell.org.

Choral Director

Darryl Hissong — %am, %09 %b %2013 %00:%Jun:%th 0JunGMT+0000

Choral Director

The General Motors Employees' Chorus seeks a Choral Director to start September 2013

For more information and an application visit www.gmchorus.com/director or email directorsearch@gmchorus.com

or call 586-610-6574.

Applications are due by July 1, 2013

2 Trpts 2 Tbns for Christmas

Dave Faber — %pm, %08 %b %2013 %22:%Jun:%th 22JunGMT+0000

I am looking for a companion piece for the Pinkham Christmas Cantata. Since I'm hiring a brass quartet (2 Trumpets and 2 Trombones) I would like to find something else to do with them. Any combination of the 4 instruments would be appreciated! This is for a community choir of about 40 voices (SATB). I am hiring an organist as well, and we have a piano accompanist. I would prefer the work to be between 2 and 10 minutes. Thank you!

free robes

Ellen Everly — %pm, %08 %b %2013 %19:%Jun:%th 19JunGMT+0000

25 blue, gently used robes are yours for the sihipping. Seasonal stoles (3each) will be included.

Pianist for special events and accompanying

Matthew Skitzki — %pm, %08 %b %2013 %18:%Jun:%th 18JunGMT+0000

Seeking employment as pianist or organist for weddings, church services, musical theatre, accompanying, and private events.

Qualifications: Master of Music in Piano Performance, American Guild of Organists Service Playing Certificate, member of the Cleveland Orchestra Chorus (bass), performed with Cleveland Jazz Orchestra and Cleveland Pops Orchestra

14 years of professional experience, thorough communication, quality gear, neatly dressed, reliable.

Call 216-832-1378 or email matt@skitzkipianoperformances.com to book.

Rehearsal Protocols and Section Leader Roles in Community Chorus

Michael Dell — %pm, %08 %b %2013 %16:%Jun:%th 16JunGMT+0000

Greetings, Colleagues! As I look toward a new year with my 40-member community choral group, my Board is strongly advocating that we set into place some protocols (guidelines, etc.) to help avert excessive chatter, and especially to help curtail occasional musical criticism from one member to another in rehearsal ("You're singing too loudly!", etc.). My position on this is that we are all infinitely nuanced in our interpersonal communications, and there are motivations and shadings of criticism far too numerous to allow for any succinct "once and for all" policy that will totally eradicate ill-spoken remarks, etc. I feel that I should frequently reiterrate some general reminders as to how we want to treat one another, then deal individually with situations brought to my attention, based upon numerous variables, etc. (What prompted the exchange? What was the tone of the remark? Was there a kernel of truth, albeit an ill-chosen way to communicate it?). As a general policy, I feel that a positive, encouraging and nurturing environment should ALWAYS be strongly encouraged. However, I believe that civility of this nature must be, in a sense, "covenantal" rather than to be "legislated", ESPECIALLY when dealing with adults!

A side issue to this is how best to use section leaders within the rehearsal context. Should members of the section be encouraged to jot down any areas of musical questions (part help, etc.), and pass it to the section leader, and at the conclusion of rehearsing that piece, for me to ask the section leaders to express any questions or request part help, etc.? Is it acceptable for a section leader to quietly address divisi questions, etc. within their respective sections DURING the rehearsal? Are note and interpretation questions from anyone in whole group encouraged, or entertained, at least within the early rehearsals of new repertoire? Some have advocated that if the Director does not hear a problem, then their is, in fact, NO problem! However, I'm sure that we conductors often miss issues of uncertainty, etc., buried within a section. How much liberty do you community choral conductors afford your singers in addressing these questions publicly within the rehearsal? Do you ask everyone to save any and all observations and questions until after the rehearsal? AND, do we truly want a policy statement that seeks to prohibit any and all remarks, some of which are quite positive and humorous, and help to build a sense of serendipity and group cameraderie?

I feel that some might wish for me to allow for a policy which would seek to forbid (or, at least, strongly discourage) any spoken word by anyone other than me, during all rehearsals. I feel that there must be some middle ground, but I need help in articulating this! Do you agree, or disagree, and why? Please also provide any links to these subjects in previous threads. I am tremendously grateful for any suggestions! Also, please forward any rehearsal guidelines you may have already developed.

Michael

Music Director First Congregational Church of Sharon, MA

Marth MacMillin — %pm, %08 %b %2013 %15:%Jun:%th 15JunGMT+0000

The First Congregational Church of Sharon, MA (located 25 miles south of Boston) a UCC affiliated church is seeking a regular part-time 15 hr/wk Organist/Choir Director beginning September 1, 2013. FCC of Sharon has a strong music tradition with a committed and energetic 25-30 member adult choir, a pastor who loves music and working with music leaders, and many gifted musicians, adults and children, within the congregation. Organ: 1985 Roche Organ Company, mechanical key action, electric stop action and stopkey combination action, 21 ranks, 3 keyboards.

The Music Director will be responsible for all aspects of the spiritual music ministry in conjunction with the Pastor and Music Chair, including but not limited to serving as the primary organist/pianist and senior choir director, and overseeing the development of a children/youth music program. Primary responsibilities will include planning and providing organ music for all regular and holiday services, directing and accompanying the senior choir during weekly Tuesday night rehearsals and Sunday 10am worship, up to two special choir programs yearly and engaging others (vocalist and instrumentalists) from the congregation in music ministry of the church. Additional services such as weddings and funerals may be performed for additional compensation.

A successful candidate will have demonstrated proficiency in organ, choral conducting, and working with children and youth. A Bachelors’ degree in organ, sacred music, choir master, CAGO Certificate or its equivalent and a minimum of 3 years experience in church music or related experience is required. Compensation will be commensurate with education and experience.

Please send letter of interest and resume with references to:

Contact: Martha MacMillin, Music Committee Chair

mmacmillin@uwalumni.com

Website: http://fccofsharon.org

What's on Great Sacred Music, Sunday, June 9, 2013

Robert Kennedy — %pm, %08 %b %2013 %14:%Jun:%th 14JunGMT+0000

Music performed by cathedral choirs this week. May I ask a favor of you?

As you come across anthems, motets, oratorios and organ music which

you think might work on Great Sacred Music, please send me details.

I am always on the lookout for new pieces to play, especially if they are

somewhat off the beaten track. Thanks for your calls, emails and Facebook

comments. Much appreciated.

Rob

Rob Kennedy
Great Sacred Music
The Classical Station
http://theclassicalstation.org

-----------

08:02:00
Ernest Bullock: Give us the wings of faith
Guildford Cathedral Choir, Andrew Millington

John Tavener: A Hymn to the Mother of God
Cathedral Choir of St. James, James Savage

Pablo Bruna: Tiento sobre la letania de la Virgen
Francis Chapelet, organ
The organ of the Collegiate Church of Covarrubias, Spain

Guildford Cathedral is a new cathedral whose cornerstone

was laid in 1936. Sir John Tavener (1944- ) wrote A Hymn

to the Mother of God in 1985. Pablo Bruna (1611-1679)

was a blind Spanish organist and composer.

08:16:15
Luigi Cherubini: Veni, Jesu, amor mi
The Cathedral Singers, Richard Proulx

Herbert Howells: O pray for the peace of Jerusalem
Choir of Gloucester Cathedral, John Sanders
Mark Blatchly, organ

Juan Bautista José Cabanilles: Corrente Italiana
Sean McCarthy, organ
Played on the Randal Dyer & Associates organ at

Queen of Peace Church, Ocala, Florida

The late Richard Proulx (1937-2010) was one of

America's top 10 choral conductors. Herbert Howells

studied at Gloucester Cathedral with organist Herbert Brewer.

Sean McCarthy plays Randall Dyer & Associates' Opus 58 which

they installed in 1993.

08:32:10
Clement Cotterill Scholefield: The day Thou gavest, Lord, is ended
Choir of St. Paul's Cathedral, London, John Scott
Christopher Dearnley, organ

Francisco Guerrero: Hei mihi, Domine
Choir of Westminster Cathedral, James O'Donnell

Johannes Brahms: Chorale Prelude, Schmucke dich, o liebe Seele, Op. 122 No. 5
Todd Wilson, organ
The Aeolian-Skinner organ, Cathedral of St. Philip, Atlanta

We don't often hear evening hymns any more. St. Clement captures

the peaceful end of day mood perfectly. James O'Donnell was Master

of the Music at the Roman Catholic Cathedral in London before he

moved to Westminster Abbey in 2000. Ohio native Todd Wilson

is one of America's foremost concert organists.

Thomas Weelkes: When David Heard
Choir of Christ Church Cathedral, Oxford, Stephen Darlington

Sir Charles Villiers Stanford: For Lo, I Raise Up, Op. 145
Worcester Cathedral Choir, Donald Hunt
Paul Trepte, organ

Jehan Alain: Postlude pour l'Office de Complies
Raphaele Garreau de Labarre, organ
Organ of Eglise Saint Maximin, Thionville, France
Dondaine 1792/Sauvage 1851/Dalstein-Haerpfer 1872/Staudt 1913/Alfred Kern 1969/Daniel Kern 1988

Tudor composer Thomas Weelkes captures the anguish of King David

in this setting of the text from 2 Samuel 18:33. Paul Trepte studied organ

with Donald Hunt and is presently Organist of Ely Cathedral. French composer

Jehan Alain (1911-1940) was killed in World War II. He was the brother of the

celebrated organist Marie-Claire Alain.

09:03:38
J.S. Bach: Cantata 76, "Die Himmel erzahlen die Ehre Gottes"
Bach Collegium Japan, Masaaki Suzuki
Midori Suzuki, soprano; Robin Blaze, countertenor; Gerd Turk, tenor; Chiyuki Urano, bass

Bach's Cantata 76 contains 14 movements and was written for the Second Sunday after Trinity.

09:39:14
Zavel Zilberts: Psalm 137
Neimah Singers; Schola Hebraeica, Neil Levin
Alberto Mizrahi, tenor
Christopher Bowers-Broadbent, organ

This setting of the text "By the waters of Babylon we sat down and wept" dates from 1905.

09:50:36
J.S. Bach: Prelude and Fugue in A, BWV 536
Wolfgang Rubsam, organ
1692 Arp Schnitger organ, Martinikerk, Gronigen, Netherlands

Professor Rubsam (1946- ) has more than 130 recordings to his credit including

2 complete sets of the organ music of Johann Sebastian Bach.

10:00:17
George Frideric Handel: Chandos Anthem No. 10, "The Lord is my light"
Choir of King's College, Cambridge; Academy of St. Martin-in-the-Fields, Sir David Willcocks
April Cantelo, soprano; Ian Partridge, tenor;
Andrew Davis, organ continuo

Handel wrote his 11 Chandos anthems whilst on the staff of James Brydges before

he was styled Duke of Chandos.

10:31:44
Felix Mendelssohn: Magnificat
Berlin Singakademie; Berlin State Orchestra, Dietrich Knothe
Carola Nossek, soprano; Elisabeth Wilke, contralto;
Jurgen Freier, baritone

Mendelssohn wrote hundreds of sacred choral works most of which are rarely heard

unlike his well-known oratorios Elijah and Saint Paul.

Chamber Choir in Chicago is holding auditions in June

Kirin Nielsen — %am, %08 %b %2013 %05:%Jun:%th 5JunGMT+0000

Chicago Choral Artists is scheduling auditions in June.

We’re a selective professional chamber choir of 32 singers, and we sing great music from medieval to current, from the Western art music tradition to music from other cultures. In the 2013-2014 season, you’ll have the opportunity to sing with three fantastic conductors from Chicago, and to perform music from renaissance England to premieres of pieces written by a well-known Chicago composer.

Concerts will be in December, March, and May. Rehearsals are held Tuesday evenings at St. Michael in Old Town, 1633 N Cleveland Ave, Chicago.

We have openings for the following positions: 1 Soprano I (high, "floaty"); 1 Alto I; 2 high tenors and possibly one Tenor II; 1 or 2 basses (Bass II). Some positions are for one or two of the three sets of concert, and others are for the full season. We are specifically looking for singers with pleasant, blending voices capable of singing with minimal or no vibrato as well as with a full sound (and the willingness to do so). Strong sight-reading skills are essential--most rehearsal time is unaccompanied, and repertoire is challenging.

For more information about auditions, and to put your name on the list, send a message to K17nielsen@att.net, or go to www.chicagochoralartists/contact/auditions.

We have serious fun making music together, and we're a friendly group devoted to excellence. Come join us!

Summer Fun for Singers

Carol Bogard — %am, %08 %b %2013 %05:%Jun:%th 5JunGMT+0000

Music on the Hill invites singers to join this year's Summer Chorus for Haydn's Lord Nelson Mass with guest conductor Scott Taylor. Rehearsals begin July 9th and run Tuesdays and Thursdays through July from 7 to 9 p.m. at the Weston Public Library, 56 Norfield Road, Weston, CT. The chorus will perform on Thursday, August 1, at 8 p.m. at St. Matthew's Episcopal Church in Wilton, 36 New Canaan Road. No audition required; registration fee is $40. Contact ellen@musiconthehillct.org to register.

Now in its 11th year, the Summer Chorus was founded by Music on the Hill Artistic Director Ellen Dickinson. It draws singers from across southwestern CT to rehearse and perform a major work from the classical choral repertoire. Past Summer Chorus concerts have featured works by Brahms, Bernstein, Dvorak, and Mendelssohn, among others.

Music on the Hill is an independent, nonprofit organization dedicated to high-quality music performance and education for all ages. It offers music workshops and four performing ensembles: Jubilate Ringers, Chamber Chorus, Summer Chorus, and Festival Chorus. It is led by Artistic Directors David H. Connell and Ellen Dickinson. Like us on facebook at www.facebook.com/musiconthehillct.

Intonation XIV - Final thoughts/Eric Ericson & intonation

Richard Sparks — %pm, %06 %b %2013 %22:%Jun:%th 22JunGMT+0000

OK, no such thing as "final" thoughts on a topic as big as choral intonation! But this IS the final installation in this long series of posts. No more (unless I respond to your comments) until late August--if you have thoughts on new topics of interest, send a note!

A resource I've used is a book on choral intonation by P.G. Alldahl, a Swedish composer (and choral conductor) who followed Lars Edlund as the teacher and coordinator of ear training at the Conservatory in Stockholm. I met P.G. in 1990 when doing research for my dissertation and he's a fascinating person. I have a copy of the Swedish version of his book on Choral Intonation, which deals with ideas of just intonation, exercises of how to approach it, with examples from the literature. What I didn't realize (stupidly) until now is that there's an English version of the book. It's published by Gehrmans and the Swedish price (228 kr) is currently the equivilent of ca. $35, but I don't know about shipping. You could order directly from Gehrmans, but I've also had great luck (and quick response) from Bo Ejeby, who is not only a publisher, but a retailer. He's very quick to respond and ship and you can order with your credit card. I've just gone ahead and ordered a copy for myself, since the English version has been updated and, as you'll see from this short sample pdf, also deals with some interesting literature in terms of problems (Verdi Ave Maria, for example). So sorry I didn't think of this earlier, since it's a great resource for many of the ideas I and others discussed earlier in terms of just tuning.

Thinking a bit more about Eric Ericson's approach, I thought I'd offer some thoughts about what I've seen him (and other Swedes) do.

Eric's (and many Swedish) choirs have long been known for really beautiful, in-tune singing. Eric would say that the Swedish language has some advantages: all very pure vowels and a legato, connected way of speaking (he would also say that "the front side has a back side," that Swedes have to work harder for crisp rhythm or diction, for example). As I noted early on, pure unified vowels go a long way towards helping with good intonation.

But Eric always had a particularly accute ear and early on developed a keen interest in excellent intonation. Of course, Eric was trained as an organist and pianist, so came from the background of equal tempered tuning. When I was in Sweden the summer of 1990, it was he who introduced me to P.G. Alldahl and Eric was very aware at that time of just intonation and incorporated it into his tuning. I suspect it may have happened as early as his trip to Basel after World War II, when he studied at the Schola Cantorum with people such as the pioneering viola da gambist, August Wenzinger, Ina Lohr and others. He had a particular interest in early music and, in fact, his (at that time 16-voice) Chamber Choir was founded in 1945 specifically to perform early music his group of friends had studied, but had never heard. If he did not come across other ideas of tuning possibilities at that time, he certainly would have in the late 1960s when there were some notable collaborations between his Chamber Choir and Niklaus Harnoncourt's Concentus Musicus. And by the time I was in Sweden, Eric was regularly collaborating with the period-instrument Drottningholm Baroque Ensemble as well.

In addition, to do contemporary scores (of the sort Eric conducted) justice, it required new skills with pitch for both choir and conductor. As Eric said,

The music department at the Radio had many competent people who really jumped on impulses and picked up all the big personalities of the 1950s . . . I sat there with my choirmaster position . . . and was ordered, here comes Stravinsky, here comes Hindemith, and they want to guest conduct their pieces with the Radio Choir, etc.--and I had to be able to study all that. But of course it also meant incredibly inspiring contacts and demanding jobs--"Here you go--study this Dallapiccola . . . "--and that was horrendously difficult at that time! So we stood there with our assignments, and it was exciting for us to jump into all of this modern music.

And then,

You asked how technique and proficiency developed, and I can almost mention certain pieces which were "rungs on the ladder" . . . because that's how I feel so strongly when we've learned a difficult and very good piece. I'm thinking naturally from the viewpoint of the Chamber Choir with [Lidholm's] Laudi from 1947, Fyra körer from 1953, then the big pieces of Stravinsky, Nono . . . Dallapiccola perhaps most of all, which is where we learned to read notes and rhythms. And then of course we have a Swedish piece, again by Lidholm [1956--Canto], that we struggled with for half a year. I have a certain sense that, when you "come out on the other side" after having done a piece like Lidholm's Canto, you are a better musician, a better conductor, a better chorister. Canto feels like a final exam for the '50s choral life . . . early pieces that were difficult tonally and rhythmically became less so. Canto combined all the difficulties one was thrown between.

To sing this music well requires tight control of pitch. When you sing clusters or demanding non-tonal chord constructions, too much vibrato or any vague sense of the pitch simply doesn't work. For the music to sound, the pitches have to be very precise (and more likely with equal temperament, of course).

I had an interesting experience when doing Lars Edlund's Gloria with my PLU choir (a piece that was very effective with our audiences, once I introduced it with verbal program notes). It involves quarter steps, which are never, however, used harmonically--the choir simply "bends" a note a quarter step higher or lower, then back again--it's an ornamental inflection. In almost all performances I'd heard (including Eric's!) the quarter steps were really close to half steps. So I worked in the following way:

First, we did Robert Shaw style exercises to learn how much distance there really is between a half step and worked these regularly--for example, ultimately having two parts (men and women in octaves) a half step apart gradually "change places" (the higher pitch sliding downward, the lower pitch sliding upward), but at a specific tempo and length, with the goal that half way through we'd meet briefly on the quarter tone (we weren't exact, but got quite good at it).
I also had our composition teacher help me program our Yamaha DX-7 to play quarter-tones. When we worked on the sections with the quarter-tone inflections, I wouldn't allow them (for quite a long time) to sing them--they stayed on pitch and I played the inflections for them, so they could hear absolutely mathematically accurate quarter-tones.
Finally, I allowed them to sing the quarter-tones themselves, which they did quite well

The interesting thing was that piece never went flat or sharp during 12 or so performances on tour--other pieces did, but not the Edlund. I think all the intensive work they did on pitch in that work resulted in such a keen sense of where those pitches were (and the consequent muscle and tonal memory) that they had it totally locked and could reproduce it no matter what the acoustic or how tired they were.

Certainly, I've found that work with contemporary music which requires intense concentration on non-tonal pitches gives the choir a much keener sense of intonation, which can carry over into other music as well.

To get back to Eric:

The kinds of things I alluded to (and which P.G. has in his book) about using the piano to give "pedal" reference notes for intonation come directly from watching Eric in rehearsal. So, a bit about Eric's use of the piano (whether he played or an accompanist--all of whom knew his methods quite well).

First, Eric was a superb pianist with a marvelous, light and "vocal" touch. He almost always played with the una corda ("soft") pedal down and created a transparent, non-percussive sound. Too often I hear either conductors or accompanists pound notes in a way which invites harsh attacks and sound. Never from Eric or his accompanists. I saw Eric work with his own choirs (the Chamber Choir, Conservatory Chamber Choir, and Orphei Drängar), in masterclasses with a "put-together" choir of Americans or Canadians, or at the 1990 IFCM in Stockholm, and guest conducting the first concert of Choral Arts in Seattle as well as other choirs, plus at two workshops at PLU when I taught there. So please understand that we're not talking beginning choirs!

He never simply played along with the choir, doubling what they did. Here's what was typical:

sometimes without the choir singing, he'd simply play (normally from memory) the music (Bach's Der Geisthilft, for example, demonstrating all important parts), saying, "I think it might go like this," giving a very complete idea of rhythm, phrasing, and shape
he would often play pedals (usually in the treble, above the soprano, but also bass lines) to help establish pitch (but without implying tempered intonation)--often "rocking" an octave back and forth to keep the sound going
in something very slow, he would often improvise a melody above the choir in 16th notes, so there was always a pulse audible
if the music was harmonically complicated, he would either play (as in the first example) something for the choir, but never exactly what the choir sang--simply a reduction of the harmonic content and shifts so the choir could hear it easier
he would also help the choir hear the harmony when it was complicated by playing below and above choir choir (a bass-line and treble chords), but never in the choir's pitch area
and, of course, much of the time the choir sang a cappella -- he played only when it was necessary to help stay in tune, or to help with one of the musical issues listed above

Eric also loved jazz and could improvise in a jazz style rather easily. One of the things I remember from conducting classes was him having all the conductors conducting (asking them to reflect the music--light/heavy, etc.--in their conducting), beginning with the opening of the St. Matthew Passion and then evolving to a jazz version with all sorts of syncopations, etc., all to provoke the conductors to show more of the music in their conducting.

Eric had excellent ears, as I've said, but not perfect pitch. He recorded nearly every rehearsal and would listen to it afterwards--I remember my first time in Sweden in 1989, where I accompanied him and Orphei Drängar on a short tour, when after the concert in the bus, he'd put on his headphones to listen to the recording, humming and occasionally checking pitches on his little Casio keyboard to see exactly where the choir started to go flat or sharp.

An amazing man!

It's been a pleasure to write these posts--good for me to re-think what I just do and get feedback and new ideas from others. Have a great summer!

Director of Music

Suellen Eslinger — %am, %08 %b %2013 %01:%Jun:%th 1JunGMT+0000

St. Peter’s By the Sea Presbyterian Church

Rancho Palos Verdes, California

Director of Music

St. Peter’s By the Sea Presbyterian Church offers a comprehensive music program including a traditional choir, men’s chorale, special concerts and productions, children/youth programs, handbells, Orff instrument instruction, and music support for contemplative, traditional and informal services. Through collaboration with other worship leaders, the Director of Music will help enrich these services with music, inspiring all age groups. The Director of Music is responsible for leading the Sanctuary Choir, Men’s Chorale, Youth and Children’s choirs, and special concerts and productions, as well as coordinating with and assisting other music leaders.

This is an exempt position estimated to be 30 hours per week. Full time is possible. For more information, including a detailed position description, contact Karen Hatt at Karen@spbts.org or (310) 377-6882. Provide resume to Karen Hatt by July 15, 2013.

Associate Girlchoir Conductor

Alysia Lee — %pm, %07 %b %2013 %23:%Jun:%th 23JunGMT+0000

JOB ANNOUNCEMENT:

Associate Choral Director

Teaching Artists Team Positions Available

Mission:

Sister Cities Girlchoir builds communities of music makers that empower at-risk girls to occupy their unique advantage in transforming the world. SCG is an El Sistema-inspired girl empowerment program that harnesses the power of music to impact the lives of Girls in Camden, NJ and Philadelphia.

With a shared bottom line of musical excellence and positive youth development, SCG targets girls from low-income communities and helps them to build critical tools to excel –cognitive, leadership and prosocial skills–while exploring their area of interest—singing!

Creating excellent musicians is an output of the work; the parallel goal is to provide a safe space for at-risk girls from fractured communities to gain confidence, build relationships, actively learn, find inner strength and then be allowed to pass it on.

SCG Teaching Artist Team, Positions Available

Girl Choir Associate Director leads Group Voice Lessons and Sectional Rehearsals that incorporates Musicianship/Sightsinging and Vocal Pedagogy while creating a caring and energetic learning space that reinforces teamwork.

Teaching Artists Responsibility

Lead and co-teach group voice lessons and sectional rehearsal
Conducting and creative duties
Participate in staff meetings and trainings
Document lesson planning and student progress
Maintain a safe and energetic learning environment that maintains organizational expectations

SCG Teaching Artists are hired on a part time basis (2 hours/day; 1-3 days/week; 32 weeks/year). Besides teaching duties teaching artists are also active members of the site communities and help to build local cultures of teaching and learning in and through the arts. Additional opportunities include leading Saturday and Festival programs, mentoring emerging teaching artists, leading professional development workshops, and facilitating in-school residencies.

All classes employ partner/team teaching. Compensation is offered at competitive rates.

Successful applicants will exhibit the following:

Bachelor's degree or higher with music related training preferred, i.e. Performance, Music Education
High Level of Musical Artistry
Passion for the Process of Music Making
Creativity in Classroom Facilitation and Teaching Methods
Experience Teaching Various Abilities and Levels and Classroom Management
Strong Oral and Written Communication Skills
Passion to Work Collaboratively
Experience with Family Engagement
Successful candidate will also be committed to on-going professional development as an arts educator and to participating in other Sister Cities community events.

Application procedures and deadlines:

To be considered for the position, please submit the following by email to Alysia Lee, Artistic Director at Alysia@SisterCitiesGirlchoir.org by July 4, 2013.

Cover Letter
Resume including education/training, teaching experience, and performance experience
Music Sample, 2 Selections on your primary instrument (attach an MP3 or send link)

Interview/Audition Process

Initial Interview

Selected candidates will be invited for an initial interview.

Audition

A smaller pool of applicants will progress to the Audition. Applicants will be asked to prepare a fifteen minute musical lesson.

If you have any questions about the Teaching Artists at SCG, please feel free to contact Alysia Lee, Artistic Director at Alysia@SisterCitiesGirlchoir.org or visit our website, www.SisterCitiesGirlchoir.org.

Sister Cities Girlchoir is committed to the principles of arts education, social justice and community reform, and builds programming to specifically address the needs of urban communities that are typically underrepresented because of race, sex, ethnicity, and socioeconomic status. Accordingly, we welcome and encourage applications from a diverse range of individuals. Sister Cities Girlchoir employs without regard to race, sex, sexual orientation, religion, national origin, age, disability, or any other attribute not related to superior performance.

Heart of the Valley Children's Choir 30th Anniversary Festival

Bill Bergeman — %am, %08 %b %2013 %00:%Jun:%th 0JunGMT+0000

Corvallis, Oregon, the home of Oregon State University, is the site of the Heart of the Valley Children's Choir 30th Anniversary Festival, June 30-July 3, 2014.

Children's choirs, including treble and SATB singers, are invited to participate in workshops, individual choir performances, and a combined finale performance in the Austin Auditorium of the LaSells Stewart Center on the beautiful campus of Oregon State University.

This festival is sponsored by the Heart of the Valley Children's Choir and Music Celebrations International. Paul Caldwell (Artistic Director of the Youth Choral Theater of Chicago), and Sean Ivory (Artistic Director of the Grand Rapids Symphony Youth Chorus) will serve as the Festival Artistic Directors.

Visit the festival webpage to learn more.

Sing Faure's Requiem for the D-Day 70 Anniversary

Bill Bergeman — %am, %08 %b %2013 %00:%Jun:%th 0JunGMT+0000

Under the artistic direction of Dr. William Skoog, the Paris Choral Festival will take place June 30-July 5, 2014, and will bring American mixed voice choirs to Paris to sing en masse in celebration of the centuries-old Franco-American friendship.

Featuring Gabriel Fauré’s remarkable Requiem in L’église de la Madeleine – the very church where the work was premiered – this festival is being presented in honor of the 70th anniversary of The Battle of Normandy and the Allied Invasion of France in World War II. The festival will feature patriotic works to honor the occasion, culminating in a grand musical commemoration for the heroes that fought for freedom during the world’s greatest invasion.

Participation in the Paris Choral Festival will offer the opportunity to sing the European Premier of “The Singing Rooms” by America’s most performed contemporary composer – Jennifer Higdon.

Following the finale performance, choirs will journey to nearby Normandy for an Independence Day choral remembrance and wreath-laying at the Normandy American Cemetery and Memorial – site of the June 6th, 1944 Allied Invasion.

Go here to learn more about the festival.

Sing at Chicago's Orchestra Hall at Symphony Center with Z. Randall Stroope

Bill Bergeman — %pm, %07 %b %2013 %23:%Jun:%th 23JunGMT+0000

Treble youth choirs are invited to participate in the sixth-annual Windy City Youth Choral Festival, June 26-29, 2014. Participating choirs will conduct individual performances, as well as rehearse together and join to sing en masse in one of America's great concert halls - Orchestra Hall at Symphony Center, home of the Chicago Symphony Orchestra.

Dr. Z. Randall Stroope will serve as Artistic Director, and will conduct the finale concert at Orchestra Hall as well as offer individual, personalized clinics for each festival choir.

Visit the festival webpage to learn more.

Mozart! A Choral Festival in Salzburg, June 25-29, 2014

Bill Bergeman — %am, %08 %b %2013 %00:%Jun:%th 0JunGMT+0000

Music Celebrations International is pleased to present the Mozart Choral Festival. This mass choral event will take place June 25-29, 2014. This spectacular four-day festival will feature a large chorus consisting of mixed voice choirs from across North America attending rehearsals with master conductors Alan Heatherington, Music Director of the Chicago Master Singers, and János Czifra, Domkapellmeister of the Salzburger Dom.

Mr. Heatherington will conduct the festival chorus in outstanding works by two preeminent British composers - Requiem, by John Rutter, and Psalm 148, by Gustav Holst. Herr János Czifra will conduct Mozart’s Mass in C Major, Coronation, KV 317, accompanied by the Salzburger Domorchester.

Visit the festival webpage to learn more.

Sing Mass in St. Peter's Basilica in the Vatican as part of the Rome International Choral Festival with Z. Randall Stroope

Bill Bergeman — %am, %08 %b %2013 %00:%Jun:%th 0JunGMT+0000

Melded from Greek, Etruscan and Roman civilizations, Roman culture has influenced Western thought, art, music, literature and civilization more than any other. The senses almost reel from exposure to history, architecture, art, and beauty unequaled anywhere else in Europe. The creativity, craftsmanship, artistic energy that made Rome great are still in full evidence in the New Millennium.

It is this setting that serves as the backdrop for the sixth-annual Rome International Choral Festival, June 21-25, 2014.

This mass choral festival will take place in St. Peter’s Basilica in the Vatican, and Rome’s famed Basilica di Santa Maria sopra Minerva. The festival chorus will feature mature (high school age and older) SATB singers.

Rehearsals and performances will take place under the baton of maestro Z. Randall Stroope.

Visit the festival webpage to learn how to participate.

How do I convince my superintendent...

Shannon Leighton — %pm, %07 %b %2013 %22:%Jun:%th 22JunGMT+0000

That students should be playing and singing music appropriate to their mental and physical development? To elaborate, my superintendent has been micromanaging the music department - and only the music department - for the last 2 years. Everything we do is wrong, despite there being 5 highly qualified music teachers on staff K-12, and she keeps insisting that the students have to advance and if they don't, we'll lose our jobs. She is pushing us to have, for example, 3rd grade strings students use bows and play with the HS orchestra for one of THEIR pieces....and will not budge on how impossible and inappropriate that is for their development. She is also insisting that our middle school choir needs to learn Handel's "Messiah" and sing it at the winter concert, and when I didn't do it this year because it just wasn't possible, she threatened my job.

To make a long story short, she is putting our very large, well-run music department at risk with her crazy demands. My department head has already resigned due to her demands, and her inappropriate inquiries into our personal lives, experience and qualifications (SHE WAS THE ONE WHO HIRED US!!!). My question is: how in the world do I get through to this woman and/or prove that students have to play developmentally appropriate music? That's the one thing she is hung up on - that the students aren't playing "hard enough" music, when in reality they are playing music completely appropriate to their level (and even music that is a bit harder for a challenge). Also, she's hung up on us not having a "formal enough" concert atmostphere: professionally printed programs, notices in the paper and one the radio to advertise our school concerts, local politicians being invited - these are realy demands that she has made of us over the last 2 years.

I love my job, my other colleagues, principals and most of all, my students. Everyone - other department heads, teachers, even parents, the board of trustees and such - supports me and my music colleagues in our decisions. How do I prove my point to this woman, and make her see that she is just plain wrong, and needs to trust us and our expertise?

Thanks

Conductor needed - NEW Community Choir forming at IUP

Jane Baumer — %pm, %07 %b %2013 %18:%Jun:%th 18JunGMT+0000

The new Community Music School at Indiana University of Pennsylvania seeks an artistic director for its new Community Choir for the academic year 2013-2014. This is an ideal position for a local conductor with an entrepreneurial spirit, since the School is opening its doors for the first time in August and the choir will meet for the first time in September.

The choir will rehearse one night per week, both fall and spring semesters, for a total of 12 rehearsals each semester. (Length of rehearsal and the rehearsal night are flexible.) Budget for music purchasing, and for director's stipend, is dependent on enrollment; tuition is $100/singer/semester. Music can be borrowed from the university's choral library to ease music purchasing costs. Auditions will take place the first week of September; membership in the choir is likely to include community members, and students, alumni, faculty, and staff of IUP.

IUP's Department of Music has a rich history dating back to the founding of the institution over a hundred years ago. A recently renovated Cogswell Hall includes state-of-the-art technology, expanded classroom and practice room spaces, a piano laboratory, rehearsal halls, and a well-appointed music library. A current enrollment of more than 300 Music majors is served by a departmental faculty of 34.

Interested candidates should have a Master's degree or higher in music education or performance, and demonstrated experience as a choral conductor. Please submit a letter of interest, current resume, and three letters of reference to Jane Potter Baumer, Director, IUP Community Music School, 422 S. 11th St., Indiana, PA 15705-1071, or submit digitally to j.p.baumer@iup.edu. Successful applicants will be contacted later for video or audio recordings of their work, and/or an on-campus interview. Deadline: July 1, 2013.

Repertoire suggestions for Evensong

Anne Tornillo — %pm, %07 %b %2013 %16:%Jun:%th 16JunGMT+0000

Our public HS choir is in the planning stages for a Concert Tour to England and we have been asked to submit a repertoire list for an Evensong Service for Palm Sunday 2014. This is not my area of expertise. Would most sacred pieces be acceptable? Should I try to find Palm Sunday related repertoire? I would appreciate your thoughts. Thank you, Anne

Looking for copy

Deena Jaworski — %pm, %07 %b %2013 %16:%Jun:%th 16JunGMT+0000

Does anyone have a copy of "I Never Saw A Moor" by Robert Muczynski? It was published by G. Schirmer and is now out of print but it's a lovely setting of the poem.

Thanks,

Deena

NEED TO BORROW: Inscriptions from the Catacombs (Lockwood)

Mark Nabholz — %pm, %07 %b %2013 %17:%Jun:%th 17JunGMT+0000

Item: Inscriptions from the Catacombs - Lockwood

Composer/Arranger/Edition: Normand Lockwood

Starting: August 1

For: 6 months

Copies: 40 (will be happy to obtain even one)

Willing to rent: No

I am seeking to borrow between 1 and 40 copies of Normand Lockwood's "Inscriptions from the Catacombs," which I have been informed is permanently out of print. Publisher information is below. Happy to pay postage costs both ways.

Mark Nabholz

Erskine College

Due West, SC

============

Inscriptions from the catacombs / Normand Lockwood.

Main Author:Lockwood, Normand, 1906-2002.

Uniform Title:Inscriptions from the catacombs

Published:Minneapolis : Augsburg Publishing House, 1965

Format: Musical Score

Physical Desc:1 score (25 pages) ; 26 cm.

Language:Latin

Young Men's Ensemble Director; New Jersey Youth Chorus

Patricia Joyce — %pm, %07 %b %2013 %17:%Jun:%th 17JunGMT+0000

The New Jersey Youth Chorus is seeking a dynamic teacher/director for its Young Men’s Ensemble. The Chorus’ YME is for boys with changing and changed voices in grades 7 – 12. Its director will be responsible for:

Preparing and teaching weekly rehearsals
Performing at the Chorus’ two annual concerts (all choirs)
Performing at the Chorus’ fundraiser(s)
Planning and executing a variety of concert performances throughout the season, as well as workshops, festivals and tours
Assisting in recruiting new members

Qualified candidates should have several years of experience working with junior high/high school male voices and a solid understanding of vocal pedagogy. He or she should have the ability to work as part of an artistic team and possess good networking contacts and skills. Additional skills in teaching sight-singing/theory are a plus.

The Chorus rehearses at the Delbarton School, Morristown, NJ.

Please send a resume, cover letter and any additional supporting materials to: admin@njyouthchorus.org Materials should be submitted by Friday, June 14, 2013.

The New Jersey Youth Chorus, founded in 1992 by Trish Joyce, is an auditioned choral program for children in grades one through twelve, divided into five ensembles: First Steps to Music (grades 1 – 2), Apprentice Chorus (grades 3 – 4), Intermediate Chorus (grades 4-6), Advanced Treble Chorus (grades 7-12), and Young Men’s Ensemble (grades 7 – 12 for changing and changed voices). The Chorus performs locally, nationally and internationally for community, civic and corporate audiences. Over one hundred eighty choristers come from almost 40 towns in six counties of New Jersey. The heart of its mission to provide quality music education that encourages young people’s love and appreciation of choral music and nurtures their individual growth and development.

The Chorus performs frequently with many professional ensembles, including the New Jersey Symphony Orchestra and Canadian Brass at NJPAC in Newark. They sang at the State Theater’s Gala under Oscar and Grammy-award winning composer Marvin Hamlisch and Bill Conti, composer of television and movie themes, including Rocky. They were a featured choir at the 2008 and 2012 American Choral Directors Association’s Conference, and the only children’s choir to be invited to sing at Chorus America’s 2009 National Conference. They have also sung with Irish tenor, Ronan Tynan, appeared on the Today Show, and have sung at Carnegie Hall. The Chorus has participated in numerous festivals in New Orleans, Hawaii, Canada and England, and has toured Italy, Ireland, Poland, the Czech Republic and Germany.

The Chorus regularly hosts visiting youth choirs, such as Cantus, the premier men’s ensemble in the United States, the Drakensberg Boys Choir from South Africa, the Bach Children’s Chorus from Canada, the Crypt Choir from King's School in Canterbury, England, the Lincoln Boys Choir from Nebraska, Colgate 13 and Ithacapella.

The choir's "Kids for Kids" mission includes opportunities to perform and assist children’s organizations and charities. Funds have been raised for a summer camp for children of September 11 victims, Hearts Across the Ocean, for children needing open heart surgery in India, the American Cancer Society, Bryan’s Dream Foundation, for children with brain tumors, and others. In the fall of 2011, they performed at the Saving Grace Gala in NYC, which benefited the Preeclampsia Foundation and the Foundation for America’s Blood Centers. During the Gala, they premiered a new piece written by Jim Papoulis, specifically for the event. In 2012, they performed for the Matthew Larson Pediatric Brain Tumor Foundation’s Gala in NYC, among other fundraising events.

Free Concert - Gettysburg 150th Commemoration Tour Bon Voyage Concert

Matthew Frable — %pm, %07 %b %2013 %16:%Jun:%th 16JunGMT+0000

June 15, 2013 - 3pm Christ's Greenfield Lutheran Church 425 N. Greenfield Road, Gilbert, AZ 85234

San Tan Chorale and Fountain Hills Community Chorus offers a full spectrum of spirituals, love songs, soldier's laments, rallying crys and many sentimental favorites from Civil War times. You don't have to be a history buff to delight in this exciting musical journey into our nation's past.

For more information go to www.stcpa.org

Youth Choir Director

Kelli Falls — %pm, %07 %b %2013 %14:%Jun:%th 14JunGMT+0000

Looking for a Children's/Youth Choir Director for the Livingston County Chorale Family. Job description: Conduct rehearsals/performances, supervise accompanist, select and order music, provide schedule for parents/board, attend board meetings once a month, interview and select members for the choir, and provide the vision, recruitment, activities, leadership, membership and goals for the Youth Choir. Please visit our webstie: http://www.livingstoncountychorale.org/ Send cover letter and resume to Tom Doane by July 12, 2013: tedoane@yahoo.com

Alto Section Leader - beginning September 2013

Elisabeth Gray — %pm, %07 %b %2013 %14:%Jun:%th 14JunGMT+0000

St. Anne's in-the-Fields Episcopal Church in Lincoln, MA is looking for an alto section leader for our 20-member Adult Choir. Qualifications for the position are excellent sight-reading skills, blending voice, experience in choral singing, and a cheerful and helpful attitude. The position begins September, 2013. Thursday rehearsals 7:30-9:00 p.m.; Sunday warm-up & service 9:00-11:30 a.m. $75 per service; $25 per rehearsal. Contact Buffy Gray, Organist and Choir Director at buffy@stanneslincoln.org.

Serious Food Songs

metra peterson — %pm, %07 %b %2013 %13:%Jun:%th 13JunGMT+0000

My choir is putting together a benefit "Food" concert for the local food bank. So far, I have found an abundance of silly food songs, but would like to include more serious and outside the box SATB choral arrangements. Anyone know a quality SATB arrangement of 'Drink to me Only With Thine Eyes'? Any suggestions will be appreciated.

Pueri Cantores Christ the King and Nova Vocal Ensemble: In Time of Silver Rain

Jonathan Bautista — %am, %07 %b %2013 %06:%Jun:%th 6JunGMT+0000

Pueri Cantores Christ the King and Nova Vocal Ensemble are pleased to announce the final concert of their 2012-2013 season. Our last in a series of aquatic musical explorations, In Time of Silver Rain features some magnificent works by Elgar, Palestrina, Samuel Barber, Robert Kyr, David Lang, Tarik O'Regan, and Eric Banks. You'll hear Los Angeles premieres by Jennifer Jolley, Elena Ruehr, and Jeremy Jennings, as well as American folk songs and spirituals sung by Pueri Cantores Christ the King children's choir, with solos by Christ the King school's graduating 8th grade class.

Concert is free and open to the public, though donations would be much appreciated. Come to Christ the King Church near Melrose and Vine in Los Angeles.

New children's choral music by Sherelle Eyles

Sherelle Eyles — %am, %07 %b %2013 %05:%Jun:%th 5JunGMT+0000

'The Barrier Reef' from Australian Destinations by Sherelle Eyles for Junior Choirs (age 6 to 9)

To view a video: http://www.youtube.com/watch?v=h7POLYbe_QQ

'Great Australian Bight' from Australian Destinations by Sherelle Eyles for Junior Choirs (age 6 to 9)

To view a video: http://www.youtube.com/watch?v=NzQzY0lQbI0

Email: dwse@optusnet.com.au for a free sample score

Website: www.sherelleeyles.com

Name the Label Contest

Scott Dorsey — %pm, %07 %b %2013 %21:%Jun:%th 21JunGMT+0000

ACDA needs YOUR creativity to name the label.

The American Choral Directors Association has entered into an agreement with Naxos of America® for the development of a recording label devoted exclusively to choral music. There is just one thing missing; a name for the label. ACDA is staging an online contest to find an appropriate name. Open to ACDA members, each entry may include up to five potential names. The winning entry will receive a boxed set of the complete Bach cantatas, courtesy of Naxos. ACDA's "Name the Label" Contest runs through July 4.

ChoralTech: Easy for You to Say!

Jeff Tillinghast — %pm, %06 %b %2013 %15:%Jun:%th 15JunGMT+0000

(tx.english-ch.com)

We've talked several times about easy ways to share audio examples with your ensemble, and ways for your singers to share recordings back with you. While we all strive to support our musicians to be independent as much as possible, there are always limiting factors: time, both for us and for them, and choristers' access to some kind of pitch/keyboard and reading abilities. That doesn't mean that we can't still get good feedback on our musicians and find individual errors that can be fixed outside of rehearsal to give us big gains in our next rehearsal period. For a quick, painless, but very insightful look into some of the roots of our intonation and rhythm, check the diction! Here are a couple of ways that I might do a quick diction check that could pay huge dividends for your next rehearsal.

Lay The Foundation

First off, this works really well with small, deliberate excerpts rather than entire pieces (although that can be beneficial for other reasons later on). Choose an excerpt scheduled for your next rehearsal, either something with difficult text or a section that just hasn't clicked yet. This can be done with either foreign language text or native language. If this is a piece that you've already been working on, singers can speak the text in rhythm/tempo, otherwise they can simply recite the text slowly. In either case, the rules are just like in singing: speak the text with importance on the vowels so that you can hear them clearly, and perform any schwa or rhythmic consonants that you've requested. Finally, give them a model recording (especially with foreign language!).

If you have a choir wiki or blog, you can use that for this purpose (as long as it's private-- probably don't want the outside world hearing the piece at this level!). If not, create a Dropbox account and upload your model. Share the folder with all of your choristers so that they can upload as well. From here, you have two choices: outside of rehearsal or in.

Outside of Rehearsal

If your group has access to smartphones, tablets or most modern computers with the ability to record video, it's quite easy for them to record themselves in the comfort/safety of home speaking the text and uploading it into Dropbox. You might need to ask a couple of tech-savvy people in your group to help other members out, or at least be available to answer questions. Ask them to name the file with their names and the excerpt to make it easier for you to find (e.g. Jeff_Tillinghast_Pseudo_Yoik_mm48_56).

Inside Rehearsal

If you don't think that your group is ready to make that leap, or you want to get the first couple of attempts out of the way before you ask them to do it independently, you can do it during rehearsal as well. Generally speaking, I try to avoid things that pull musicians out individually during group time-- it's distracting, noisy, and it means inevitably that someone will miss a note/edit/correction. Most of us have so little time with our whole groups assembled as it is that giving up that time is a hard pill to swallow. Regardless, hearing each musician is useful information and can make a big difference in the group sound, so sometimes it's worth it. In this scenario, I would find a practice room, outside area or any quiet place and park one computer/tablet/smartphone there. Start with one end of the back row and ask each singer to wordlessly leave, recite the example, come back and tap the next person in line to send them in. You can move people very quickly through this process. One advantage for you of doing it this way is that you end up with all of the audio files in one place. You can upload them to Dropbox en masse, or simply keep them on whatever device you used for recording.

Diction Helps!

Exercises like this are all about observation-- like with rehearsing a large group performance, you may not know exactly what you're listening for when you hear each musician recite an example. For both you and the singer, though, hearing that two or three members of a section are using a different shade of vowel or have poor timing on a dipthong can immediately correct issues of rhythm and pitch that otherwise would remain buried. This experience can be done relatively quickly for each person, and set up in a way that even listening to 50 examples of 30 seconds each isn't a massive burden on your rehearsal preparation.

What About You?

Do you do "diction checks?" Are there ways that you would use a spoken text recording from your musicians? Comment below!

Looking for music for "If you want to find Jesus, go in the wilderness"

Patricia Norton — %am, %07 %b %2013 %01:%Jun:%th 1JunGMT+0000

Hi -- the settled pastor of our church is retiring and I am programming music that will help the congregation with the transition. An African-American spiritual with the words "If you want to find Jesus, go in the wilderness" was mentioned by another minister, who had heard of it but did not know the melody. I could find the words online, but neither a video/recording of it or sheet music.

Can anyone help?

HIgh School Choral Director - Raleigh, NC

Bethany Jennings — %am, %07 %b %2013 %02:%Jun:%th 2JunGMT+0000

Middle Creek High School, located just outside of Raleigh, NC, is seeking a choral music director.

MCHS was opened in 2002 and has an active choral program with very supportive Choral Booster organization and excellent facilities/resources. The school operates on a 4x4 block schedule with three choirs scheduled year-long. (Freshmen Mixed, Intermediate Mixed, Advanced Mixed). Middle Creek singers are serious about the study of choral music and participate in regular school/community performances as well as extra curricular opportunties such as: NC Honors Chorus, NC All State Choir, Quartet Program, Spring Musical, Male Vocal Arts Symposium, Choral Council (student leadership team), Choral Librarians, and more. Choirs have received consistent superior ratings at the annual state music performance adjudications in both performance and sight reading in the past three years.

This is the ideal job. Current director is relocating - not leaving on account of something negative. Interested parties should act quickly. E-mail resume to Principal Wade Martin at middlecreekhs-jobs@wcpss.net.

RVW Toward The Unknown Region

William Spencer — %pm, %06 %b %2013 %22:%Jun:%th 22JunGMT+0000

Hi there; Has anyone ever done this with organ accompaniment instead of orchestra? If so, how well does it work that way? Thanks! Bill

Worship and Praise Team Leader

Judith Higbee — %pm, %06 %b %2013 %22:%Jun:%th 22JunGMT+0000

Position Available - Worship & Praise Team Leader

We are currently seeking a Worship & Praise Team Leader for the 9:30 a.m. Lifesong Worship Service on Sunday mornings. 10-15 hours per week. Click here for complete job description. Please send resume and cover letter to office@chsaviour.org or call the church office at 216-321-8880 for further information. Application deadline is June 15.

Masterwork Chorus Summer Sings

Kathleen Hannan — %pm, %06 %b %2013 %21:%Jun:%th 21JunGMT+0000

Masterwork's Summer Sings return on five Wednesdays of June and July, at the New Jersey Youth Symphony facility, 570 Central Avenue, New Providence, NJ. Join in singing through choral classics. The sings will take place at 7:30 on June 19, June 26, July 10, July 17, and July 24. Cost is $14 for singers, and $7 for students and people who come just to listen. Books of 5 tickets cost $60 and tickets may be shared. Scores and refreshments are provided. Schedule follows:

June 19: Mark Shapiro conducts Brahms' German Requiem and Faure's Cantique de Jean Racine.

June 26: Eric Dale Knapp conducts Schubert's Mass in G and Rutter's Requiem.

July 10: Anne Matlack leads singers in Haydn's Lord Nelson Mass and Faure's Requiem.

July 17: Thomas Juneau conducts Mendelssohn's Elijah.

July 24: Sun Min Lee leads Mozart Requiem and Beethoven's Choral Fantasy.

Director of Worship & Music (Layfayette, CA)

Scott Dorsey — %pm, %06 %b %2013 %21:%Jun:%th 21JunGMT+0000

Lafayette-Orinda Presbyterian Church

49 Knox Drive, Lafayette CA 94549

JOB DESCRIPTION

Job Title: Director of Worship and Music Reports to: Head of Staff, Peter Whitelock

FLSA Status: X Exempt ___Non-Exempt Hours: Full-time Date of Job Description: 8/25/10 Salary band: I

Job Summary: Under the general supervision of the Head of Staff and in collaboration with other pastoral staff, create artistic vision to realize the goals and objectives approved by Session. Select music and liturgical content to create a seamless flow from a variety of styles in order to produce a transcendent, innovative, dynamic, and engaging worship experience that illuminates the Word and reflects LOPC’s vision and goals for inclusive worship. Design, direct and musically lead worship services and concerts on a regular basis. Supervise overall worship design, planning, development and execution. Oversee and manage music staff and worship coordinator. Provide vision for choral ministry (including 5 children’s choirs, and 4-5 adult ensembles), conduct 3-4 choral ensembles, and provide musical guidance of other directors on staff. Develop mission and outreach opportunities to raise awareness of LOPC’s music ministry locally and regionally, especially encouraging recruitment of younger generations.

Essential Functions of the Job:

Director of Worship – 50%

Design and select liturgy (Calls to Worship, Prayers of Confession, and additional liturgical material as needed).
Collaborate with laity and regional artists to nurture a variety of liturgical arts (poetry, dance, acting, painting, photography, and screen-related media-arts)
Supervise Worship Coordinator
Provide leadership in worship planning and coordination (annually, seasonally, weekly)
Work in partnership with the Worship Elders and Worship Team
Oversee, as requested by the Worship Team, the worship/music budget
Oversee the maintenance and improvement of music ministry equipment
Act as liaison with long range planning regarding renovation of the sanctuary

Director of Music (Provide Musical Leadership and Development) – 50%

With Composer in Residence, select hymns/songs, and guide musical selections of all ensembles
Develop major musical presentations for special worship services and concerts
Direct and conduct the Chancel Choir, Festival Choirs, Chamber Singers, and Cantemus (Children’s/Youth Choir) in weekly rehearsals, worship services, retreats, and concerts
Provide primary music leadership in worship (vocal, piano, choral director)
Recruit and train laity to lead musically in worship and to support choral efforts
Manage, support, and provide direction to worship and music staff (Composer in Residence, Worship Coordinator, Children’s and Handbell Choir Directors, and Organist)
Develop vehicles for recruitment and church visibility, i.e. nurture musical connections with educational institutions & churches in the area
Remaining active in professional musical organizations.

Other Functions:

Support LOPC Mission, Vision, and Objectives; Attend staff meetings, Session meetings, All-Church retreat, Session retreat, and staff retreats

Minimum Requirements:

Education: Masters Degree in Music (choral and vocal emphases) or equivalent

Experience: 5 years of Worship Leadership, Worship Design, and Program Management

Special Skills, Licenses or Certifications:

Fluency in Classical and Jazz/Gospel styles

Knowledge of Contemporary Christian musical styles

Experience in blended-traditional worship

Membership in ACDA

Desired Qualifications:

Christian Faith

Skills as a pianist / accompanist

Knowledge of Reformed worship and Presbyterian theology, processes, and culture

Effective in building up and empowering others

Team-player

Committed to LOPC’s Mission, Vision and Values

Note: Nothing in this job description restricts management’s right to assign or reassign duties and responsibilities to this job at any time.

FOR INFORMATION CONTACT:

Chuck Fry chuck@lopc.org

Choral Evensong with David Briggs on June 9 at 7:00 p.m.

Robert Gallagher — %pm, %06 %b %2013 %20:%Jun:%th 20JunGMT+0000

River Road Church, Baptist, Richmond, VA

Works to include Stanford "Evening Service in G", Parry "I Was Glad", Parry "Hear My Words", Gardiner "Evening Hymn", and a newly commissioned work by David Briggs: "Praise the Lord, O My Soul" for Choir, Handbells, and Organ. Organ recital to follow Evensong.

TEXT ME

John Ray — %pm, %06 %b %2013 %20:%Jun:%th 20JunGMT+0000

Original SAB novelty piece for middle schoolers from Raycreations Music. Email me, John Ray, for preview sample and midi mp3.

Choral Accompanist Needed in Middle Georgia

Jennifer Flory — %pm, %06 %b %2013 %20:%Jun:%th 20JunGMT+0000

We are looking for an accompanist for our three choral ensembles at Georgia College in Milledgeville, GA. Other opportunities may include vocal accompanying and piano lessons for the non-music major. Please email your resume to Interim Chair Wendy Mullen at wendy.mullen@gcsu.edu if you are interested. More information about the music department may be found at music.gcsu.edu and about the choral ensembles at choral.gcsu.edu.

Soprano Position Open

Zach Hemenway — %pm, %06 %b %2013 %19:%Jun:%th 19JunGMT+0000

Saint Paul's Episcopal Church - Chestnut Hill, Philadelphia

Saint Paul’s Episcopal Church is a large and energetic parish with an active music program. The auditioned choir is comprised of approximately 45 members, both volunteer and professional, and sings a wide range of repertoire (early music to 20th century), with a focus on the English Cathedral tradition. The adult choir also combines with the trebles to form an intergenerational choir of 80 singers. In addition, staff singers participate in schola repertoire and have opportunity for solo work. We currently have a paid Soprano position open for which compensation is competitive. The position includes Thursday night rehearsals, Sunday Morning Services, and Sunday evening Choral Evensong once a month, as well as extra services such as the Annual Carol Service, Christmas Eve, and Holy Week services.

Saint Paul’s is easily accessible by rail. Both the Septa R-7 and R-8 lines stop within two blocks from the church.

If interested, contact Zach Hemenway, Director of Music
215-242-2055, ext 35
zhemenway@stpaulschestnuthill.org

Tenor Position Open

Zach Hemenway — %pm, %06 %b %2013 %19:%Jun:%th 19JunGMT+0000

Saint Paul's Episcopal Church - Chestnut Hill, Philadelphia

Saint Paul’s Episcopal Church is a large and energetic parish with an active music program. The auditioned choir is comprised of approximately 45 members, both volunteer and professional, and sings a wide range of repertoire (early music to 20th century), with a focus on the English Cathedral tradition. The adult choir also combines with the trebles to form an intergenerational choir of 80 singers. In addition, staff singers participate in schola repertoire and have opportunity for solo work. We currently have a paid Tenor position open for which compensation is competitive. The position includes Thursday night rehearsals, Sunday Morning Services, and Sunday evening Choral Evensong once a month, as well as extra services such as the Annual Carol Service, Christmas Eve, and Holy Week services.

Saint Paul’s is easily accessible by rail. Both the Septa R-7 and R-8 lines stop within two blocks from the church.

If interested, contact Zach Hemenway, Director of Music
215-242-2055, ext 35
zhemenway@stpaulschestnuthill.org

KEN DAVIS CHORALE

Jennifer Peters — %pm, %06 %b %2013 %18:%Jun:%th 18JunGMT+0000

The Ken Davis Chorale, Dallas/Fort Worth’s renowned international professional chorus, is proud to announce its next concert, featuring works of Brahms, Mendelssohn, and Palestrina, will be performed at the Mesquite Arts Center on Saturday, June 22, 2013, at 3:00pm. The concert will be presented by the Mesquite Arts Council.

The chorale, now in its second year, brings together singers from around the world who worked with acclaimed director Dr. Kenneth Davis during his tenure at Texas Tech University. Reunited after 15 years, this group shares a common vision to capture the joy and beauty of choral music and share it with the world as well as each other. Scott Cantrell of The Dallas Morning News remarks, “Davis cultivates warm sonorities with a wide dynamic range...and the chorus sustains lines beautifully.”

Tickets: www.kendavischorale.com / 940-600-7459 / at the door

$10 adults/$5 seniors & students

Cathedral Choir Auditions for Section Leaders

Robert Bozeman — %pm, %06 %b %2013 %17:%Jun:%th 17JunGMT+0000

Christ Church Cathedral, Louisville, KY, will be holding auditions for cathedral choristers for the 2013-2014 year Tuesday July 23 through August 1 and August 13 through 21. (Auditions may also be scheduled by appointment outside this block of time) Choristers who share the cathedral's commitment to excellence, are willing and able to support its liturgical worship and serve as a significant presence in the Louisville arts community are encouraged to audition. The Cathedral Choir's primary responsibility is to sing at weekly Sunday services of Holy Eucharist, monthly services of Evensong and other major liturgical observances in the church year.

The Cathedral Choir has just completed a recording titled "An American Evening," featuring music by American composers for evensong and other evening liturgies. August 17, 2013 is the official release date of the project.

Positions are open for both paid and volunteer choristers. The cathedral is also building a roster of substitute choristers to serve as needed.

Those interested may read more information here or contact Canon Robert L. Bozeman, robert@christchurchlouky.org.

Survey assistance-

John Bragle — %pm, %06 %b %2013 %16:%Jun:%th 16JunGMT+0000

Hello colleagues!

If you have 3 minutes, I would greatly appreciate your input through a survey I'm conducting:

https://docs.google.com/forms/d/1c8xAuCO6HcI3uT8yfmqlBV83chb4BBvAnQRHMGFJx0Y/viewform

The purpose of this survey is to examine relationships between voice instructors and choral conductors at various institutional levels.

Thanks for your assistance!

Wenger Choral Risers

John Fitzpatrick — %pm, %06 %b %2013 %16:%Jun:%th 16JunGMT+0000

Tourmaster Risers... three sections; includes optional fourth step and two back rails
$450. If not local pick-up, add approx $200 to have pallets built + shipping cost for 700# prox.

SA and SSA songs on the theme of Harvest Time and Thanksgiving

Jason St Claire — %pm, %06 %b %2013 %16:%Jun:%th 16JunGMT+0000

Hello friends! I am programming for a collegiate women's ensemble, mostly Fresh. and Soph., on the theme of "Harvest Time and Thanksgiving". I have come up with several ideas and pieces but would like to see what everyone else thinks up. Send your top five (or more). Thanks!

Video-game songs?

Eric S Betthauser — %pm, %06 %b %2013 %15:%Jun:%th 15JunGMT+0000

Here's a theme: video games. Yes, I'm looking for good songs (preferably newly-written ones) from/about video games. Here's what I've got so far:

Baba yetu (and others) by Christopher Tin
The Mario Brothers theme
Legend of Zelda
"Korobeiniki" from Tetris
"Pac-Man Fever" (I know that there used to be an SATB arrangement)

Maybe some of the songs from Bastion

I know that there are dozens more, but I feel like many of them would be ineffective out of context--unless they were REALLY well known (like Mario).

Thanks for the help.

women and veteran's day

Randi Carp — %pm, %06 %b %2013 %12:%Jun:%th 12JunGMT+0000

Hi Everyone - Our Concert Choir traditionally sings at a Veteran's Day event that has a theme each year. This coming year the theme revolves around women in battle and the military. Does anyone have suggestions of fairly simple pieces that would fit into this theme? Traditional music or those that slant slightly to the pop side would work.

Thanks in advance for your collective wisdom!

Randi Carp

Phoenixville, PA

Need Substitute Pianist

Juston Smith — %pm, %06 %b %2013 %15:%Jun:%th 15JunGMT+0000

I am in need of a substitute pianist for two Sundays, June 23 & 30. There is no choir accompaniment needed. It will be prelude, hymns, offertory, and postlude. We have budgeted for the two Sundays $150.00. The worship starts at 10:55am, and you would probably want to get familiar with the surroundings at about 10am. Most everyone is in Sunday School then, and you will not have too many distractions.

This is for Covenant United Methodist Church in Charlotte. You can learn more about the church at www.covenantcharlotte.com

If you have any questions and/or are interested, don't hesitate to email me:

Juston Smith

music@covenantcharlotte.com

Director of Youth and Children's Music

Susan Caruana — %am, %06 %b %2013 %11:%Jun:%th 11JunGMT+0000

Virginia Beach: Grace Covenant Presbyterian Church of Princess Anne is seeking a part-time (10-12 hours per week) Director of Youth and Children's Music. The ideal candidate will be an experienced, creative and visionary individual who will establish a warm and engaging environment to develop the musical talents of the choir members in collaboration with the Worship and Leadership team. The Youth and Children's Choirs are ministries for our church and are meant to expose youth and children to sacred music in an atmosphere that enriches their faith. A full job description is available on our website at gcpcpa.org. Please submit your resume to Secretary@gcpcpa.org.

World Premiere of Bond and Free by Dan Locklair on June 9 by Vocal Arts Ensemble of Durham, North Carolina

Jeffrey James — %pm, %06 %b %2013 %14:%Jun:%th 14JunGMT+0000

June 6, 2013

For Immediate Release

Contact: Jeffrey James Arts Consulting

516-586-3433 or jamesarts@att.net

World Premiere of Choral Music of Dan Locklair on June 9 by Vocal Arts Ensemble of Durham, North Carolina

The World Premiere of Dan Locklair’s Bond and Free, a Partsong for SATB Chorus (divisi), a cappella, will be given by the Vocal Arts Ensemble of Durham, Rodney Wynkoop, Conductor and Artistic Director, on Sunday, June 9 at 4:00 PM at Duke Chapel, 401 Chapel Drive in Durham, North Carolina. This will be part of the Ensemble’s There Will Be Rest concert.

The composer writes, “My Bond and Free was completed in early April 2012. It is dedicated to the outstanding American choral musician, Rodney Wynkoop…Approximately four minutes in length, Bond and Free takes its title from the Robert Frost poem by the same name…The poem was originally published in 1916 as a part of Frost’s third collection of poetry entitled Mountain Interval.” Read his complete notes at http://www.locklair.com/wp/compositions/choral/bond-and-free. The piece is published by Subito Music - http://www.subitomusic.com/.

Other composers on the program are Stephen Chatman, James MacMillan, Steven Sametz, Francis Poulenc, Herbert Howells, Ned Rorem, Dale Warland, Dan Forrest, Eriks Esenvalds, Arvo Part and Jaako Mantyjarvi. More about the music at http://www.vocalartsensemble.org/.

The Vocal Arts Ensemble of Durham was founded in 1996 by Rodney Wynkoop to provide choral performance opportunities for singers in North Carolina’s Triangle region (Durham, Chapel Hill, and Raleigh). Its 32 members are selected mainly from among musicians who have sung in other choral groups under Dr. Wynkoop’s direction. VAE’s mostly a cappella repertoire ranges from the Renaissance to the present. More about them at http://www.vocalartsensemble.org/about.html.

Tickets are $10, available by calling 919-684-4444 or by visiting https://tickets.duke.edu/Online/default.asp.

Dan Locklair's music is widely performed throughout the U.S. and around the world. His catalog includes symphonic works, a ballet, an opera, chamber, instrumental, vocal and choral compositions. Widely sought after as a commissioned composer, musicians worldwide, including the Helsinki Philharmonic, the Buffalo Philharmonic, the Kansas City Symphony, the St. Louis Orchestra, the Saint Thomas Choir of Men and Boys of New York City and the Saint Paul’s Cathedral Choir of London have performed Dr. Locklair's music. Broadcasts of it have included Vatican Radio, Czech Radio, Radio Finland, NPR, the BBC and the CBC. Recordings of his works are available on Naxos, Ondine, Koch, Albany, Loft, Priory (UK) and other labels. His primary publishers are Ricordi and Subito. Dan Locklair is Composer-in-Residence and Professor of Music at Wake Forest University in Winston-Salem, North Carolina.

More information about him, including a bio, list of works, discography and much more, at http://www.locklair.com. You can also contact Jeffrey James Arts Consulting at 516-586-3433 or jamesarts@att.net.

####

ACCC Announces Finalists in 2013 National Competition for Canadian Amateur Choirs

Patricia Abbott — %am, %06 %b %2013 %10:%Jun:%th 10JunGMT+0000

FOR IMMEDIATE RELEASE / POUR PUBLICATION IMMÉDIATE

The Association of Canadian Choral Communities announces the finalists in the 2013 National Competition for Canadian Amateur Choirs.

A treasured Canadian choral tradition, the prestigious ACCC National Competition for Canadian Amateur Choirs inspires choirs to strive for excellence, provides visibility for amateur choirs of all types and traditions, and encourages the creation and performance of Canadian works. The Competition is open to all Canadian amateur choirs and attracts diverse participants from coast to coast. The competition is held in collaboration CBC Music, the Canada Council for the Arts and Festival 500.

The 2013 Finalists are: Category 1: Children's Choirs

Category 2: Upper-Voice Youth Choirs

Category 3: Lower-Voice Youth Choirs

Category 4: Mixed-Voice Youth Choirs

Spurrell Studio Choir – Natalie Spurrell (Oakville, ON)

Calgary Girls Choir (Brava) – Elaine Quilichini (Calgary, AB)
Vocum (Canterbury High School) – James Caswell (Ottawa, ON) WoCo (Etobicoke School of the Arts) – David Ambrose (Toronto, ON)

St. Michael's Choir School T enor Bass Choir – T eri Dunn (T oronto, ON) Testostertones (Catholic Central High School) – Don Sills (Seaforth, ON)

Chorale De La Salle – Robert Filion (Ottawa, ON)
Coastal Sound Youth Choir – Carrie Tennant (Vancouver, BC)
Medway Madrigal Singers – Jeff Beynon and Kathy McNaughton (London, ON)

Category 5: Mixed-Voice Collegiate Choirs

Category 6: Mixed-Voice Adult Choirs

Category 7: Mixed-Voice Adult Chamber Choirs

Category 8: Equal-Voice Men's Choirs
Category 9: Equal-Voice Women's Choirs

Category 11: Contemporary Music

University of Manitoba Singers – Elroy Friesen (Winnipeg, MB)
University of Saskatchewan Greystone Singers – Gerald Langner (Saskatoon, SK)
Western University Singers – Victoria Meredith (London, ON)

Chorale Saint-Jean – Laurier Fagnan (Edmonton, AB) Guelph Chamber Choir – Gerald Neufeld (Guelph, ON) Spiritus Chamber Choir – Timothy Shantz (Calgary, AB)

I Coristi Chamber Choir – Debra Cairns (Edmonton, AB) That Choir – Craig Pike (Toronto, ON)

Primus: Amabile Men's Choir – Carol Beynon (London, ON)

Canadian Mennonite University Chamber Choir – Janet Brenneman (Winnipeg, MB)
Elektra Women's Choir – Morna Edmundson (Vancouver, BC)
Xara Choral Theatre Ensemble – Christina Murray (Halifax, ON)

Quintessential Vocal Ensemble – Susan Quinn (St. John’s, NL)
Spiritus Chamber Choir – Timothy Shantz (Calgary, AB)
University of Regina Chamber Singers – Dominic Gregorio (Regina, SK)

Winners will be announced at Festival 500 Sharing the Voices, an international festival of choral music which runs from July 3-10, 2013 in St. John’s, NL. Cash prizes will be awarded for the top performances in each category. The choir with the Best Performance of a Canadian Work in any category will also receive a cash prize. The prestigious Canada Council for the Arts Healey Willan Grand Prize will be awarded to the choir who gives the finest overall performance in musicianship, technique and program.

Each choir has created a CBC Music artist page, where audiences can listen to performances by and engage with the participating choirs. Links to each competitor’s CBC artist page and competition audio are available from the ACCC’s National Competition for Canadian Amateur Choirs portal page. For links, please visit http://choralcanada.org/ACCC_en/Canadian_Amateur_Choirs.html.

Outstanding performances from select participants will be featured on CBC Radio 2's Choral Concert in the coming weeks.

The National Competition of Canadian Amateur Choirs is a signature program of the Association of Canadian Choral Communities, Canada’s national service organization for choirs and the choral community. For more information please visit www.choralcanada.org.

CJ Replay: Choral Music and Social Change

Scott Dorsey — %pm, %05 %b %2013 %22:%Jun:%th 22JunGMT+0000

(An excerpt from the Choral Journal article, “Choral Music: A Force in Social Change,” by Alfred J. McNeil )

During the decade just past, we have gotten used to seeing the world divided into two parts-the developed and the underdeveloped. To bring this closer, the ghetto and suburbia have become America's two worlds. Each can be characterized as developed and underdeveloped.

"The central issue of our time remains the fact that the rich are getting richer and the poor-poorer," says Ivan Illich.

In the United States, for all its gargantuan prosperity, real poverty levels rise faster than the median income. In the capital-starved countries, median incomes move rapidly away from rising averages. Most goods now produced for rich and poor alike in the United States are beyond the reach of all but a few in other areas. This is not a message of doom, but a desperate plea for a change of direction. I am convinced that Music can do it.

During the decade now beginning, we must learn a new language, a language that speaks not of development and underdevelopment, but of true and false ideas about man, his deeds, and his potential. There must be a growing awareness of the cultural contributions of all men; a utilization of the history of blacks, chicanos and other minorities; an inclusion of compositions by indigenous native composers in all programs; an insistence that centers like the Black Music and Latin-American Centers at Indiana University, Bloomington, be readily accessible in more strategic locations in the United States; that conductors read seriously John Hope Franklin, Cesar Chavez's story; The L. A. Times' story on the life of reporter, Ruben Salazar; Black Music in Our Culture, a complication of discussions at the June 1969 Black Music Seminar, Indiana University, by Dr. T. J. Anderson (artist in residence, Atlanta Symphony), Oily Wilson (University of California, Berkeley), Hale Smith, Dave Baker, Dr. William Grant Still - all well-known black composers currently listed in the Schwann Catalogue; Black Americans and Their Music, a magnificent 300-year history of music making by blacks, written by the eminently qualified black musicologist. Dr. Aileen Suthern, Queens College, New York: Blues People and Black Music bv Leroi Jones, must be included to get a complete picture. Read the article about America's great black choral conductor, Hall Johnson, appearing in the January 1971 ACDA Journal.

Auditions- The Bel Canto Children's Chorus

Toni Marie Palmertree — %am, %06 %b %2013 %02:%Jun:%th 2JunGMT+0000

Bel Canto Children’s Chorus Auditions for 2013-2014 Concert Season
NEW Satellite Choir in the Lehigh Valley!!
The Bel Canto Children’s Chorus is pleased to announce the formation of a new satellite choir in the Lehigh Valley! Join this internationally acclaimed choir for opportunities for exceptional music making,travel, making new friends, and fun!Know a child who loves to sing?? We’d love to have them join us! No previous experience necessary! Singers with unchanged voices entering grades 3 – 9 in the next school year are welcome to audition. Please call 215-541-4242 or send an email to tonimarie@belcantochildren.com for more information or to make an appointment for an audition.
Audition Dates by appointment:
• June 10 in Red Hill, PA
• June 17 at Moravian College,Bethlehem, PA
• June 26 in Red Hill, PA
Can’t make it on these dates? Call for an appointment! $10 audition fee due at time of audition.

June 8 -- Greater New Haven Community Chorus 2013 Spring Concert ~ Transformations

Dennis Burke — %pm, %05 %b %2013 %21:%Jun:%th 21JunGMT+0000

GNHCC 2013 Spring Concert ~ Transformations: Featuring Mozart's Coronation Mass with professional soloists and orchestra, along with other transformative works by Bela Bartok, Zoltan Kodaly, Randall Thompson, Jonathan Santore and others!

Saturday, June 8, 2013 - 8pm
Battell Chapel / Yale University Campus
Elm & College Streets
New Haven, CT
Tickets - $20 at the door / $15 in advance at www.gnhcc.org

Live to Tell: The Warrior

Michael Kerschner — %pm, %05 %b %2013 %20:%Jun:%th 20JunGMT+0000

The Young New Yorkers’ Chorus, Michael Kerschner, conductor, presents Live to Tell: The Warrior. The performance will feature David Lang’s Pulitzer Prize winning The Little Match Girl Passion and a world premiere of The Pleiades; a six movement work by Shara Worden of My Brightest Diamond.

For tickets and more information go to http://ynyc.org/current-season

Ithaca College Choral Composition Competition

Janet Galvan — %pm, %05 %b %2013 %19:%Jun:%th 19JunGMT+0000

35th Annual Choral Composition Contest
The 35th annual Choral Composition Contest is now accepting entries. The Robert Campbell '40, M.S. '50, Endowed Choral Composition Prize will be awarded to the first-place winner in our annual Choral Composition Festival. Competition winners will be announced at the November 16 concert and awarded a cash prize. The competition is sponsored by Ithaca College School of Music and Mark Foster. Applications must be postmarked by August 19, 2013.
For guidelines, go to:

http://www.ithaca.edu/music/current_students/competitions/choralcompetition/

In Memoriam: Joe Kay (1951-2013)

Scott Dorsey — %pm, %05 %b %2013 %21:%Jun:%th 21JunGMT+0000

Greensboro - Joseph Maxwell Kay, 61, passed away on Monday, April 8, 2013 at his residence.

Funeral service will be held on Thursday, April11, 2013 at 11:00 am at English Road Baptist Church with Dr. James A. Summey officiating. Interment will follow at New Silver Brook Cemetery in Anderson, SC.

Joseph was born August 25, 1951 in Anderson, SC to the late Richard Max Kay and Ruby Smith Kay. He was a graduate of Eskine College and New Orleans Baptist Theological Seminary. He worked as a Minister of Music and was the founder and president of Music Manager Software.

He was a Life Member of American Choral Directors Association. Additionally he was a member of the National Academy of Recording Arts & Sciences, Fellowship of United Methodists in Music and Worship Arts, Hymn Society in the US and Canada, and Baptist Church Music Conference.

In addition to his parents, he was predeceased by his sister, Janet Kay; Those left to cherish his memory are his wife, Debbie Kay; daughter, Laura Pearman (Greg), step children Leigh Borum (Chris Jackson) and Andrew Borum; grandchildren, Jackson Pearman and Matthew Pearman.

The family will greet friends on Wednesday, April 10th, 2013 at Hanes Lineberry N. Elm Chapel from 6:00-8:00 pm.

Online condolences may be made at www.haneslineberryfuneralhomes.com.

Accompanist for Large Women's Chorus (revised)

Patricia Guth — %pm, %05 %b %2013 %19:%Jun:%th 19JunGMT+0000

Large, friendly 75-voice women’s chorus, formed in Sept. 2012 in Bucks County, Pennsylvania, is seeking a new accompanist for the 2013-2014 season. The chorus performs light repertoire including show tunes, jazz, standards, pop, spirituals, and patriotic pieces during the spring season, and secular and sacred holiday repertoire during the December concert season.

The accompanist for this organization should possess excellent piano skills and should be a good sight-reader. Ideally, he/she should also be able to read and accompany from a jazz chart with chord symbols. Accompanist should also live within a reasonable distance of Bucks County.

Concert obligations include 5-6 performances at Christmastime, mostly at venues within Bucks County and vicinity, and about the same number of performances in the spring. Included in those numbers are two large “community” concerts held in May/June and December, with proceeds benefitting local charities.

In June 2014, the ensemble is traveling to Italy for a performance tour. The accompanist may have the opportunity to accompany the group abroad and attend the tour free of charge with the exception of personal expenses.

Duties of the accompanist include:

Attending weekly rehearsals from September until mid-June in Holland, Bucks County, on Monday nights from 7 to 9 pm.
Preparing, to concert standards, about two dozen pieces of music each year.
Attendance at all concerts.
Securing of a suitable substitute for missed rehearsals or concerts.

Please send cover letter, resume, and salary requirements to bcwomenschorus@yahoo.com. Please do not call. We will acknowledge receipt of all resumes and call or email those we wish to interview.

Looking for music related to mining

Blair Buffington — %pm, %05 %b %2013 %17:%Jun:%th 17JunGMT+0000

I am looking for repertoire ideas for a community ensemble related to the mining profession, specifically, but not limited to, the turn of the century through the first world war. SATB, SAB, bass cleff choir, treble cleff choir, solos and small groups. I'm open to any suggestions. The community was built on copper mining and they wish to celebrate their heritage with a concert based upon this theme. I'm classically oriented so this is a stretch for me. Any ideas will be helpful.

Thank you,

Blair Buffington

Excellent Choral Library for Sale

Sharyn Baker — %pm, %05 %b %2013 %16:%Jun:%th 16JunGMT+0000

I am disabled and soon will be moving into a small RV for the rest of my life because I have to live on a very small, fixed income. I was a serious classical choral conductor and I have an extensive and wonderful collection of full scores, oratorios, octavos (many undoubtedly out of print), a few orchestral scores, and perhaps 40 or so multiple copies (25 each) of octavos, collections of Christmas carols, English anthems, the Oxford Madrigal collections, which I bought for my chamber choir.

I am loath to simply throw away this material, and for the most part, except for the large multiple collections of chamber music, I don't have time to sort and sell individually. This music is serious classical pieces, from major composers old and newer. There is no praise type stuff in it and really no junk music. Lots of wonderful Renaissance music, Brahms, Bach, Britten etc. I also have an extensive and varied collection of LPs, most choral and many hard to find things. My book library is also extensive and consists of music reference type books, serious biographies various composers, histories of the Oratorio, Western Music, women's choral music, chant etc.

I am just posting this to see if anyone might be interested in the collection as a whole. You would either have to come pick it up or pay for shipping. We could discuss price, but I suspect it is worth well more than $10,000. I don't expect to get near that amount, but want this collection to go to a good home or library.

I am in Colorado. Just FYI, I studied and earned my degree at the University of Colorado under the late Dr. Lynn Whitten. If anyone out there is looking for a great collection, please email me privately to discuss at:

schwarzenberggsd@earthlink.net

Thank you.

Auditions for Eastern Opera: Verdi's Otello

Karole Lewis — %pm, %05 %b %2013 %16:%Jun:%th 16JunGMT+0000

We are looking for singers to fill in some of the small roles in Otello as well as sing in the chorus. Pay is negotiated based on experience, attitude and background. Rehearsals have started. Performances are August 11, 16, 17 and 18 at the Brook Theater in Bound Brook NJ and one performance at Dolan Hall, College of St. Elizabeth in Morristown. We understand that people take vacation in the summer and we are willing to take that into consideration when selecting our members.

Pianist, accompanist, musical director, vocal coach

Elizabeth Christopher — %pm, %05 %b %2013 %14:%Jun:%th 14JunGMT+0000

I am available to work this summer as:

- interim choir director

- music director for musical

- accompanist for choir

- vocal coach

Please email if you need more info.

Thank you,

Liz Christopher, M.M.

Long-established NYC Chamber Choir seeks music director

Peter Strauss — %pm, %05 %b %2013 %13:%Jun:%th 13JunGMT+0000

The Florilegium Chamber Choir of New York City is seeking a new music director, the third in its almost four decades of existence. Nicholas DeMaison, our current music director (http://nicholasdemaison.com/) has just accepted responsibility for the music performance organizations at Rensselaer Polytechnic Institute, wonderful for him but leaving us leaderless. As you can learn and hear on our website, florilegiumchamberchoir.org, we sing a challenging and eclectic repertoire, from masters of the Italian Renaissance through contemporary music we have ourselves commissioned, often a capella but also with organ, piano, or chamber accompaniment. Our roughly thirty members, many of whom have been with the choir for a decade or more, are drawn from the greater metropolitan area. We rehearse Monday evenings on the Upper West Side, with Sunday afternoon concerts in mid-November, early March, and late May at Trinity Lutheran Church, a congenial acoustic space with a fine, recently restored pipe organ. Our four years with Dr. DeMaison have brought us far, and we are looking for the director who will take us farther.

If you think this might be you, please email a statement of interest and a current resume to info@florilegiumchamberchoir.org, In addition to your experience in choral and other conducting, we'd like to know about the repertoire you would be most interested to present, your other present commitments, any choral composing you might be doing, and the duration of a relationship with us you would find most appealing. To permit us better to learn about each other, our present expectation is to ask a few applicants to conduct two or three rehearsals each in the fall, using some combination of repertoire they have chosen and repertoire the choir has chosen, in order to select our new music director by the end of the calendar year, to prepare our March and May concerts.

Mozart Requiem - Frosinone Italy June 6 and 9

Pietro Alviti — %pm, %05 %b %2013 %14:%Jun:%th 14JunGMT+0000

Concentus Musicus Fabraternus Josquin Des Pres announces

Wolfgang Amadeus Mozart

Requiem Kv 626

for solo choir and orchestra

soprano Vittoria D'Annibale

mezzosoprano Fabiola Mastrogiacomo

tenore Enrico Talocco

basso Adriano Scaccia

choir Concentus Musicus Fabraternus Josquin Des Pres

orchestra sinfonica Francesco Alviti

2013, June, 6

Frosinone, Italy, Chiesa del Sacro Cuore h 21:00

2013 June 9

Frosinone, Italy, Auditorium Diocesano h 21:00

http://pietroalviti.wordpress.com/2013/05/27/mozart-requiem-due-esecuzioni-a-frosinone-il-6-e-il-9-giugno/

Two New Recordings of Works by Dustin Oldenburg

Dustin Oldenburg — %pm, %05 %b %2013 %13:%Jun:%th 13JunGMT+0000

I recently uploaded two new recordings of pieces of mine to my SoundCloud page. The first is a great performance of "The Lord's Prayer" by the La Crosse Chamber Chorale, under the direction of Dr. Paul Rusterholtz. The second is from the premier of my piece "Autumn" by the Viterbo University Concert Choir, under the direction of Jean Saladino.

Please visit the link to my SoundCloud page (below) to hear these recordings and more!

https://soundcloud.com/oldenburgmusic

Thanks,

Dustin Oldenburg

Oldenburg Music

http://www.oldenburgmusic.com

New Dublin Voices- 'What We Heard In The Sky' Summer Series 2013

Ali Doole — %am, %05 %b %2013 %10:%Jun:%th 10JunGMT+0000

New Dublin Voices

Conductor, Bernie Sherlock

'what we heard in the sky'

Life feels so hectic here on the ground.

Yet there is plenty going on in the sky as well. It is the domain of birds, and of the angels. Through it we can see all the way to the moon, to the stars. We can see the amazing dance of the Northern Lights. And for centuries we dreamed of going up there….

All of these wonderful things in the sky are described to us by great composers, from Palestrina to Randall Z. Stroope. Their imaginations take them to the sky, and now you can hear what they heard there.

Join us in any of three venues:

June 15th in St Thomas Mt Merrion, June 22nd in Christ Church Cathedral, and June 30th in the Hugh Lane Gallery.

For further information, please contact Ali Doole, alisondoole@hotmail.com,

Details

St Thomas' Church Mt Merrion

Sat June 15th @ 8pm

€15 /€10 at the door or

newdublinvoices.com/tickets

Christ Church Cathedral

Sat June 22nd @ 8pm

€15 /€10 at the door or

newdublinvoices.com/tickets

Hugh Lane Gallery

Sun June 30th @ 12 noon

Admission free

Programme

Palestrina Stetit Angelus

Rihards Dubra Stetit Angelus

Erik Esenwalds The New Moon*

Ola Gjeilo Northern Lights*

Randall Z. Stroope Riveder le Stelle* (We beheld once again the stars)

Josu Elberdin Izar ederrak (The beautiful star)

Ko Matsushita O Lux beata trinitas* (O Trinity of blessed light)

Eric Whitacre Leonardo Dreams of His Flying Machine*

Arr Eoin Mulvany Mr Blue Sky**

Bartlet Off all the birds that I do know

Charles V. Stanford The Bluebird

Arr Jonathan Rathbone Blackbird/I will

Frederick Bridge The Goslings

** World premiere

* Irish premiere

********************************

New Dublin Voices was recently awarded Ireland’s Choir of the Year, the Perpetual Trophy for the Performance of Irish Contemporary Choral Music, and 2nd prize in the Fleischmann International Trophy Competition at the 2013 Cork International Choral Festival

CJ Replay: Working Together for the Good of Singing

Scott Dorsey — %pm, %05 %b %2013 %22:%Jun:%th 22JunGMT+0000

(An excerpt from the Choral Journal article, “Working Relationships of the Choral Director and the Singing Teacher,” by Robert E. Bowles)

Singers, whether as soloists or as choristers, are forever engaged in communicating text, often of profound import, which has been enhanced by and further revealed through its musical setting. The soloist becomes one with the music he projects; the personal unity brought about with much soul searching and travail by the solo singer must be achieved for the chorus by its director. His responsibility is a great one as he seeks to mold his chorus to think about, make response to, and project music as one body. It is a great moment in art when a singer or a chorus achieves an exalted performance of a great work, when an audience has been moved deeply by such inspired statement in music.

We have all known such moments; we are met tonight and will meet again and again to find ways that more people may share such experiences. We are not so naive as to assume that such music will be heard merely by our willing it to be so. Ours is the task of providing the many means through which such musical tasks can be accomplished.

Intonation XIII - Answering questions from comments

Richard Sparks — %pm, %03 %b %2013 %19:%Jun:%rd 19JunGMT+0000

As I bring this (long!) series to an end, I'll attempt to answer questions or highlight comments made by others to this series--a huge thanks to those who took the time to comment, correct, or add to what I've said. I will likely say a few things more on Saturday before signing off for the summer. If you have questions, ask them now!

A number of people have brought up issues of singing technique. My earlier posts (here, here, and here) deal with different aspects. A few mentioned mouth position for vowels and yes, this is important. While not all singers will use the same mouth position for the same vowels (for example, I was suprised watching John Potter, a former member of the Hilliard Ensemble, to see how little he opens his mouth!), with young singers what you see can be an important clue to what they're doing correctly or incorrectly. Get out of the score and watch your singers!

On my last post, both Stephen Bigger and William Copper (my most prolific commenter and one of the most interesting!) offered comments. Stephen spoke of tongue position (follow the link to the comments to see the specifics). While I don't disagree with anything he said, I tend to be conservative about dealing with issues of the tongue with my choirs. Primarily, this is because I can't monitor something like tongue position very well with a large group of singers. In the private voice studio I would certainly do this, but then I can closely and easily monitor what the singer does and correct it, if necessary. It's very easy, in a large group of singers, for an individual to misunderstand what I say and for me not to notice it. Part of this, of course, is also that I've been dealing for a long time with relatively experienced singers (at PLU or UNT with singers who are almost all taking private voice). I expect that their teacher will deal with those issues, and also don't want to "step on" the voice teacher's toes! Both at PLU and UNT the relationship between voice faculty and choral faculty is extraordinarily good (not always the case, I know!) and I want to make sure that the things I ask for are congruent with teaching in the studio. If I see/hear something specific happening with one of my students, I don't hesitate to speak to their teacher and ask about it. On the other hand, if I was working with a younger group where almost no one was taking voice lessons, I'd probably do much more--as I mentioned in an earlier post, for many conductors, you are the primary voice teacher for your singers.

The post just before that got the largest number of comments. I responded to most of them there, so won't reproduce all of them (you can read them yourselves), but thought I'd reference solfege here, since I haven't spoken of it. I'm far from an expert in solfege, but because most of my current singers are from Texas and the UIL requirements are to read with moveable do solfege, I will sometimes have my choir either read or rehearse with solfege. In terms of intonation, solfege offers several advantages, among them: singable vowels and the singer learning where various scale degrees "belong" pitch-wise. Much as with count-singing, however, I tend to use occasionally as a tool, rather than as part of my regular teaching/rehearsal pattern. That has to do with my background and what, over the years, I've found works for me - it may be to my detriment!

Again, personal experience: I came to college not really reading, but having always learned by ear. I'd taken some piano lessons the summer before I started and knew note names and key signatures, but not to the point where it was automatic. I had to work really hard to catch up since I was so far behind the other singers and instrumentalists in my theory and sightsinging classes (by the way, Joan Conlon was my freshman year ear-training teacher). We learned with moveable do (although with do-re-me minor, not la-ti-do). This was very helpful for me initially, since it did give me a reference point for where pitches were in relation to Do. However, I never became truly quick and proficient with solfege (I later worked a bit on fixed-do solfege as well, after an experience with a teacher trained that way), so can't, for example, read with solfege syllables as fast as many of my students do (although I can read far better and more accurately than they can!). It's my experience that solfege (unless you're incredibly well trained) doesn't help much with really chromatic music of the 19th century or 20th/21st century music.

Basically I learned to read . . . by reading. I sang in virtually every grad student's recital (Bruce Browne was one of the DMA students at the UW at that time, for example) and simply got to the place where I had enough experience to just read. With some friends I also got together regularly to read madrigals (wine was also involved!). I believe strongly that one learns to read by reading - it's one of the reasons I'll almost always let my choir read the music we're doing, unless it's so difficult that's just not possible. I encourage them to read however it works best for them, given the difficulty of the music: complete with words, with solfege, on neutral syllables--whatever's easiest--and if they get lost, find their way and jump back in, not giving up. I want them to have that experience. I also encourage them to sing in a good church choir (around here, many of them can get a position as a paid section leader), which will force them to read and learn a lot of repertoire. If you know Nancy Telfer's sightreading series, I think she makes some excellent points about reading with text.

When I started doing more 20th century music, particularly after I became interested in Swedish music, I worked some with Lars Edlund's classic Modus novus, which is a great primer to reading non-tonal music. And as I conducted more and more such music, my score-study and preparation made me a much better musician and reader of this music. It really is all about experience.

Next, choral gesture as it relates to intonation: William Copper wrote a post with a great question: WHO adjusts pitch to tune a choir? I'd encourage you to read all of it and the responses. Eugene Lysinger responds with a comment about choral gesture, referencing the work of Rodney Eichenberger (yes, my first real conducting teacher and Eugene and I sang together with Rod some 40 years ago--and I sang in at least one of Eugene's grad recitals at the time). This is to the effect of gesture on intonation (and the way singers sing).

I certainly still use some of Rod's concepts, although I don't conduct as low as most of his students do. But I'm concerned with getting energy where it belongs (lower, where the breath comes from) and not giving tense, high gestures that can cause singers throat tension. It's not that singers can't ignore that, but it's harder than you'd think! Even experienced/professional singers will find it more difficult and young singers will almost invariably get tension where you don't want it and cause vocal and intonation problems.

I want my gesture to engender the breath flow that my singers need to sing well. It has to flow with the phrase. My sense is that gesture can be higher if there is no tension and it also depends on how close I am to my singers. My preference is NOT to be too close to the choir. That makes a huge difference. I don't want tension in my hand (thumb and forefinger pinched together, for example) or in my shoulders.

Eugene also references a technique of Rod's using the hand (of the singer!) to lift the soft palate. I use this all the time and with groups that are fairly experienced or absolute beginners. Easy to show, hard to say in words! I turn to my left, so the choir sees me from the side. With my right hand held next to my face (like a karate chop, with the side of my hand directly toward them), I'll ask the choir to do exactly as I do. The hand is first at a 45 degree angle and very flat/straight. I ask them to sing an ah on a given pitch. While they're singing I rotate my hand forward and curve to create an arch in my hand (they copy this, of course). I then go back and forth between the two hand positions. The difference in sound is remarkable, since any singer, regardless of training, will lift the soft palate as the hand mimics the position of the soft palate. It's physiologically impossible for them not to lift the soft palate. Once they've done this a few times, I can use my left hand in this manner to remind them, even in a performance, since it will remind them of the physical feeling of lifting the soft palate. This is one of the things I said early on was an important part of vocal technique to sing in tune. Try it if you haven't before! (Rod's video, What They See is What You Get, will give you lots of ideas about this topic and lots of things to try).

And finally, back to one of my original topics of just intonation: William Copper, as part of a series of comments here said, first quoting someone else, "This method becomes somewhat tricky when singing through the circle of 5ths are what was once your 5th scale degree (tuned higher), is now the root of the new key, so constant adjustments must be made."

William then followed this with, "It becomes VERY tricky VERY fast: you simply cannot sing many chord progressions in just intonation, period. As a very simple and ubiquitous example, the progression I vi ii V I in root position (triads in C major: C , a minor, d minor, G major, C major) is impossible to sing accurately. Not just difficult, impossible." He then offered: "I recently posted an illustrative video-score of a four-part a cappella piece, with a tuning graph for each voice on youtube, showing just how dramatically changeable tuning must be to keep both harmonic and melodic intonation pure. Contact me for the link if interested." www.hartenshield.com

I think he's dead on about the (in)ability for choirs to keep to just intonation all the time. And I don't try to do that, quite honestly. I also work primarily by ear and demonstration. I'm always concerned with: 1) working with the choir initially so they hear and can produce good unisons, fifths and pure thirds 2) working to get pure thirds at cadences (in passing harmonies I won't be as concerned) and 3) working to stay in tune (i.e. in a cappella music, not going either sharp or flat).

One of the things one has to deal with, given pure thirds and trying to stay at the same pitch, is how to accomodate both. Oversimplifying, barbershoppers want the lead (melody) to sing in tune with the (equal-tempered) piano--then the harmony parts must sing pure intervals from the lead, no matter whether it's on the root, third or fifth. The other way to do this is to keep the roots of the chords in tune (i.e. with the equal-tempered piano) and tune purely around that. That's what I'm more likely to do.

If you know Bruckner's Os justi (or can look at a copy from cpdl), we can use the opening as an example. It opens with an F major chord, 3rd in the soprano. I want that chord tuned purely (so will avoid giving the chord on the piano, but teach the choir how to tune "justly" from just the F)--the A will be lower than on the piano. Next the bass sings a passing tone E to D, where the chord switches to d minor. In this case, I want my basses to sing a fairly high E-natural and a D that matches the piano (it's easy to sing too wide a half step from F to E, so the D is flat--it's also a question of vowel--from the ee of justi to the eh of meditabitur the basses must concentrate on a forward eh vowel, not too far from the ee). That means the soprano A to D has to be a fraction higher to make sure the lower pitch of the A (3rd of F major) to the D that will match the basses's tempered D. In the fifth bar there's a G major chord with the 3rd in the soprano (slightly lower), but in the next bar the same B is the fifth of an e minor chord (and perhaps a fraction higher). Note that I'm not telling them to sing X cents higher, but pointing out what needs to be higher or lower, getting them to listen carefully and place the notes accordingly (I may need to demonstrate as well where the notes belong). Having "anchor" chords which must be tuned justly is part of what I figure out when learning the piece. William mentioned in a previous comment about the need to sing sometimes with equally tempered intonation, and that's absolutely true. You have to figure that out by the accompaniment (you can't retune the piano or organ, although strings, winds and brass can all play with just intonation) and by the style. If a composer clearly thinks in equal temperament, sometimes just intonation simply doesn't work (William gives a good example).

This may sound complicated, but it's really a matter of getting the basses to sing their line absolutely in tune with the piano, but the parts above to listen carefully and tune to it (it's one of the reasons why, if my choir is in sections, the basses are most often behind the sopranos--it makes it easier for the sopranos to tune if they hear the bass part, which often has the roots). IF they've learned what nice just major and minor chords sound like, it's not as difficult as it may seem. Of course, to do this well, they have to have all the basics down and be able to sing this with very little vibrato so the chords tune. Again, I'm not attempting to tune every single chord with just intonation, but listen for those places where it makes a difference, and particularly at cadences.

Do the basses always stick with the piano? No. In Lauridsen's O Nata Lux the opening chord is a D major 9th with the basses and sopranos on the 3rd. Here, I give a D, but want the basses and sopranos to sing a pure third (lower than the piano). In order to keep the piece in tune I may play single note pedals (usually above the soprano part, where it's more easily heard) that usually (not always) correspond to the roots of chords.

Once again, this has gone on longer than I thought!

I'll post at least one more time and address a few more issues. If you have any final questions, ask them in the comments section or send a private message.

O Holy Night Concert Closer

Steve McBride — %am, %05 %b %2013 %02:%Jun:%th 2JunGMT+0000

Im looking for suggestions for an arrangment of O Holy Night that has a big ending - something to make an audience jump to their feet

Part time Choral/Vocal music teaching positions

Keri Butkevich — %am, %05 %b %2013 %02:%Jun:%th 2JunGMT+0000

OAKLAND YOUTH CHORUS
www.oaklandyouthchorus.org
JOB DESCRIPTION

School Choral Music teachers sought for 2013-14 school year

About OYC

Oakland Youth Chorus provides a multi-cultural music education and performance program for children and youth, fostering talent, confidence, and community. Since 1974, OYC has served the Oakland community with quality choral instruction and music education that celebrates the diversity of the region, promoting cultural connections and understanding while pursuing musical excellence. Oakland Youth Chorus provides developmentally appropriate, sequential, comprehensive instruction for singers aged 5-25, starting with our elementary school and All--City Miracle Chorus programs, and moving into our school based Middle School Choruses and All-City, award-winning, auditioned choirs for middle and high school youth. (Concert Chorus, and Chamber Singers).

Position Summary

OYC seeks part time choral instructors for fall 2013 openings in Oakland and Alameda. Chorus Teachers report to the Artistic/Education Director and work closely with students, on-site personnel, and other staff, teaching the fundamentals of vocal and choral music to elementary children in various after school programs. Our programs connect with world cultures, focus on musical skills development in alignment with the CA State Standards for Music Education, and support student learning across disciplines.

We seek teachers with strong vocal and piano training and pedagogical backgrounds. One position will include middle school instruction and possible accompanying of the Concert Chorus. The other position will be focused on elementary students grades K-5, with a primary focus on K-3. Successful candidates will have a history of developing successful new programs as part of an arts organization and recruitment for elective classes.

JOB DUTIES

• Teach vocal and choral music using OYC's multicultural model to elementary-aged children
• Develop and implement curriculum based upon OYC/State standards
• Teach music from a variety of cultures aligned with OYC curriculum
• Attend regular staff meetings, retreats, and trainings as required
• Build relationships with Principals, parents and students through participation in on-site performances and events
• Participate in all production meetings leading up to annual all-OYC concerts in December and May
• Prepare students to participate in school and OYC concerts and events
• Attend OYC concerts, monitoring elementary children during performance
• Disseminate and administer evaluation tools
• Complete time sheets and other administrative paperwork in a timely fashion
• Implement student attendance sheet procedures

Qualifications

➢ Experience developing lesson plans for music classes
➢ Demonstrated ability to teach music to young children (K-5) and middle school children (6-8)
➢ Knowledge and appreciation of music from a variety of cultures
➢ Strong classroom management and student engagement in various settings
➢ Bilingual in Spanish a plus
➢ Demonstrated commitment to working with diverse groups of youth and adults.
➢ Passion for OYC's mission and the services we provide.
➢ A high degree of commitment to artistic and educational excellence
➢ Degree in music or music education with a choral background preferred
➢ One position may require a valid CA teaching credential
➢ Certification in Kodaly, Orff and/or other music education methodologies preferred, willing to incorporate them with OYC training necessary.
➢ Reliable transportation to school sites.

How to Apply

Interested applicants should email cover letter, resume, and three references to employment@oaklandyouthchorus.org. No phone calls please.

Compensation commensurate with experience.

Oakland Youth Chorus is an equal opportunity employer. We do not discriminate based on race, color, creed, gender, religion, sexual orientation, marital status, gender identity and expression, domestic partner status, age, national origin or ancestry, physical or mental disability, medical condition, veteran status, or any other unlawful consideration. We encourage people of color and LGBTQIQ people to apply.

Choir Robes

David Leu — %pm, %04 %b %2013 %21:%Jun:%th 21JunGMT+0000

Tan Choir Robes - Stoles/Collars (Two Shades Of Blue)
87 Robes - 2 with Cuffs

Choir robe info:
Extra long 5
Long 13
Medium 20
Med. Long 20
Short 29

Total of 87

$700.00 for all the Robes and Stoles - Buyers pay for shipping

Vocal Arts Ensemble concert at Duke University Chapel (NC)

Rodney Wynkoop — %pm, %04 %b %2013 %21:%Jun:%th 21JunGMT+0000

Colleagues,

The 33 singers of the Vocal Arts Ensemble of Durham will perform the world premiere of a new work by Dan Locklair, Eriks Esenvalds' "Northern Lights," Mantyjarvi's "Psalm 150 in Grandsire Triples," Herbert Howells' "Take him, earth, for cherishing," and a variety of other mostly a cappella works written in the last 75 years. The concert is entitled "There Will Be Rest," taken from Dale Warland's composition of the same name.

Sunday, June 9, at 4 pm in Duke Chapel in Durham NC. Tickets are $10, available at the University Box Office, tickets.duke.edu or 919-684-4444.

Here's the program with a few notes about each piece:

Stephen Chatman - Dryads’ bells

sung bell sounds by this Canadian composer, written in 1999

Dan Locklair - Bond and Free

world premiere of NC composer Dan Locklair’s 2012 setting of a Robert Frost poem that explores two sides of life: the intellectual and the emotional

James MacMillan -A Child's Prayer

written by Scottish composer James MacMillan to honor the victims of the 1996 killing at the Dunblane Primary School, which took the lives of 16 children and one adult; performed in this concert to honor the victims of the killing at Sandy Hook Elementary School in December

Steven Sametz - On the death of a friend

2003 composition, with a text from a sermon prior to 1910 burial of King Edward VII

Francis Poulenc - Vinea mea electa

one of French composer Poulenc’s 4 Lenten motets from 1939; based on Isaiah and Jeremiah texts about a beloved vine that has turned bitter

Herbert Howells -Take him, earth, for cherishing

massive and powerful work written in memory of President John F. Kennedy; performed in this concert to mark the 50th anniversary of his 1963 assassination

Ned Rorem - Lift up your heads

written for Ascension Day in 1963, in memory of composer Francis Poulenc

Dale Warland - There will be rest

a Sara Teasdale poem, in a choral setting with harp and flute, composed for the Dale Warland Singers in 2003

Dan Forrest - Amen

8-voice final movement from SC composer Dan Forrest’s Words of Paradise, 2007

Eriks Esenvalds - Northern Lights

2012 composition by this Latvian composer; including a Latvian folk song and the words of two Arctic explorers who encountered the wondrous sight of the Northern lights [in 1859]; with tuned water glasses and chimes

Arvo Part - Nunc dimittis

highly expressive 2001 setting by this beloved Estonian minimalist composer; “Lord, now lettest thou thy servant depart in peace”

Jaako Mantyjarvi - Psalm 150 in Grandsire Triples

this Finnish composer’s 1999 piece that includes sung bell patterns in the specific change-ringing style called Grandsire Triples

Choral music scores for sale from Toronto Mendelssohn Choir's extensive library

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Choral Music Sale

Bach - Brahms - Halley - Holman - MacMillan - Mozart - Rachmaninoff - Rutter

Schafer - Vaughn Williams - Verdi - Watson Henderson - Willan - and more!

The Toronto Mendelssohn Choir has been singing since 1894 - and that means collecting music for over 100 years! We recently conducted a thorough review of our music collections in preparation for a move to our new office space. Through this review we identified a number of works that are no longer relevant to TMC performances, or for which we have more copies than we need. This list includes works for adult and youth choirs.

During June we will be selling a number of works to interested choral organizations across North America. Details of the sale and the catalogue of works is posted on our website.

Toronto area choral directors are invited to visit the TMC Library during the month of June to view the collection and purchase scores. Conductors should contact TMC Librarian Lorraine Spragg by email at library@tmchoir.org to set up an appointment. The Library is located in Roy Thomson Hall, 60 Simcoe Street, on the level just below the RTH Box Office. Purchase can be made by cheque or credit card on a "pay and pick up" basis. First come first served. Purchasers must come with their own boxes or bags for the music they buy; we do not have containers for the music that is to be sold.

Choral directors from outside of Toronto can contact TMC Librarian Lorraine Spragg at library@tmchoir.org. Purchasers will be responsible for the cost of shipping.

You can download the sale catalogue PDF here: http://www.tmchoir.org/about/choral-music-catalogue.cfm

The TMC will continue to maintain an extensive library of choral works for TMC use and for rental to choral organizations across North America.

San Gabriel Valley Students to be Awarded Alexander Ruggieri Memorial Music Scholarships

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SAN GABRIEL VALLEY CHORAL COMPANY

Zanaida Robles, Artistic Director

Monrovia, CA

San Gabriel Valley Students to be Awarded Alexander Ruggieri Memorial Music Scholarships

The San Gabriel Valley Choral Company will be awarding scholarships to two local musicians at their June concerts. This award was established this season to honor the SGVCC’s previous artistic director, Alexander Ruggieri, who contributed so much to Southern California’s musical culture before his passing last summer.

The $250 scholarship for composition will be awarded to Belinda Huang, a Glen A. Wilson High School senior who will be attending the Berklee College of Music next fall. Ms. Huang, who sings and plays piano and guitar, began composing at the age of 14 and her dream is “to create beautiful art that lives and breathes hope, inspiration, and joy into others.” She plans to study music as well as learn to be a producer/engineer in a studio. Ms. Huang would also like to become a music teacher someday as well as continuing to perform and sing. She has studied with Scott Wolf of USC and Cleora Leist of UC Santa Barbara. Ms. Huang will be performing her award-winning composition, “Running,” at the SGVCC’s June 8 concert in Monrovia.

The $250 scholarship for vocal performance will be awarded June 15 to Alyssa Ramirez, a Mount San Antonio College student majoring in vocal performance. She aspires to be an opera singer and dreams of performing with the Metropolitan Opera or other major opera someday. Her love for opera is so great, she cannot see herself doing anything else as a career. Ms. Ramirez has studied music and voice for many years to prepare for her career. Her vocal instructors have included Catherine Ireland of the LA Opera and Aram Barsamian of Mt. San Antonio College. Ms. Ramirez will be performing "Porgi Amor" from Le Nozze di Figaro by Mozart at the SGVCC’s June 15 concert in Pasadena.

The SGVCC program that the scholarship winners will be joining is entitled, “Tell It! A Celebration of America’s Folk Music Heritage.” Complete with soloists and instrumentalists, this rousing concert features folk songs, spirituals, and American classics by Aaron Copland, Stephen Foster, and more. Tickets are now available at the cost of $9 to $15 for two performances: June 8 at 6:15 p.m. at First Presbyterian Church of Monrovia and June 15 at 5:00 p.m. at All Saints Church in Pasadena. More information can be found at www.choralcompany.org or by calling 626-579-2433.

Alexander Ruggieri (1952-2012) shared his many gifts with the San Gabriel Valley Choral Company as Artistic Director in 2011 and 2012. Though his time with the SGVCC was short, Alex’s impact on its program was profound. The SGVCC honors his memory and his love of music with the Alexander Ruggieri Memorial Scholarship. It is their intention to offer this scholarship annually, that his legacy live on through the continued music education of young people.

Alex Ruggieri was a man of talent, passion and presence. With a keen mind, a sincere and abiding love of great music, and a booming bass voice, he was an imposing figure that housed sharp wit and a kind heart. He was well-known in Southern California and well beyond, as his tenacity and deep knowledge of choral repertoire made him a sought-after conductor, coach and author. An award-winning composer, Alex was a man of many diverse passions, reading extensively and fostering interests in film, literature, science, history, sports and travel, as well as the performing arts.1

Mr. Ruggieri passed away in July 2012, after a two-year battle with pancreatic cancer. During his life, he was an incredible conductor of both choral and instrumental ensembles, with degrees from the University of Southern California and Wayne State University (Detroit). He studied with such noted teachers as Charles Hirt, Valter Poole, Gustav Meier, Hans Beer and Helmuth Rilling.

Mr. Ruggieri was the Music Director of the famed Gilbert and Sullivan repertory company Opera A La Carte, as well as Music Director of the 32-year old University Campus Choir in Westwood and the San Gabriel Valley Choral Company. For five years he was the Artistic Director of the Los Angeles Bach Festival and for seventeen years he was Artistic Director of the Cambridge Singers in Pasadena. He frequently did Russian language coaching for, and occasionally sang with, the Los Angeles Master Chorale. He conducted numerous church choirs in the Los Angeles area, Wichita Falls, TX, and Detroit, MI, over his extensive career.

Mr. Ruggieri was involved with the music of the Eastern Orthodox Church for over 40 years. He began his career as director of the choir at Holy Virgin Mary Russian Orthodox Cathedral in Silverlake, where he sang with his sister, Irene, as a teenager. At age 24, after founding the Orthodox Concert Choir of Los Angeles, he directed the ensemble in the west-coast premiere performance of Rachmaninoff's All Night Vigil. A subsequent recording of the work, on VOX-Turnabout records, has been the only performance of this work in the composer-sanctioned English edition in the catalogue.

Mr. Ruggieri was one of 12 choral music experts from around the world, working under the guidance of renowned cellist Mstislav Rostropovich and musicologist Dr. Vladimir Morosan, to compile the most important liturgical music written over the last 1,000 years. The first volume of Monuments of Russian Church Music was published by Musica Russica in 1991. He subsequently co-edited the volume on Rachmaninoff's All Night Vigil, and continued to edit and perform lesser-known music from Russia and Eastern Europe.

Mr. Ruggieri’s composition, Madrigals, was awarded first prize in the South Bay Master Chorale’s National Composition Competition in 1998. In 1995, he appeared along with his ensemble, The Cambridge Singers, and the Mormon Tabernacle Choir on the nationally broadcast program Music and the Spoken Word.

Alex’s other interests included classic movies, old-time radio, dance band and swing music from the early 20th century, traveling, racquetball, NPR, museums, astronomy, theater and reading biographies and histories. He loved to discuss religion, politics and music history. He shared the last eight years of his life with Jamie Martin in Pasadena, CA, hosting annual Christmas caroling parties, visiting family, and hiking around Eureka and other parts of the northern California coastline. He is sorely missed by his family and all the people he influenced and loved.

Excerpt from Laurie’s List

Boulder Children's Preparatory Chorale Director

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The Boulder Chorale seeks qualified candidates for the position of Preparatory Choir Director of the Boulder Children’s Chorale. The Preparatory Choir Director will teach, rehearse, and conduct the Prep 1 (grades 1-3) and Prep 2 (grades 3-5) ensembles. The Preparatory Choir Director will work in partnership with the Director of the Children’s Chorale and to a lesser extent the Artistic Director of the Boulder Chorale.

Qualifications:

Bachelor’s Degree in Chorale Conducting of Music Education, and/or significant experience in childhood music education.
Passion for working with children, and strong belief in and understanding of the benefits of performance-based music education.
Ability to work in collaboration with the Children’s Chorale Director and other music staff to develop the vision for the Children’s Chorale including repertoire, programming, and season planning.

Salary: $30/hr, approximately 32 rehearsals per year. No summer commitment.

Rehearsals: Thursday afternoons from 4:15-6:00, Atonement Lutheran Church at 685 Inca Pkwy. in Boulder. An accompanist will be provided for rehearsals and concerts.

Submit a resume and cover letter (no supporting materials at this time) by June 12, 2013 to:

Boulder Chorale

685 Inca Parkway

Boulder, CO 80303

or electronically to:

boulderchorale@yahoo.com

For more information about the Boulder Chorale ensembles, visit www.boulderchorale.org.

Choral Director:JH & 6th Grade

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Choral Director needed for JH & 6th Grade Choirs. 3 classes at each campus. 4A/3C district in beautiful East Texas.

E-mail Amy McMichael at mcmichaela@whitehouseisd.org

Composition review at Shawnee?

Tony Chau — %pm, %04 %b %2013 %16:%Jun:%th 16JunGMT+0000

Hello, good fellows,

I wanted to discuss one point mentioned in my profile. Back in early April or late March, I submitted a choral composition at Shawnee Press for review. Ms. Noelle Chave, who answered my telephone calls and e-mails, informed me that it will be approximately one month's time before the artistic director will finish reviewing it and respond back. it's now a little more than 2 months later, and I haven't received an e-mail from him (the artistic director). For Shawnee, does that mean the work has been decline? Or will the director respond regardless? If anyone has any information in regards to this, please let me know.

Thanks ever so greatly!

Regards,

Tony

Monteverdi "Lagrime d'amante" this Saturday - Newton, NJ

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ZEPHYR VOCAL ENSEMBLE presents concert entitled Love's Agonies and Ecstasies. A concert exploring many kinds of love in many of their various facets and faces - romantic love, familial love, love of God, love of country, etc.

This Saturday, June 8th @ 7pm, Newton United Methodist Church, 111 Ryerson Ave., Newton, NJ

On the program:

* Billings: I Am the Rose of Sharon

* Monteverdi: Lagrime d'amante al' sepolcro dell'amate (The Grief of a Lover At the Tomb of the Beloved - a beautiful, poignant 6-movement work)

* P.D.Q. Bach: My Bonnie Lass, She Smelleth

* Debussy: Dieu, qu'il la fait bon regarder

* trad. Irish/arr. Trinkley: I'd Wed If I Were Not Too Young

* Gjeilo: Ubi caritas

* Sousa/arr. Gingrich: Stars and Stripes Forever

* Sherwin/Maschwitz: A Nightingale Sang in Berkeley Square

* Bernie, Casey, Pinkard/arr. Waesche: Sweet Georgia Brown (barbershop)

* Hamlisch/arr. Shaw: Through the Eyes of Love

* Brown & Freed/arr. Greene: Temptation (an a cappella jazz duet)

* trad. Irish/arr. Lawson: Danny Boy

* Mercury/arr. Sharon: Crazy Little Thing Called Love

* Adele & Wilson/arr. Hodge: Someone Like You

* Holland, Dozier, & Holladn/arr. Hayes: How Sweet It Is To Be Loved By You

* Schoenberg/arr. Lawson: On My Own, from Les Misérables

* Daglisch/arr. Barnett: My Little Potato

* Gershwin/arr. Meader: Love Is Here to Stay

Pre-concert lecture included with ticket, 6:15pm.

(973) 400-ZEPH (9374) for more information

Tickets:

$20 reg./$10 seniors (65+) & teens/$5 children/FREE to unemployed AND THEIR IMMEDIATE FAMILY at the door

$15 reg./$9 seniors & teens/FREE to children and unemployed (AND the immediate family of the unemployed) when purchased online (online ticket sales close at 9pm Friday evening, June 7th

http://www.zephyrve.org/calendar to purchase online in advance

Also, André's Restaurant and Wine Boutique is again offering a wonderful joint-promotion with us for the evening. For $39, you can receive an award-winning 3-course dinner before the show. André's, at 188 Spring St. in Newton, will offer its award-winning prix fixe dinner, 3 courses for $39 at 5pm. Dinner reservations must be made in advance at (973) 300-4192, Zephyr tickets must be purchased in advance, and the resulting emailed confirmation response from Zephyr (or ticket) be brought into the restaurant. Zephyr is excited to collaborate with André's Restaurant to bring you a complete evening of multisensory delights! Andre's is rated by Zagat as a Best New Jersey Best Buy specifically for its prix fixe dinner: http://www.zagat.com/lists/best-best-buys-prix-fixe-dinner-new-jersey-restaurants and was an OpenTable.com Diners' Choice Winner 2012.

Angelus: Sacred Music for Women's Voices in the Carolinas

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Angelus will travel to North and South Carolina from July 14-21, 2013 presenting concerts in Boone, Spartanburg, Simpsonville, Columbia, Pawleys Island and Charleston.

Whether the stark beauty of an 11th century chant, the rich harmonic language of a contemporary Irish work or the rusticism of a Sacred Harp tune, Angelus finds its voice in the wide range of sacred works it performs. Completely unique among American high school ensembles, Angelus is dedicated to the performance of sacred music of varied religious traditions and historical periods. Angelus is comprised of six young women who perform music ranging from medieval chant and polyphony to the American Sacred Harp tradition as well as contemporary American and Irish works.

Concerts are slated for July 15, 7:00 at St. Luke’s Episcopal Church (Boone, NC), July 16, 7:00 at St. Christopher’s Episcopal Church (Spartanburg), July 17 Anglican Church of St. George the Martyr (Simpsonville), July 18, 7:00 at St. Timothy’s Episcopal (Columbia), July 19, 7:00 at Holy Cross Faith Memorial Episcopal Church (Pawleys Island) and July 21, 3:00 at Church of the Holy Communion (Charleston).

For information, please contact Dana Taylor at 812-455-9763 or via email at dwt@insightbb.com.

Angelus has appeared in concert in cathedrals and churches in Chicago, Cincinnati, Dallas, Ft. Worth, Indianapolis, New York, San Francisco and St. Louis as well as churches throughout the Midwest. Their recordings have been featured on “Celtic Connections” on National Public Radio and in Europe on the Dutch program, “Song from Ireland”.

All concerts are free and open to the public. A free will offering will be received and the ensembles CD’s will be available for purchase.

ASLEEP, O SLEEP

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Original acapella setting of John Keats' poem for SSAATTBB choir, this is a challenging title from Raycreations Music for university or advanced high school choirs with lines and harmonies reminiscent of Lauridsen or Whitaker. Email John Ray at raycreation@juno.com for free sample and mp3 of a choral performance of the work's premiere.

MERRY CHRISTMAS, BABY

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Original acapella vocal jazz secular Christmas title, MERRY CHRISTMAS BABY, from Raycreations Music. Male and/or female solos. Optional bells, triangle, vibra-slap. Enjoyable and accessible. Email John Ray at raycreation@juno.com for free sample and midi mp3.

DIG THE PIG

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New novelty acapella vocal jazz title from Raycreations Music, DIG THE PIG is about the love of bacon. Fun and easily accessible, would make a nice addition to a choral program. Email me, John Ray, for a sample copy and midi mp3. raycreation@juno.com

Clarification for the Elllingboe "Star Song" Tour

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For the Ellingboe European Premiere of "Star Song" Tour there has been some confusion concerning payments and late fees. The $20 late fee does not affect the first payment. That late fee only affects people who have already registered and are late with the following payments. You are able to register at any time.

We apologize for this confusion and hope that you will join us for the tour!

2013 MassACDA Summer Conference adds new session: Tips for Working with an Orchestra

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A new session has been added to the Massachusetts ACDA 2013 Summer Conference, July 24-26 at Hamshire College, Amherst, MA. Michael Mucci, legendary leader of instrumental music at Longmeadow HS, retiring after 30+ years, will offer "Tips for Working with an Orchestra." Michael says he's not a singer, but he uses many familiar choral/vocal techniques in his rehearsals, such as tuning to Bach chorales and occasionally even asking his players to actually sing! Other "homegrown" interest sessions include "Choral Music in Film" (Brad Wells), "Britten's Music for Children" (Joshua Nannestad & Marie Stultz), "Starting a HS Choral Program from Scratch" (Kayla Werlin), "Provocative Programming" (Jamie Kirsch), "Vocal Health for Choral Teachers" (Chandler Thompson), and "Teaching Rhythmic Literacy: Takadimi" (Mike Driscoll). Headliner clinicians are Dr. Joe Miller (Westminster Choir College of Rider University) and eurythmics specialist Lisa Parker (Longy School of Bard College). Affordable housing and graduate credit through UMass, free PDPs. Early bird registration rates apply until June 7. Non-Massachusetts registrants are most welcome! To register:www.massacda.org

Needed: Choir Risers

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Our Small Christian School is in need of Risers (Used) for our newly formed choir. It is a small choir and we wouldn't need very many.

We are willing to come pick them up (if in Central Florida area)

Thanks so much!

Jubilate! Sacred Singers, in Boulder, CO auditioning new members

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Located in Boulder, CO, the Jubilate! Sacred Singers, a mixed, a capella choir in its 11th year, is auditioning new members. All sections welcomed.

The choir has had 5 national tours including perfroming at Carnegy Hall, performed major choral works such as Faure's Requiem and Haydn's Creation, and in future months will be presenting its 11th CD

If you love to sing and you want to join a group of committed performers who love choral music, this is the group for you

For more information call 720-935-8115

or e-mail bruce.rose@comecast.net

The Power of Singing

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During the crush of the academic year we are pulled in more directions than is perhaps healthy. Too many things compete for our limited attention, time, and resources. Some are necessary. Some are worthwhile. While others are neither.

As choral conductors and lovers of the choral art, we should turn aside from the noise during these precious summer moments to reflect on the incredible power that exists within our rich and historic musical tradition. Take three minutes and twelve seconds to be reminded of choral music's value to those who sing.

Nova Vocal Ensemble Seeks Singers

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Nova Vocal Ensemble is holding auditions on Sunday, June 16, in Glendale. Further auditions will be held on Sundays in August. Time slots for all auditions run from 12:30 to 1:45, usually at 10 to 15 minutes each.

Nova is a semi-professional chamber chorus dedicated to the art of small ensemble singing. The group has performed in various venues in Los Angeles, from the San Fernando Mission to the Echoplex. Members volunteer their time, though paid gigs do come up on occasion, such as weddings, Christmas caroling, and other unique ventures.

The repertoire is challenging and varied. This season, we will explore the a cappella choral music of Benjamin Britten, whose centennial will be celebrated by the music community in November 2013. All the music for this season will focus on flowers, with some of the most cutting edge contemporary voices in choral music being represented, as well as old choral favorites. If you enjoy singing everything from Purcell and Bruckner to Ives and Arvo Part, this choir is for you.

Singers should have singing experience, a strong interest in the choral art, superb musicality, and enough enthusiasm to be able to commit to a weekly two-hour rehearsal. Sight singing skills are EXTREMELY helpful.

The choir is a great opportunity to get your feet wet in the Los Angeles choral scene. Solos are taken from the choir, and concerts are held all over the Los Angeles area.

Rehearsals are at 1:45 pm on Sundays in Glendale, with one extra rehearsal a month and a retreat every concert cycle. There are NO DUES to join.

Concerts are generally held on Sunday evenings. There will be one in November, one in December, and one in June.

If you are interested, please respond to this posting with a time preference. You must make an appointment before auditioning.

Visit www.novavocalensemble.org for more details.

Volunteer Singers Welcome for Novum Voce

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"British Music Madness" Concert on 7-28-13" (A concert of British Rock ‘n’ Roll and Pop music)

If you would like to be part of the fun this summer or know a youth or adult who wants to be a part of the

chorale for this fast-paced, furious, fantastic offering, then come and join Novum Voce onThursday evenings from 7–8pm for weekly rehearsals beginning June 6. In addition, there will be an extra workshop and a few sectional rehearsals to prepare for the performance.

No auditions are required to join the group; however, it is important to have a musical foundation. Sight-reading ability is also helpful. New singers are welcome to join any time during the month of June.

For more information about singing in this summer’s concert, contact Tony Chunn at 805-498-4502, ext. 12, or email him at novumvoce@hotmail.com

Fabulous concerts at the Melbourne International Singers Festival (7-10 June)

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Melbourne International Singers Festival 7-10 June offers a broad range of cabaret, music theatre, gospel, pop, a cappella, choral, classical and contemporary styles which makes this Australia’s most dynamic Festival for singers and choirs.

The world premiere screening of Beyond Hard Knocks will open the inaugural Melbourne International Singers Festival on Friday 7 June 2013. The Beyond Hard Knocks documentary is a fitting way to set the scene for the Festival as it demonstrates how music can transform lives and build confidence.

Book NOW for our fabulous concerts and the Beyond Hard Knocks documentary screening….

Beyond Hard Knocks - Where are they now documentary reveals the amazing and inspiring journey of the Choir of Hard Knocks - Fri 7.30; Sat 6.30; Sun 1.00 & 2.30, The Deakin Edge

Faure Requiem - Sat 5pm, St Paul's Cathedral

Gospel Spectacular – with Melbourne Mass Gospel Choir, South of the River, Tracey Miller’s Trailer Trash Choir and Sweet Mona’s Choir - Sat 8pm, The Deakin Edge

Exploring Wagner, Brahms & Massenet - Sun 1pm, Melbourne Recital Centre

The Idea of North & THECHO!R - Sun 8pm, Melbourne Recital Centre

Festival Showcase Finale Concert – featuring Dr William & Dr Rosephanye Powell and Gospel Festival Chorus, Adam Przewlocki and Glee Festival Chorus, Dr Kathleen McGuire and Only Women Aloud, Dr Jonathon Welch, THECHO!R, Sydney Street Choir - Monday 2.30pm, The Deakin Edge

All proceeds from the Festival will fund the School of Hard Knocks Institute’s arts, cultural and wellbeing programs for disadvantaged Australians - www.singersfestival.org

Brahms' "Liebeslieder Waltzes," June 8th, UCLA

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UCLA Chamber Singers and Elysium Quintet

Graduate Conductors: Alexander Blake, Han Na Jang, Younghae Kim & David W. Lee

Saturday, June 8, 2013 8pm

Schoenberg Hall, UCLA

Tickets: $12; $5 UCLA faculty & staff, all students (with school ID)

The UCLA Chamber Singers will perform Brahms' Liebeslieder Waltzes (Lovesong Waltzes). The Elysium Quintet will be opening the concert with the Piano Quintet in F minor.

Poster created by May Claire La Plante, the Publicity Chair for UCLA's Student Chapter of the American Choral Directors Association

Conducting Position Opens:Workshop w/Carrington, Falinska & O'Connell

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SARTEANO CHAMBER CHORAL CONDUCTING WORKSHOP w/SIMON CARRINGTON, BRONISLAWA FALINSKA and BRIAN O'CONNELL

27 July - 3 August 2013
Sarteano (Tuscany), Italy

Well...we got the bass, and now, we have had a last second cancellation for a Conducting Auditor – tenor only, please. Conducting Auditors will have an assigned time to conduct the ensemble in the morning sessions, and are also scheduled for a private filmed conducting session with Simon. Also, over the course of the week, two Conducting Auditor's are also chosen to rehearse the ensemble and conduct a piece in the final concert from the Conducting Auditor's morning repertoire.

Our workshop is geared to choral musicians with strong vocal ability that have interest in rehearsing and performing unaccompanied chamber choral music. The ensemble is made from the participants – everyone sings. Our goal is to develop rehearsal technique through listening skills development, ensemble building though effective verbal and non-verbal communication and group dynamic skills.

This will be the ninth consecutive year that Simon, Broni and I have worked together in enchanting Sarteano. Conductors from all over the globe have come to share this unforgettable experience.

Up to two graduate credits are available through The Boston Conservatory.

For a detailed description of the workshop and an online application form, please visit our website at http://www.sarteanochoralworkshop.com

Contact: Gail Leicher + 1 781.652.0158

Choral Teacher - Middle and Upper School

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The Waterford School

Opening for a Middle and Upper School Choir Teacher

The Waterford School, a pre-K – 12 day school enrolling 1,000 students in suburban Salt Lake City, seeks a Choir Teacher to teach a Middle School boys’ choir class, and to direct and teach three Upper School choir ensembles -- a larger group called the Waterford Singers and two smaller, auditioned groups called Women’s Ensemble and Troubadours. Waterford offers a broad, college-preparatory liberal arts program that emphasizes the fine and performing arts in conjunction with the traditional academic disciplines.

The ideal candidate would be well trained in choral music performance. A degree in Music Education would be preferred. Essential qualities include the ability to develop a healthy rapport with students age 12-18 and the energy to manage the demands of curriculum planning, teaching, and parent communications. The position would require 14 teaching hours per week, and would be considered ¾-time with full benefits.

The Waterford campus is set on 43 acres at the foot of the Utah’s Wasatch Mountains, one of North America’s premier outdoor and recreational areas. The school offers an outstanding working environment. The atmosphere is collegial; both families and faculty show a genuine commitment to learning. Benefits include medical, dental, 403(b).

For more information about the school, please go to www.waterfordschool.org.

Qualified candidates should forward a résumé and letter of interest by email to:

Lee Bromley

Assistant to the Head

The Waterford School

1480 East 9400 South

Organist Position - part time

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Organist Position – part time

Holy Trinity Episcopal Church

25 East Walnut Street

Oxford, Ohio 45056

Holy Trinity is a 250 member church located a block from Miami University in uptown Oxford, Ohio. Holy Trinity seeks to be a welcoming congregation offering spiritual sanctuary to all, regardless of race, ethnicity, gender, sexual orientation, age, ability, or socio-economic class; and to all persons who have felt marginalized in any way. We recognize each individual as a unique child of God. Music plays a significant role in the worship life of the church. We are especially grateful for our 20-25 member volunteer choir under the leadership of William Bausano, Professor of Music at Miami University. The organ is a two-manual, thirteen-rank Wicks instrument that was built in the early 1950's when the church was built. Modifications include a solid-state electrical system, a slightly altered stop-list, and a 16' Trompette added to the Pedal. There are four general pistons and four pistons for each of the three divisions. There is also a 1913 Steinway-A piano in the chancel.

Qualifications:

Successful employment experience as organist

Degree(s) in music preferred but not required

Duties:

Provide music for 10:30am Sunday worship service, including prelude, postlude, hymns, service music accompaniment, choir accompaniment.

Accompany adult choir rehearsals on Thursday evenings, 7:30-8:30pm, September through May.

Rehearse and accompany soloists.

Provide music for special services (e.g. Advent Lessons and Carols, Christmas Eve, Ash Wednesday, Holy Week, etc.) and other special services or concerts.

Oversee the tuning and maintenance of the organ and pianos.

Compensation:

This is a part-time position (12-15 hours a week.). Compensation will be based on education and experience.

Starting date:

September 1, 2013

Application process:

Send cover letter, resume, and contact information for two references to

William Bausano at bausanwp@miamioh.edu, or to

Holy Trinity Episcopal Church, 25 East Walnut Street, Oxford, OH 45056.

Interviews will take place during July, 2013.

For further information contact:

Karen Burnard, rector htrector@gmail.com or

William Bausano, choir director bausanwp@miamioh.edu

What, if anything, can be programmed with "Carmina Burana"

Randi Von Ellefson — %pm, %03 %b %2013 %21:%Jun:%rd 21JunGMT+0000

Hello Friends,

Next October, Canterbury Choral Society opens its concert season with Orff's "Carmina Burana." I have wondered if any of you have programmed another work on the same concert that would precede "Carmina"? I would be interested in your ideas or if you think the Orff should stand alone.

Many thanks, Randi Von Ellefson

rvonellefson(a)okcu.edu

Where to post ad for Artistic Director?

Sarah Hager Johnston — %pm, %03 %b %2013 %20:%Jun:%rd 20JunGMT+0000

Hello,

I am looking for suggestions on where to post an advertisement for Artistic Director for an adult professional choral ensemble. In addition to the obvious (ChoralNet, ChorusAmerica and Voice, ACDA and its chapters, AGO and its chapters), what other choral organizations/sites can you suggest? I am interested in reaching a national audience of experienced choral directors.

I am aware of this list http://www.choralnet.org/list/resource/1861

and this list http://www.choralnet.org/list/resource/1883

and this list http://www.choralnet.org/list/resource/1892

Can you suggest other resources that might not be listed therein?

As an aside, I note that on ChoralNet, job postings for choral conductors are posted both in the "Conductors" list http://www.choralnet.org/list/classified/1947 and in the "Choral-related" list: http://www.choralnet.org/list/classified/1950.

Thank you very much.

Sarah Johnston

For Sale: Ola Gjeilo Northern Lights: 40 SATB copies

Matthew Olson — %pm, %03 %b %2013 %19:%Jun:%rd 19JunGMT+0000

Greetings!

I have 40 brand new copies of "Northern Lights" by Ola Gjeilo for sale. I purchased them for a job audition and, while I love the piece, I have no immediate use for the scores.

I paid $90, but will accept best offer.

Thanks,

Matthew

Volunteers needed to sing Va, pensiero at the Kimmel Center on June 8

Mike Bolton — %pm, %03 %b %2013 %19:%Jun:%rd 19JunGMT+0000

Looking for 100 volunteer singers to perform "Va, pensiero" from Verdi's Nabucco on June 8th during the Fred J. Cooper Memorial Organ Day at the Kimmel Center for the Performing Arts.

The performance will take place during the final hour of event programming, between 4:00 p.m. - 5:00 p.m. The program will be devoted to the music of Verdi and Wagner in celebration of the two composers' bicentennial. The final piece on the program will be "Va, pensiero".

The event is completely free of charge and attendees to the concert are welcome to come and go as they please.

For complete details on how to sing in this event, please visit the weblink - http://tinyurl.com/vapensiero-organday.

Thanks!
Mike

Contemporary Music Minister

Barbara Meinke — %pm, %03 %b %2013 %18:%Jun:%rd 18JunGMT+0000

The Contemporary Music Minister serves Christ and the church and seeks to enhance the congregation's worship experience by planning and leading blended and contemporary Lutheran worship that involves band, vocalists and other musicians at two Sunday morning worship services each week and other special services and congregational events. Please visit church webpage for full job description and application instructions.

Job Interview Request

Jason Whitson — %pm, %03 %b %2013 %18:%Jun:%rd 18JunGMT+0000

As a part of an interview for a high school choral position, I am being ask to "briefly demonstrate my own singing ability". I have never been asked to do this for a hs choral director position and I am not quite sure what to sing. I am not sure of the entire interview panel, but the principal is not a musician, and the assistant principal is a former band director.

No accompaniment.

National Anthem? Short art song? hymn? simple vocalise?

Help.

Women's Choir - French Christmas repertoire (especially multi-movement work)

J.-C. Coolen — %pm, %03 %b %2013 %17:%Jun:%rd 17JunGMT+0000

Hi, folks.

I direct Espressivo Singers, an auditioned women's choir of about 25 voices in Oshawa, Ontario.

I'm building a Christmas program around French music--either musical settings of French texts, or music from France (or other French-speaking countries/regions) with texts in other languages (preferably English, or Latin).

I'd like to find a multi-movement work within these parameters to use as a centrepiece for the program.

I'd greatly appreciate any recommendations of such a work (and also of any exquisite single pieces that fit these program parameters).

Thanks!

J.-C. Coolen
Greater Toronto Area

Brahms' "Ein Deutsches Requiem" 2014 Tour in Salzburg!

Kalin Tchonev — %pm, %03 %b %2013 %16:%Jun:%rd 16JunGMT+0000

The festival tour will be held in Salzburg Cathedral with the participation of The Salzburger Domchor.

For more information, please visit: http://varnainternational.com/festivals/5-day-festival-tour-salzburg-austria

Audition for Oregon Repertory Singers

Ethan Sperry — %pm, %03 %b %2013 %16:%Jun:%rd 16JunGMT+0000

Audition Now to Sing with Oregon Repertory Singers for our 40th Season!

Spots are available for all voice parts. Interested singers: contact ORS Artistic Director, Ethan Sperry at

ethansperry@gmail.com before June 15, 2013 to schedule your autidion.

Pianist/Organist/Music Director available

Maria Centola — %pm, %03 %b %2013 %16:%Jun:%rd 16JunGMT+0000

Pianist/Organist/Music Director with a Master's Degree available for substitute work in July-August 2013. Will consider part-time and full-time job offers.

Had a steady church job for 10 years. My Church is closing for the summer due to budget cuts and had to cut the music program.

Please, contact for resume and sound samples.

SAB Sight Reading Repertoire

Bruce Lengacher — %pm, %03 %b %2013 %15:%Jun:%rd 15JunGMT+0000

Greetings List,

I'm beginning a term as the Choral Representative for the California Music Educator's Association Bay Section. As part of this position, I'm continuing the work of my predecessor and revamping our sight reading music for our choral festivals. I've obtained the Southern Music Company's "Songs for Sight-Singing" for SATB, SSA, SA, TTB and TB, but we have middle school ensembles that are singing SAB music and some even SATB repertoire in performance.

My questions to the collective wisdom of the list are: Are there and beginning to intermediate level SAB octavos written specifically for sight singing? Is there a list somewhere that list all of the sight-singing repertoire from SMC by grade level like the band and orchestra literature?

Thanks for any assistance you can offer and have a restful summer,

Bruce Lengacher

Acalanes High School

Lafayett, CA

Rhythm training

Anne Longmore — %pm, %03 %b %2013 %14:%Jun:%rd 14JunGMT+0000

Hello -- does anyone know of any good resources to help singers work on rhythm outside of rehearsal and who don't have access to a keyboard?

Thanks.

Anne Longmore, Toronto Mendelssohn Choir

TENOR SOLOIST/SECTION LEADER WANTED

Harold Daugherty — %am, %03 %b %2013 %06:%Jun:%rd 6JunGMT+0000

La Cañada Congregational Church is seeking a tenor soloist/section leader. Responsibilities include singing at the 10 A.M. Sunday Service, rehearsals on Wednesday evenings at 7:30 P.M., singing one solo per month, and singing Christmas Eve and Maundy Thursday evenings. There are also Christmas and Spring Concerts on Sunday afternoons at 4 P.M. Strong sight reading skills and knowledge of sacred solo repertoire are required as well as a collaborative spirit. The choir consists of a paid quartet and volunteers, and it performs repertoire from all stylistic periods. Salary is $100 per week, plus concert pay. Contact Dr. Harold Daugherty at DrHAD@aol.com or 818-848-8579 for an audition. The church is located at 1200 Foothill Blvd., La Cañada Flintridge, CA 91011.

III. ISTANBUL INTERNATIONAL CHORUS COMPETITION 29 JULY-03 AUGUST 2013

Bulent Uzun — %pm, %03 %b %2013 %12:%Jun:%rd 12JunGMT+0000

We are looking for Male choirs who can participate our Competition. For further information please contact us: istanbul@istanbulchorus.com

TERMS AND CONDITIONS OF PARTICIPATION

Istanbul International Chorus Competition is open to both amateur and professional choirs.
Singers who might be members of several chorus are only allowed to sing in one ensemble in each category at the contest.
Choirs may enter the competition in maximum two categories.
Choirs may enter the competition in the following categories, with the number of members and the age-limits indicated below

CATEGORIES	AGE LIMIT	NUMBER OF MEMBERS
CHILDREN’S CHORUS	max. 15 years of age	min. 20	max. 50 singers
FEMALE CHORUS	min. 16 years of age	min. 20	max. 50 singers
MALE CHORUS	min. 16 years of age	min. 20	max. 50 singers
MIXED CHORUS	min. 16 years of age	min. 20	max. 50 singers

RULES AND REGULATIONS OF THE COMPETITION

* Competition groups can compete categories which they want.
* Competition groups can compete maximum two categories.
* Competition Groups can play and sing which song they want , when they are in their performance place.

FOR COMPETITION GROUPS:

Children CHORUS Female CHORUS and Mixed CHORUS
Competitions : minimum 6 minutes, maximum 8 minutes

FOR PERFORMANCE GROUPS
All performance groups max 10 minute

PERFORMANCES

All choirs shall perform in ISTANBUL different MINUCIPALITY and its vicinity on the closing day of the competition one or two time

If you would like to take a part in III.ISTANBUL INTERNATIONAL CHORUS COMPETITION & FESTIVAL 29 JULY – 03 AUGUST 2013 please contact with us for more information.

Adress
Rasimpasa mah . Macit Erbulak Sok. Tuzmen apt. 34/1
34716 Kadikoy - ISTANBUL / TURKEY
www.istanbulchorus.com istanbul@istanbulchorus.com
Tel : + 90 216 346 13 54
Fax : + 90 216 346 13 08

Bob Chilcott writes a new choral work for the 60th Anniversary of the Coronation

Griselda Sherlaw-Johnson — %am, %03 %b %2013 %08:%Jun:%rd 8JunGMT+0000

The King shall rejoice is a new anthem by Bob Chilcott for mixed choir and organ, composed for the service at Westminster Abbey, London, on 4th June 2013 to mark the 60th Anniversary of the Coronation of Her Majesty Queen Elizabeth II. (http://ukcatalogue.oup.com/product/9780193397668.do)

Chilcott says, ‘It is 60 years since Her Majesty The Queen pledged herself to the service of our country and I am deeply honoured to contribute to this service of celebration at Westminster Abbey’.

The King shall rejoice was commissioned by The Dean and Chapter of Westminster and sponsored by many of the choristers who sang in the Coronation Service in 1953. The Choir of Westminster Abbey was joined by the Children and Gentlemen of the Chapel Royal, and conducted by James O’Donnell.

In it Chilcott combines two texts, the first taking the opening six verses of Psalm 21, ‘The King shall rejoice in thy strength, O Lord’. Four verses of the same text were set famously by George Frideric Handel in his coronation anthem ‘The King shall rejoice’, written in 1727 for the coronation of King George II. The second text uses an adapted version of the same six Psalm verses set by the composer William Byrd in his anthem ‘O Lord, make thy servant Elizabeth our Queen’ in honour of Queen Elizabeth I.

This anthem is published by Oxford University Press

Literature for chamber choir with orchestra

Travis Lowery — %am, %03 %b %2013 %02:%Jun:%rd 2JunGMT+0000

I am the assistant conductor of the Abilene Chamber Singers (Abilene, TX) and am hoping to do a collaborative performance with a local chamber orchestra. I have been searching for literature that would fit this group/collaboration and I think I may have hit a wall. My brain is so focused on what "I know would work," that I've developed tunnel vision and I need help! The accompaniment is what's most important to me but I also want it to be pleasing to our audience. This ensemble is made up of professional or retired professional singers and the orchestra is a similar group. Any suggestions would be welcome!

Strathmore Children's Chorus Spring Concert: The Music of Jim Papoulis

Mary Twillman — %am, %03 %b %2013 %02:%Jun:%rd 2JunGMT+0000

Strathmore Presents

STRATHMORE CHILDREN’S CHORUS SPRING CONCERT:

THE MUSIC OF JIM PAPOULIS

June 10, 2013, 7:30pm

All-Papoulis program, world premieres commemorate ensemble’s first public Music Center performance

NORTH BETHESDA, MD – Strathmore began 2013 by actualizing a long-held dream—to create a children’s choral ensemble—and now, the new Strathmore’s Children’s Chorus will host its premiere public concert on Monday, June 10, 2013 at 7:30 p.m. The chorus will commemorate its first performance with a repertoire of all Jim Papoulis songs featuring three world premieres, including the Strathmore-commissioned piece “The Dawn of a Journey.” The 130 members of the Strathmore Children’s Chorus (SCC) will be joined on stage by members of the Maryland Classic Youth Orchestras, Holton-Arms Upper School Chorus and the A. Mario Loiederman Middle School Chamber Choir. For more information or to purchase tickets, call (301) 581-5100 or visit www.strathmore.org.

SCC Artistic Director Christopher Guerra selected an all-Papoulis program to reflect the diversity of the chorus and their home of Montgomery County. Papoulis is known for blending music from different global influences into cohesive arrangements with positive messages for young people. This illustrates one of the SCC’s core values: to celebrate the diversity of Montgomery County with a repertoire focused on composers, songs and global music traditions.

The Strathmore Children’s Chorus currently consists of three ensembles, all of which will be heard during their debut public performance: Treble Chorus, for children who are early in their vocal music education, ranging in age from 8-12 years; Concert Chorus, an advanced vocal ensemble for students 10-17 years of age; and the Young Men’s Chorus, an ensemble for singers 13-17 years of age with changed voices.

A fourth ensemble, a Training Chorus for children ages 7-9 years, is being added for next season. Auditions for the 13-14 season begin Saturday, May 18 and continue through Saturday, September 7, 2013. A complete schedule is available on the chorus’s website, www.strathmorecc.org.

About Strathmore

Strathmore presents and produces exemplary visual and performing arts programs for diverse audiences; creates dynamic arts education experiences; and nurtures creative ideas and conversations that advance the future of the arts. The hallmark of the arts center is the Music Center at Strathmore, a 1,976-seat concert hall and education complex. The Music Center at Strathmore is located at 5301 Tuckerman Lane in North Bethesda, MD, one half-mile north of the Capital Beltway and immediately adjacent to the Grosvenor-Strathmore station on Metro’s Red Line. For those attending a ticketed performance at the Music Center at Strathmore, parking in the Metro garage is complimentary with your ticket.

Jim Papoulis inspires the combined ensembles of the Strathmore Children's Chorus at a recent tech rehearsal.

###

Strathmore is supported by a grant from the Maryland State Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive. An agency of the Department of Business & Economic Development, MSAC provides financial support and technical assistance to non-profit organizations, units of government, colleges and universities for arts activities.

Strathmore is also supported in part by the Arts and Humanities Council of Montgomery County.

Taconic Opera (Westchester, NY) Invites Choral Singers for Bellini's Norma

Angela Usobiaga — %am, %03 %b %2013 %01:%Jun:%rd 1JunGMT+0000

For choral singers who are interested in a new, unique and exciting experience, Taconic Opera invites you to participate in the company’s fall production of Vincenzo Bellini’s Norma, to be performed on Oct. 17, 20 and 26, 2013. This opera was written at the peak of Bellini’s career, is a classic example of bel canto singing, and the lead role has been coveted by the great superstars of opera. Norma contains just the right amount of choral sections to make it appealing to choristers without making it a burden to learn, especially important for singers who have little or no opera experience. An added plus is that the chorus in Norma (Druids) performs some of the most exciting music in opera literature. Imagine the fun of singing world class music in Italian in the company of experienced and highly talented professional lead singers, and throwing in a bit of staging and acting as well. If you’ve known for awhile you’ve wanted to do this, it may be just the time to take the plunge into a new world.

Rehearsals will begin on Saturday, July 6 and will take place at the Church of Latter Day Saints, 800 Kitchewan Rd/Route 134, Ossining, NY on Wednesday evenings and Saturday afternoons. Experienced choral singers do not require an audition. There are no fees to join the chorus, but members must secure their own music. By applying early, you may be able to participate in special group prices for the score that are arranged for chorus members.

Applications will be accepted until July 6. New members may be accepted after July 6 based on their experience and musical abilities. Singers who have a conflict with the complete rehearsal schedule may likewise be accepted based on experience and ability. For further information, contact Mary Corda: divamaryc@aol.com or call 914-649-1826. Visit the website at http://www.taconicopera.org.

New Work for SATB a cappella - Jenni Brandon

Jenni Brandon — %pm, %02 %b %2013 %20:%Jun:%nd 20JunGMT+0000

Hello!

I wanted to share with you a recording of my work The Giver of Stars for SATB a cappella for your programming consideration. Here is a link to a recording of it by Vox Reflexa under the direction of Benjamin Geier:

The poetry is by Amy Lowell and you can find more information about the work at www.jennibrandon.com.

I would also be happy to provide you with a perusal score for your consideration!

Thank you!

Jenni Brandon

Favorite Brit rock arrangements

Bruce Rockwell — %pm, %02 %b %2013 %16:%Jun:%nd 16JunGMT+0000

I'm going with a British Invasion theme for our pops concert next year and want to be perousing octavos over the summer. I want to concentrate on the British Invasion of the 60s, and the synth-pop of the "second British invasion" of the 80s. But I will also include music from the 70s, as well as material by more recent groups like One Direction.

What are you some of your favorite choral arrangements of British pop music?

Bumblebee! Rounds & Warm-ups for Choirs by Michael Griffin

Michael Griffin — %pm, %02 %b %2013 %12:%Jun:%nd 12JunGMT+0000

Bumblebee! Rounds & Warm-ups for Choirs by Michael Griffin is more than just a collection of more than 80 choir exercises. Michael Griffin, an Australian who has taught and consulted extensively around the world, shares timeless wisdom to help you get your choir into shape.

Available Amazon.com

Enquiries? mdgriffin2002@yahoo.com.au

“This is really good stuff for all kinds of vocal groups, choirs, conductors. Bravo!!”

“The thinking person’s guide to training a choir. Love it!”

“It's great to have some fresh warm-ups to add to the repertory. ..most of these are new to my choir. The tips for actions and techniques are really useful, and the advice at the back of the book has made me review some of my strategies.

Please help - ACDA Women's Honor Choir repertoire

Chris Fields — %am, %02 %b %2013 %02:%Jun:%nd 2JunGMT+0000

Friends,

For the life of me, I cannot find the program repertoire for a particular National ACDA Women’s Honor Choir that happened some time ago (I do not recall the year). I remember the conductor being Judith Willoughby and a couple of the pieces were ‘Cantate Domino’ by Ruth Watson Henderson and ‘Fly, Singing Bird, Fly’.

Might there be someone out there in the community who can recall what the Women’s Honor Choir program was for that particular year? Also, is there a database with historical repertoire performed by the various honor choirs over the years for national and divisional conventions of ACDA?

The reason I ask, is there is a piece I would like to perform but I cannot remember the title unless I see it.

Thanks for your help!

Chris

Conduct Handel's Messiah in Texas (3 positions open)

Kenny Sheppard — %pm, %01 %b %2013 %19:%Jun:%st 19JunGMT+0000

Three spaces for conductors just came available at the Conductors Institute of Southwestern University in Georgetown TX - June 23-27. Conduct chorus, orchestra and soloists in a workshop environment. Kenny Sheppard and Brad Bouley, clinicians.

Contact Kenny Sheppard at (512) 639-4604 or http://www.southwestern.edu/departments/music/opportunities/conductors/index.php

Bach Cantata Choir: "Weddings and Anniversaries"

Ralph Nelson — %pm, %01 %b %2013 %16:%Jun:%st 16JunGMT+0000

The Bach Cantata Choir of Portland, Oregon, presents "Weddings and Anniversaries" on Sunday June 2, 2013 at Rose City Park Presbyterian Church, NE 44th and Sandy in Portland, Oregon. The 50-voice choir under the direction of Ralph Nelson, will present Bach's Cantata #124 "Meinen Jesum lass ich nicht", Bach's Wedding Cantata BWV 202 (Vakare Petroliuinaite, soprano soloist), and works by Dowland (450th Birthday), Krebs (300th Birthday) and the NW Premiere of "Denn Liebe ist Stark" by BCC tenor David Foley. There is no admission charge, but a free-will offering is taken.

Organist needed Saturday and Sunday PM masses

Scott Walters — %pm, %01 %b %2013 %13:%Jun:%st 13JunGMT+0000

St. Aedan's Church, Pearl River, NY is seeking an organist to PLAY ONLY Masses on Saturday at 5:30 and Sunday at 7:00 PM.

Job repsonsibilities are:

Arrive no more than 15 miuntes before Mass

Set up music based on 'menu'

Play Four Hymns, Responsorial Pslam, Gospel Acclamation, Prayer Response, Holy Holy, Memorial Acclamation, Lamb of God.

Masses run 45-50 minutes.

Pay is $75 per Mass

This is a perfect job for someone looking to pick up some extra cash who may have another job for for a student looking to expand on their skills

Organ is Allen 3 manual electric with good sound.

You will be workign with cantors from the church, so no singing is required.

Please respond by e-mail with resume to:

scottthetenor@yahoo.com

Do not inquire to the church directly.

What's on Great Sacred Music, Sunday, June 2, 2013

Robert Kennedy — %pm, %01 %b %2013 %13:%Jun:%st 13JunGMT+0000

Music performed by collegiate choirs this Sunday. Our featured full length work in Hour 3

is Louis Spohr's The Last Judgement. I have never performed this piece. Have any of you

ever heard it performed or have sung in a performance of it? I have always loved Spohr's music.

He tends to be overshadowed by folks like Beethoven, Brahms and Schumann since he straddled

the classical and romantic periods.

Thanks for supporting Great Sacred Music and The Classical Station. Have a wonderful weekend.

Rob

Rob Kennedy
Great Sacred Music (Sundays: 8-11 a.m.)
The Classical Station
http://theclassicalstation.org

--------------------------

08:02:00
Kievo-Pechersky Chant: Blessed is the Man
Alumni of the Yale Russian Chorus, Denis Mickiewicz

Rihards Dubra: Oculus Non Vidit
Cambridge Chorale, Michael Kibblewhite

Robert Schumann: Sketch in D flat ~ 4 Sketches for Organ, Op. 58
Michael Farris, organ
The Fisk organ in Caruth Auditorium, Southern Methodist University, Dallas

The Yale Russian Chorus is a male ensemble which was founded in 1953

by Denis Mickiewicz. Rihards Dubra (1964- ) is a Latvian composer. C.B. Fisk, Inc.

is a Gloucester, Massachusetts based organ builder.

08:17:31
William Henry Monk: Abide with me
Choir of King's College, Cambridge, Stephen Cleobury
Bruce Blyth, treble; Richard Farnes, organ

John Rutter: Wedding Canticle (Psalm 128)
Choir of Clare College, Cambridge, Timothy Brown
Stewart French, guitar; Daniel Pailthorpe, flute

Louis Vierne: Epitaph
Simon Lindley, organ
Harrison & Harrison organ in Leeds Parish Church

The Choir of King's College, Cambridge was founded by King

Henry VIII in 1441 to provide daily sung services in his chapel

at Cambridge. John Rutter (1945- ) has a strong North Carolina

connection since one of his publishers is Hinshaw Music of Chapel

Hill. Simon Lindley was a classmate of mine at the Royal College of

Music. He has been organist of Leeds Parish Church since 1975.

08:33:23
Thomas Weelkes: Alleluia, I heard a voice
Choir of Christ Church Cathedral, Oxford, Stephen Darlington

Samuel Wesley: Ave Regina caelorum
Choir of Gonville and Caius College, Cambridge, Geoffrey Webber

Camille Saint-Saëns: Berceuse in E, Op. 105
Joachim Dorfmuller, organ
Klais organ in Altenberg Cathedral

Thomas Weelkes (1576-1623) was organist of Chichester Cathedral

from 1601-1623. While Samuel Wesley (1766-1837) came from a

Methodist family, he converted to Catholicism later in life. Camille

Saint Saens (1835-1921) was organist of the Eglise Madeleine in Paris

and renowned for his brilliant improvisations.

08:47:09
Amy Beach: Lord of All Being, Op. 146
Harvard University Choir, Murray Forbes Somerville
Erica Johnson, organ

Charles Marie Widor: Marche pontificale ~ Symphony No. 1
Jane Parker-Smith, organ
Harrison & Harrison organ of Coventry Cathedral

Dr. Murray Forbes Somerville (1947- ) was organ scholar at New

College, Oxford, under Dr. David Lumsden. Jane Parker-Smith studied

with Jean Langlais in Paris after completing her studies at the Royal College of Music.

09:03:26
J.S. Bach: Cantata 39, "Brich dem Hungrigen dein Brot"
Monteverdi Choir; English Baroque Soloists, Sir John Eliot Gardiner
Gillian Keith, soprano; Wilke te Brummelstroete, alto; Paul Agnew, tenor; Dietrich Henschel, bass

Bach's Cantata 39, written for the First Sunday after Trinity, has as its theme feeding the poor.

09:26:16
Franz Schubert: Mass No. 2 in G, D. 167
Vienna Boys' Choir; Chorus Viennensis;
Orchestra of the Age of Enlightenment, Bruno Weil
Arno Hartmann, organ

Schubert composed his G major mass in one week in 1815.

09:48:03
Louis Spohr: The Last Judgement
Stuttgart Radio Symphony Orchestra; South German Radio Choir,
Gustav Kuhn
Mitsuko Shirai, soprano; Marjana Lipovsek,mezzo-soprano;
Josef Protschka, tenor; Matthias Holle, bass

Louis Spohr (1784-1859) wrote his oratorio The Last Judgement in 1826.

Intonation XII - What to do when the choir goes flat?

Richard Sparks — %am, %01 %b %2013 %00:%Jun:%st 0JunGMT+0000

I had no idea this topic was going to go on this long! Comments from all of you talented people keep new posts and ideas coming. As I said in my initial post, intonation is a complicated subject.

If you haven't looked at the comments, please do so! This community has many sharp (I don't mean pitch!) and talented people, and they've added to what I've written. My last post got a lot of excellent comments--take a look here. I gain as much as I give here.

So, now to flatting (I'm speaking here primarily in a cappella music)! What do we do about it? As with all to do with intonation, it depends on the cause. There's no one reason why the choir goes flat. I remember Michael Korn saying at a workshop one time that the proper use of the left hand was a finger pointing up, reminding the choir not to flat! I can't agree with that very much, although a gesture can help at times.

First (and sorry, this isn't the magic answer you may be seeking!), you have to work constantly on those things we've been talking about:

good vocal technique
unified vowels - good placement of vowels
good unisons and octaves (and perhaps a vibrato that doesn't obscure the pitch--YMWV/"your mileage will vary"--my way of saying that everyone's taste will vary here!)
work on whatever tuning system you choose--if it's just intonation, the choir has to learn where those major thirds belong, for example
good rhythmic ensemble and vowels that coincide when they should
tuning exercises--I highly recommend John Goldsmith's exercises!

It should be said that this is a long-term plan, not something that happens overnight. It's an important part of your training the choir and choir members to be better musicians and to have better ensemble and vocal skills. And it's work that never ends--do you think the Swedish Radio Choir never rehearses these things? Of course they do! At a different level than most of us do, but they constantly address all these issues, too.

It also means that your rehearsal plan needs to be appropriate to each stage of the choir's development on a particular program. In the early learning stages, don't overwhelm with too much at once. Work on neutral syllables or count-sing (instead of text), work at a slower tempo (so they can absorb the pitches and harmonies better). Pace your rehearsal well so the hardest work comes when they're still fresh, and make sure that demands are varied throughout the rehearsal (see my earlier posts on rehearsal technique).

Separately from this, what's the room like where you rehearse? Easy or difficult for them to hear each other? Too reverberant, not reverberant enough? Temperature relatively well-controlled, or often too hot or cold? These aren't always things you can control, but if you can, do so! I've worked in great and terrible rooms, but manage to make it work in all. But if you can work in a better room or improve the room you're in, you'll want to do it.

But, assuming you're doing the things on the list above (appropriate to the level of your choir), what goes into a choir singing flat? Back to basics first--your diagnosis has to tell you why they're going flat. Possible reasons and solutions:

poor breath management - remind them about proper use of the breath -- are they slumping in their chairs? Are they using enough breath energy?
are descending intervals too wide? If they've done exercises such as John's, your feedback will mean something to them and they can make adjustments, for example, on a descending minor third that is too wide (a common fault)
are the vowels dull or placed too far back? work with them on brightening and bringing vowels forward -- have them sing on a brighter vowel/syllable (tee), then go back to text -- do a quick exercise to bring the primary vowels that are poorly placed where they should be
are they singing with a lowered soft palate? do an exercise to get them to raise the soft palate
do they "scoop" up to pitches? then work with them on making sure each onset is exactly in tune
is the key part of the problem? Perhaps you need to try transposing up or down.
how about their energy on the day? or a room that is too hot? do something to bring up their energy, a physical exercise/movement, switching to a lively piece that they like, etc.

All of these are possible problems and solutions. Your experience, listening and observation (what you see in the choir can often give a clue to the items above) will tell you a lot about why they're flat and what to do about it.

But there's another issue that I spoke of last time: that of tonal memory. Patrick Taylor, in a response to that post, said that he believes it's more about muscle memory than tonal memory--and I should have mentioned that. It's certainly a combination of those elements (thanks, Patrick!). I can't say what the percentage is of each, but it doesn't really matter. If the choir sings flat for very long, or sings an interval too far down on the descending side or not far enough up on the ascending side . . . they will memorize that as correct (whether tonal or muscle memory). And once they do that, it's very hard to get them to sing it correctly.

For that reason, I don't want to allow the group to sing under pitch when they learn a piece. I will use the piano in the following ways:

I (or my accompanist) will play some chords or pitches to keep us in key, but not play constantly
we can also play pedal notes (in the bass or the treble--usually below or above where the choir is singing) that help establish correct pitch
it's possible to play along with them as well, but I'd try the other options first

I simply don't want them to start to learn the piece in the wrong key.

By the same token, I have to be very aware of melodic patterns or intervals that are flat (the descending minor third above is an example). The choir or section needs to be made aware of that and correct it. Again, singing that flat just a few times will make it a part of how they hear and feel that passage and it will be much more difficult to sing in tune.

There will also be difficult transitions/modulations or a difficult series of chords to tune. Special time needs to be spent here. I remember during one of the rehearsals I did preparing the Swedish Radio Choir where the accompanist (Michael Engström, a wonderful musician!) said, "take some time and care there--it's a dangerous place." You can't gloss over these passages, but need to make sure the choir is very secure.

Chords may need to be tuned in isolation. Are unisons and octaves really unisons? You may need to point out a place where the tenors and sopranos are in octaves so they listen and tune together. There also may be dissonances that have to be pointed out--if the basses and altos sing a major seventh, but aren't aware of it, they may try to "correct" by ear to an octave. Those are places where I'll isolate just those sections. Just asking the choir to listen (unless they're very accomplished) won't do the trick--you have to point out to them what to listen to and how to correct the tuning.

Of course, I'm also aware of other causes--if it's vocal/vowel, I have to fix that. If it's poor rhythm, I have to fix that.

Additionally, when learning (and remember, more of their conscious brain power is focused on finding the right pitch, rhythm or word) I have to be aware of tempo. Music that is fast has to be rehearsed more slowly, so they have time to perceive the correct pitches, hear and reproduce them. By the same token, slow music might have to be taken faster--it's very difficult to sustain a slow tempo vocally, and when they're learning, I want it to move at a tempo that makes it easier. As they know it better and have control of pitch, then I can gradually slow down or speed up towards the real tempo.

The key may need to be changed. This can come about because you realize that the key simply doesn't work for your choir and moving it up or down makes it comfortable and they sing in tune. Or you can plan for it. I used an example of this in a response to the last blog: I know that Weston Noble was once preparing the Nordic Choir to do Bach's Singet dem Herrn, which is written in Bb, but was probably done during Bach's time at a pitch close to a half-step lower - Weston rehearsed the choir in Ab almost exclusively and then raised the pitch to A major just as they began performances . . . and apparently had no flatting problems whatsoever. Here I think he was taking advantage of the fact that the new key (A major) was a very fresh one for the choir with no memory (muscle or tonal) of any problems in the lower key. It also may have been helped by being in a sharp, rather than flat key (although we can argue about whether this is psychological or physiological!).

My mind is starting to go and I'm brain-dead, even though there is much more to say. Please add your ideas in the comments! Help us all out with your ideas!

If I have enough mind left, I'll make a couple last posts on this topic next week. Happy weekend!

Conductor's Craft Workshop - Kenosha, WI

Emily Crocker — %am, %01 %b %2013 %02:%Jun:%st 2JunGMT+0000

Please join us for the Conductor's Craft Workshop in Kenosha, WI at Carthage College, June 23-26.

Craig Hella Johnson, Henry Leck, Rosephanye Powell, James Kinchen, Scott Foss, Eduardo Garcia-Novelli, Jerry Rubino, Peter Dennee.

http://www.halleonard.com/conductorsCraft/main.jsp

SSA (SA) winter songs

Jo Prosser — %pm, %31 %b %2013 %20:%May:%st 20MayGMT+0000

Hi there,

We are a small ladies (16 -20 members) choir with a very wide range of ability from the UK. We range in age from 40-80+ years. We are looking for a set list for a winter/christmas concert in mid-December. The "old hands" know much of our Christmas stuff by heart and that can be tricky for newer folk. In addition, we want to shake things up a bit by having a less Christmasy feel to the concert so we can start learning songs earlier as our musical director won't do anything festive before Mid-October!

I am basically after some winter-themed, secular songs, in two or three parts, a bit of a solo in one or two of them is fine and am stuck for ideas! We have a wide range of abilites so they need to be medium to easy really. Our musical director tends to do the same stuff over and over but will happily take suggestions from members. A slightly extended work would also be fine too. We sing all sorts of works, from Madrigals to Fields of Gold so we are flexible in terms of stlye. We are usually accompianed by piano. I can't tell you how grateful I would be for your ideas. :)

Thank you!

NASM

Dawn Sonntag — %pm, %31 %b %2013 %19:%May:%st 19MayGMT+0000

For conductors who teach in liberal arts colleges: Do you believe NASM accreditation is/would be valuable/helpful for your program? Why or why not?

An open discussion here on this topic would be valuable for all who read it, but for those of you who wish to remain anonymous, I have also designed a survey:

http://www.surveymonkey.com/s/5KCX5SR

Of course do not feel obligated to answer all the questions in the survey if you don't have time. Any feedback at all will be appreciated. I will compile and post the responses.

---Dawn Sonntag

Director of Music

Richard Schnipke — %pm, %31 %b %2013 %19:%May:%st 19MayGMT+0000

Trinity United Methodist Church (1581 Cambridge Blvd., Columbus, OH) has an opening for a part-time Director of Music. The primary responsibility of the person holding this position is to plan and conduct, in consultation with the Senior Minister and the Church's staff, the music program that contributes to the accomplishment of the Church's mission. You can find the full job description at: http://www.trinityumchurch.com/documents/MusicDirector%20Position2013.pdf

If interested in the position, please send your resume to choirsearchcommittee@ trinityumchurch.com . Resumes will be accepted through Friday, June 14th .

Visiting Director of Choral Studies

Ann Usher — %pm, %31 %b %2013 %19:%May:%st 19MayGMT+0000

The University of Akron

Buchtel College of Arts and Sciences
School of Music

Position Available: The School of Music at The University of Akron invites applications for a one-year Visiting College Lecturer of Choral Studies. Duties will include, but
are not limited to, conducting two choirs, teaching choral conducting and literature, and other courses related to the candidate’s area of expertise.

Date of Appointment: A 9-month salary will be offered beginning fall semester – August 2013. This is a temporary, one year position.

Required Qualifications: Master of Music. Candidates must demonstrate significant success as a choral conductor/educator through successful participation at regional and/or national music contests or festivals, clinic presentations, and/or relevant performances or publications. Candidates must also demonstrate keyboard facility and musicianship necessary to support students’ vocal, musical, and pedagogical development.

Preferred Qualifications: DMA, Ph.D., or ABD. Evidence of successful college teaching.

Application Procedure: Evaluation of applicants will begin two weeks after this posting and continue until the position is filled. Interested candidates should send a cover letter, curriculum vitae, a list of 3-5 references, and links to videos to musicjobs@uakron.edu. Video recordings should be recent and include both choral performance and rehearsal. For questions, please contact Dr. Ann Usher, Director, School of Music, Buchtel College of Arts and Sciences at ausher@uakron.edu or visit the website at www.uakron.edu/music.

Background Check Statement: The University of Akron is committed to providing a safe environment for all students and employees. The university endeavors to protect the health, welfare and safety of all students, employees and visitors on our campus. As such, the university will conduct a pre-employment background check for all applicants selected for employment.

Equal Employment Opportunity: The University of Akron is committed to a policy of equal employment opportunity and to the principles of affirmative action in accordance with state and federal laws.

www.uakron.edu

Anna Crusis Women's Choir Concert: Good Happens, Honoring our Local Heroes

Miriam Davidson — %pm, %31 %b %2013 %18:%May:%st 18MayGMT+0000

Choir type: Community Choirs

Voicing: Women

Good Happens: Honoring Our Ordinary Heroes.

Saturday, June 1st at 7:30 pm and Sunday, June 2nd at 2:00 pm

First Unitarian Church - 2125 Chestnut St., Philadelphia, PA 19103

At their annual spring concert, Anna will 'sing to celebrate' over 50 folks from all over the Philly area. Nominated by friends and fans, these are people who go out of their way to do good things for others everyday. The 'heroes' are featured on the choir's website with photos and stories about each and every one. It's an inspiring group, from community driven artists, to diversity trainers, health care professionals reaching out to the uninsured, domestic abuse workers, teachers, chefs, musicians, civil rights workers, respite care workers, anti-bullying trainers, literacy advocates and so many more.

Anna strives to uplift, inspire and transform it's audience through song. As the country's longest-running feminist women's choir, Anna's mission of musical excellence and social change couldn't be better served by calling attention to the great work being done in Philadelphia for the good of the greater community. Mayor Nutter has 'endorsed' the concert as well, with a commendation from his office.

The program includes works by Elizabeth Alexander, Joan Szymko and Eric Lane Barnes, and songs by Susan Werner and Ben Harper, arranged by Steve Milloy.

It promises to be an inspiring and uplifting concert and we can't think of a better way to celebrate it than to share it with you.

Kansas Choral Directors Association Summer Convention - 7 Days Left of Pre-registration Rate!

David Gardner — %pm, %31 %b %2013 %16:%May:%st 16MayGMT+0000

The Kansas Choral Directors Association Summer Convention is scheduled for July 11-13 at the Ramada Convention Center in downtown Topeka. The registration of $100 for ACDA members goes up to $125 at midnight on June 7, so visit kansaschoral.com soon to register. This year’s clinicians include Patrick Freer, Tom Carter, Pearl Shangkuan, with special appearances from composer Mark Hayes and lyricist Charles Anthony Silvestri. In addition to these exciting clinicians, we’ll have tons of music in reading sessions, inspiring performances, and interest sessions led by several of Kansas’ best choral directors.

Online registration is available here.

Highlights of the convention can be read here.

Detailed schedule, clinician bios, and other information are all available here.

See you in Topeka!

CORO! Auditions for 2013-14 Season

John-Scott Moir — %pm, %31 %b %2013 %15:%May:%st 15MayGMT+0000

CORO! – The Twin Cities' premiere full-voiced Vocal Ensemble, is holding general auditions.

We seek both Chorus and Soloists for our upcoming season(s).

For the 2013-14 season, programs will include:

* A concert honoring the bi-centennial of Richard Wagner, titled 'Wagner... and other Germans' in November.

* A Christmas Concert in December of solos and arrangements of seasonal favorites.

* Our Recital series debuts in February.

* Spring concert in May, program yet to be announced.

For choristers:

Prepare two pieces: an art song and Aria in different languages. One song may be in English; Contrasting styles suggested. (For chorus positions, any of the "24 Italian art songs" may be considered as an aria.)

For soloists:

Prepare two arias from the standard repertoire: one in Italian, and one in any other language. (Russian, Czech, French, German, English)

An Accompanist is provided for a fee; please bring resume (head shot for soloist), copies of your music for the accompanist in a three-ring binder, and/or the score itself for the audition.

Our next Auditions will be scheduled for mid-June.

More specific details are to be found on our website: http://www.corosings.org/auditions.html

“CORO! - not just another chorus.”

80 Years of Jazz Program

Ellen Krug — %pm, %31 %b %2013 %13:%May:%st 13MayGMT+0000

I am trying to develop a program for my sixth grade students. They will be performing this in the spring of 2014. I want to use the 80 Years of Jazz in about 80 Minutes program to get the students introduced to ragtime, swing, bebop, and fusion. I have four sections of sixth grade students. I'd like to have four choral pieces (one from each subgenre) and four instrumental pieces. We have drum circle, orff instruments, and recorders in our program. I only see the students for 45 minutes every 4 school days. To make the work more accessible, I want all the sixth graders to learn all the choral pieces, but have each section perform a different instrumental piece. This will create a program of eight pieces, while allowing each student to learn just five.

I'd love to have solo opportunities, and I want the music to really reinforce the important elements of each jazz era while keeping the students excited and engaged. I have a lot of "jocks" in this particular grade who think singing is for girls, so counteracting this destructive thought pattern is another goal of the performance.

I have about 47 girls and 47 boys, and I see the students in mixed groups of about 24. With these constraints, I'd like to keep the harmony as something along the lines of rounds or partner songs or unison, rather than homophonic harmony.

Any ideas on repertoire? I use the Spotlight on Music series, but we don't have sixth grade books. (They were just added to our classes). I also have over ten years of Music Express music and the last two years of Activate magazine. I'm married to a composer/arranger, so I can also get some custom music if needed, but I'd want to stay in the public domain for that.

Any help will be greatly apprecaited!

A Walk Across America

Alan Larson — %am, %29 %b %2013 %02:%May:%th 2MayGMT+0000

Hello everyone! I've spent the past few weeks sending the email attached below to members of NAfME, ACDA, UMEA, as well as several organizations dealing with music education advocacy and support. So far I've only received minimal response and I'm really looking to get the ball rolling. My goal is to have at least a working website up by the end of the summer. I'd be happy for all the help I can get, even if it's just a referral to someone who might be able to help. Thank you very much!!

"My name is Alan Larson, a collegiate member of NAfME. I plan to graduate next May from Southern Utah University in music education with a choral emphasis. I will actually be taking a break before finding a job to take a walk from Los Angeles, to Washington DC. During this walk I would like to raise awareness and support for music programs in schools. Now as I'm investing several months to complete this walk I would like it to be as effective as I can possibly make it. I plan on making a website documenting my walk as well as including several pages with articles on the issue, a place for people to voice their positive experiences and support for the music programs, as well as some sort of petition. I only have an idea and an ambition, so I'm looking for as much help as I can get to help it reach fruition. So if you know anyone who would be able to help me organize such a website, direct me to materials that would properly bring me up to date on the political issues surrounding music programs in schools (or know particular situations that I could emphasize during my walk), or help me in any other way you might think of I would greatly appreciate it.

Thank you in advance for your consideration and help!

Alan R. Larson"

WHO adjusts pitch to tune a choir?

william copper — %pm, %30 %b %2013 %20:%May:%th 20MayGMT+0000

I've been reading and thinking about Richard Sparks' blog posts on intonation. How often do we hear "tune yourselves", given as a blanket statement to a chorus? Or worse, "tune to the sopranos"! ...

Does anyone use some visual method of indicating which voices, which notes, and when, are to be tuned to other voices, and which are to rely on tonal memory to hold onto a tonic note or reference pitch for a piece of music?

I'm experimenting with ways to show how this should be done ... my 'pitch graphs' (tm ... one day) give a way for a conductor to say something like "if you have a fat green bar, TUNE to the other voices"; if you have a thin gray line, you are tonic and hold your pitch for others to tune to. If you have a narrow green or orange bar, your voice is in perfect relation to tonic, so also try to hold pitch by your tonal memory and let others tune to you. If you have a fat orange bar or a double-wide green bar, your pitch is exceptional and you should learn how it fits in the musical texture.

I've tried little arrows and symbols, numbers over notes; latest experiment is the colored bar approach. Comments welcome, an example pitch graph is online for my a cappella arrangement at www.hartenshield.com/dannyboy.html

This message is not a promotion of the work; it's just an arrangement of a piece easily available free from many sources ...

But it is an attempt to see if where I'm going with writing music in just intonation resonates with conductors who have to face the reality of teaching a chorus how to sing and how to make music and how to tune. It should apply, I think, to the high school chorus and the professiona singers.

Thanks!

William Copper, composer

www.hartenshield.com

Organist/Pianist

Michelle Muth — %pm, %31 %b %2013 %12:%May:%st 12MayGMT+0000

Wallace Memorial Presbyterian Church USA in Greentree (suburb of Pittsburgh) seeks an organist/pianist for Sunday morning worship and Wednesday evening choir rehearsals. This is a salaried, part-time position. Candidates responsibilities will be to provide organ and/or piano music during services of worship and other services requiring music. Candidate will be comfortable with both the organ and piano and have an acceptable blend of traditional and diverse music. Other services during Christmas and Holy Week as required. Organist will be given first refusal for weddings and funerals and works in cooperation with the director of music.

Job Requirements

Have a B.S. or B.A. in music with a focus on organ preferred.
Experience serving as an accompanist to a choir or other choral group that requires a conductor.
Be equally comfortable providing accompaniment on the organ or piano

The following clearances are required for employment:

Pennsylvania State Criminal History record #34
Pennsylvania Child Abuse History Clearance #33

Interested parties may submit a resume and cover letter via email to: WallaceOrganist@gmail.com

or via postal mail: Attn: Organist Search Committee, Wallace Memorial Presbyterian Church, 1146 Greentree Road, Pittsburgh, PA 15220.

The Pennsbury Community Chorus looking for singers

James D. Moyer — %pm, %31 %b %2013 %12:%May:%st 12MayGMT+0000

The Pennsbury Community Chorus, a friendly, adventurous, and supportive chorus of talented members, welcomes volunteer and professional singers into its membership. As a member of The Pennsbury Community Chorus, you will have the chance to learn and sing glorious music, to improve your vocal skills, and to make a difference both on the stage and within our wonderful musical community of Bucks County, PA and Mercer County, NJ.

The Chorus rehearses on Monday evenings from 7:30 - 9:00 pm at Pennsbury High School in Fairless Hills (Bucks County), Pennsylvania. The season runs from September - May with concerts in December and May.

For more information visit our website at: www.pennsburycommunitychorus.org

or email us at: pennsburycommunitychorus@yahoo.com for more information on auditions and schedule for the 2013-14 Season.

ACDA Again Dodges Damage

Scott Dorsey — %am, %01 %b %2013 %03:%Jun:%st 3JunGMT+0000

May 31, 2013, 10:00 p.m. CDT. For the second week in a row, devastating weather has pummeled Oklahoma City, home of the National Office of the American Choral Directors Association. At this time, the ACDA staff are all well and the facility is undamaged. We appreciate the many texts, e-mails, and calls received from our friends in the choral community.

ChoralTech: Storing (and Moving) Big Audio/Video Files

Jeff Tillinghast — %pm, %31 %b %2013 %13:%May:%st 13MayGMT+0000

E-mail is a great tool for sending text and documents to each other, but before too long, you'll run up against one of its limitations: you can't send big files with it. For most users, that's not a huge issue, but when we want to send large bits of audio or video to our musicians, we can get in trouble pretty quick. Gmail, for example, has an attachment size limit of 25 megabytes (MB), which will buy you just over 2 minutes of CD quality audio, or only a handful of seconds of HD video. If we're sending high-quality examples out to our ensemble or accompanists, this clearly isn't going to work. We need an alternative to send out multimedia. Enter two options: File compression and cloud storage.

Take the Air out of the Bag of Chips: File Compression

An easy way to save a little space is to compress a file. Think about the last bag of chips that you opened (if you're not a chips fan, try cereal instead): remember how much of that bag seemed to be taken up with air? If you squeeze the air out and reseal the bag, it would be much smaller. File compression works on the same principle. While computers do a pretty good job of using space efficiently, we can remove bits of code that are unnecessary and end up with smaller files. It's pretty easy to compress files into one of the common compressed (or "archived") file types: .ZIP or .RAR are the most common. You can do a quick search for "How to compress files" to learn how to do it with the operating system that you have on your computer.

The only problem is that audio and video files don't have a lot of fluff in them. Compared to some file types, you're not likely to save the kind of space that would make a difference with e-mail. If you're close to the attachment limit for your e-mail and just need a little squeeze, compression might get you there. For something larger, though, let's try a different method.

It's Raining Media! (In the Cloud)

"The cloud" is a generic term for high-capacity storage that is accessed over the Internet-- in other words, lots of space that can be accessed from anywhere. When you need to get large files out to someone (or a group of someones), the cloud can be a free and easy way to drastically increase your sending capacity. Services like Google Drive (using your existing Gmail or Google Account), Dropbox or Microsoft SkyDrive all give you free storage to a point and let you upload files to a folder that you create. This works just like folders on your computer, and as a matter of fact, each of these have an application that you can use to create a real folder on your desktop that will automatically send files to the cloud account for you.

But once they're there, what do you do with them? Once you have uploaded a file, either through one of these applications or the website for the service, you can choose to share the folder with anyone that you wish. If you know that you send lots of audio or video to your ensembles, you can create a folder and share with all of your musicians and upload files throughout your concert season. They can then download them to their own computers and do with them as they will. This is great if you plan on sending many files over a long period of time, but it does require a little setup to use.

The second option is to use a mailing service such as WeTransfer. If e-mail is like the mail carrier for letters, consider WeTransfer your UPS/FedEx/DHL-- this is the shipper for your major packages. Again, it's a free service, and it also requires no registration. For files up to 2 gigabytes (GB), you can enter your e-mail, the e-mail of whoever you wish to send the files to, and push the button. All of your recipients will get a notification that they can download the file when they're ready.

The Right Package for the Right Content

Neither of these options are going to replace e-mail, but e-mail just isn't the best solution for moving big things like audio and video. As we get more storage and transportation methods, it'll be easier to move huge amounts of data (without having to resort to those all-night CD burning parties for practice tapes). Use one of these options to make it easier to send out the examples that you want to share with your group!

SATB color songs

Eileen Lettick — %am, %31 %b %2013 %00:%May:%st 0MayGMT+0000

Can anyone suggest some SATB songs with colors in the title or in the songs? I know there are many color songs out there, but I'm looking for ones that sound good done with mixed male and female voices. Thank you

Teach Voice in China

Dale Voelker — %am, %31 %b %2013 %00:%May:%st 0MayGMT+0000

There may be an opening for a young female voice teacher teaching private voice at SIAS International University in Henan Province, for Fall 2013. Masters in Vocal Performance required.

Language skills in Italian/German/French are a necessity. Reply privately to d_voelker@hotmail.com

New Tradition Chorus presents "Bandstand Boogie"

Joseph Schlesinger — %pm, %30 %b %2013 %21:%May:%th 21MayGMT+0000

When:

* 2:30 p.m. Saturday, June 8

* 8:00 p.m. Saturday, June 8

* 2:30 p.m. Sunday, June 9

Where:

Watson Auditorium, Glenbrook South High School, 4000 West Lake Avenue, Glenview, IL

Who:

* The award-winning New Tradition Chorus, directed by Jay Giallombardo

* Shades of Jade (current Sweet Adelines International Region 14 Champion Quartet)

* Economies of Scale

What:

Mostly oldies from the '50s, '60s, & '70s performed in exciting four-part a cappella harmony:

- Bandstand Boogie

- '50s Medley

- Daydream

- Lady Madonna

- All the Gold in California

- Unchained Melody

- Jersey Boys Medley

- King of the Road

- Monday, Monday

- Happy Together

- Irish Montage

- Little Bit of Heaven (Sure They Called It Ireland)

- Smile Medley

- Over the Rainbow

- Wind Beneath My Wings/You Raise Me Up

(All arrangements by Jay Giallombardo, except for "Happy Together," arranged by Kristi Carlson & David Wright)

How Much/How to Order:

All seats reserved; ticket prices range from $9 to $20.

(Discounts available for groups of 10 or more.)

Order online at http://www.newtradition.org or by phone at 800-746-9246.

Incidentally, our Facebook fan page is at http://www.facebook.com/events/525535264152032/ & our event page is at http://www.facebook.com/newtraditionchorus . You're welcome to visit.

Why:

Because you enjoy choral music when it's performed with energy & artistry.

Accompanist for Private School Vocal Music Dept.

Kevin Babuder — %pm, %30 %b %2013 %20:%May:%th 20MayGMT+0000

Chadwick School, a private K-12 independent school located in Palos Verdes Peninsula, is seeking a part-time hourly accompanist for the Vocal Music Program for the 2013-2014 academic year. Qualified applicants will have experience as a choral accompanist; be accomplished as a sight-reader; able to perform intricate choral music as well as lead sheets and broadway style for our musicials. The Vocal Music Program encompasses the Middle School (7-8th) through Upper school (9-12th) programs. A winter and spring concert as well as other informal performances. The ability to lead sectionals and teach choral parts is necessary. Currently the accompanist is needed Tues-Thurs part time.

If interested please send resume to Kevin Babuder at: kevinbmusic@me.com

Recording or Track of "50th Annual Polk County Picnic"

Douglas Weeks — %pm, %30 %b %2013 %20:%May:%th 20MayGMT+0000

This children's musical was published in 1990. I have books but no recording

50 SATB copies of "Testament of Freedom" (Randall Thompson) wanted

Douglas Weeks — %pm, %30 %b %2013 %20:%May:%th 20MayGMT+0000

Item: 50 SATB copies of "Testament of Freedom" (Randall Thompson)

Composer/Arranger/Edition: E.C. Schirmer

Starting: Aug 1

For: Nov.11

Copies: 50 if oossible

Willing to rent: Yes

Susquehanna Chorale Holding Auditions for 2013-2014 season

Jason Snyder — %pm, %30 %b %2013 %18:%May:%th 18MayGMT+0000

The Susquehanna Chorale, a nationally recognized choir led by Elaine Brown Award-Winner Linda Tedford, will be holding auditions for ALL voice parts on the following dates:

Monday June 3rd, 6:30pm-9pm: Trinity Lutheran Church - Hershey, PA

Monday June 10th, 6:30pm-9pm: Trinity Lutheran Church - Hershey, PA

Singers should bring two prepared pieces, one in a foreign language. An accompanist will be provided. Singers will be asked to sight-read briefly.

All auditions are by appointment only. Please call the Susquehanna Chorale office at (717) 533-7859 or email the Chorale (sc@susquehannachorale.org) for additional information or to schedule an audition.

Join the Chorale for an upcoming season that includes performances with Messiah College Concert Choir and the Harrisburg Symphony Orchestra. The season includes performances with the Susquehanna Children's, Youth and Young Women's Ensembles, A Candlelight Christmas, Mendelssohn's Elijah and a spring concert filled with Celtic singing, dancing and celebration!

Find the Susquehanna Chorale on Facebook, Twitter, Spotify and YouTube for additional information:

Facebook: https://www.facebook.com/Susquehanna.Chorale

Twitter: @SusqChorale

YouTube: http://www.youtube.com/user/SusquehannaChorale

Website: http://susquehannachorale.org/

Choral and Bell Choir Director

Linda Hicks — %pm, %30 %b %2013 %18:%May:%th 18MayGMT+0000

Acton United Methodist Church in Indianapolis, IN is looking for a Choir Director. Oversee Children, Chancel and Bell choirand perform two Sundays per month for services (more during Christmas and Easter weeks) for a 9 month season. Work in collaboration with minister and Music Director to select music and practice once per week during the season. First performance is: September 15th. Any questions, call 317-862-2588 or email Linda at lhicks@myaccountantpat.com. We will be accepting apllications through noon on June 30, 2013.

Please Send resumes to Linda at lhicks@myaccountantpat.com or mail to:

Acton United Methodist Church

Attention: Linda L Hicks, SPPRC Chair

5650 Senour Road

Indianapolis, IN 46239

Second Soprano section leader - Beginning Fall 2013

Diane D. Caruso — %pm, %30 %b %2013 %18:%May:%th 18MayGMT+0000

Trinity Episcopal Church in Asbury Park, NJ (on the Jersey Shore) is looking for a soprano section leader willing to sing second soprano when repertoire divides. Solo opportunities available, but the majority of the work will be choral and supportive of the greater ministry of the choir and church. Excellent sight-singing needed. Position begins in September 2013. Sunday morning only - rehearsal begins at 8:15 AM, one service at 10 AM, followed by another short rehearsal until 12:15 PM. $100/week. Contact Diane Caruso, Director of Music at music@trinitynj.com.

West Side Story cultural issue

Jennifer Forness — %pm, %30 %b %2013 %16:%May:%th 16MayGMT+0000

My advanced high school choir is doing a West Side Story medley of "I Feel Pretty," "Cool," and "America." I have a student of Puerto Rican background who hates the show and doesn't like to rehearse the music. She feels that the show is "racist" and does not portray her cultural in a postive or correct way. I think we can all agree that the show has sterotyping in it but that it's a landmark show with great music. What suggestions do you have for helping her to feel better about the show and the music? I want to honor her concerns and not trivialize or patronize them. I'm particularly interested in hearing from other folks with a Puerto Rican background who may be better able to understand her or help me to better understand her concerns. Thanks!

Teacher Resource Books

Ciara Hargrove — %am, %30 %b %2013 %11:%May:%th 11MayGMT+0000

Hi, all

I am looking for teacher resource books which may discuss vocal technique used in chorus, vocal technique in general, choral repertoire, etc. I have Choral Musicianship: A Director's Guide to Better Singing but I'm looking for more.

Anything choral and voice related. Even something about anatomy of singing.

Thanks

~Ciara

Substitute needed in Dallas

James Loeffler — %pm, %30 %b %2013 %15:%May:%th 15MayGMT+0000

Looking for a substitute at King of Glory Lutheran for June 30.

8:15 & 11:00 traditional services

Currently using Marty Haugen’s “Now the Feast and Celebration” liturgy

No choir

Rosales Op. 17, 3 manuals, 32 stops, 48 ranks

Compensation above AGO guidelines

Contact jloeffler@kingofglory.com

Paid Singers for One Concert

Joe Mendolia — %pm, %30 %b %2013 %13:%May:%th 13MayGMT+0000

The Plant City Community Choir produces an annual Christmas concert that features over 100 singers and a 50 piece orchestra. Musical selections include, but are not limited to:

1. A Musilogical Journey Through the Twelve Days of Christmas

2. Sing We Now of Christmas

3. Merry Christmas, Merry Christmas (from Home Alone 2)

4. The Hallelujah Chorus

and much more.

For this concert, we hire 8 vocalists to form an octet. Each vocalist in the octet has a solo along with semi-chorus sections that interplay with the mass choir.

Please Bring:

Current headshot and performance resume

Auditions: Saturday, June 22 from 1:00-3:00pm

Location: Shiloh Baptist Church in Plant City, Florida

*Singers should prepare 16 measures of a song of their choice. Provide clearly marked sheet music for the accompanist, or bring your own. Pre-recorded tracks are NOT allowed. A cappella auditions are discouraged.

Call Backs: Saturday, August 17 from 1:00-3:00pm

Location: Shiloh Baptist Church in Plant City, Florida

*Singers who are offered a call back will need to learn and memorize a choral selection we send. Call Backs will be judged on musicianship and stage presence.

Compensation: Up to $200 depending on audition and resume.

Commitment: One rehearsal per month for about 2 hours from August-December

Concert Date: Saturday, December 7, 2013 at 7:30pm

Auditions for Choral Scholars

Marilyn Biery — %am, %30 %b %2013 %11:%May:%th 11MayGMT+0000

The Choral Scholar program at Metropolitan United Methodist Church is now holding auditions in all voice parts for the 2013-2014 year. Rehearsals are Thursday evenings September through May from 7-9 for the Chancel Choir with a 6:15 start time for the Women's Ensemble. Sunday morning service is at 11 with a 10 am call time. The Scholars are responsible for leading the section, as well as for solo work and concerts throughout the year. For other information about stipend, schedule and expectations, contact Marilyn Biery, minister of music, at mbiery@metroumc.org or (313) 875-7407 x. 336.

PERSPECTIVES 2013 – JOIN US IN SANTA FE!

Eddie Quaid — %pm, %30 %b %2013 %15:%May:%th 15MayGMT+0000

Perspectives 2013: Join us in Santa Fe for exciting workshops and reading sessions featuring Simon Carrington, Josh Habermann, Bradley Ellingboe, Kent Hatteberg, Robert Simpson, and Gary Schwartzhoff. Presented by: Alliance Music Publications, Hinshaw Music, Oxford University Press, and Walton Music

Tickets are also available for the SANTA FE DESERT CHORALE and THE SANTA FE OPERA!!

For information: http://perspectiveschoralworkshop.com/

Join Ellingboe for the European Premiere of "Star Song!"

Kalin Tchonev — %pm, %30 %b %2013 %14:%May:%th 14MayGMT+0000

To view more information about the festival itinerary, please visit: http://varnainternational.com/festivals/10-day-festival-tour-london-bath-and-cotswolds-uk

This is an edit. Please do not delete this repost

Plant City Community Choir: A Look Back

Joe Mendolia — %pm, %30 %b %2013 %14:%May:%th 14MayGMT+0000

The Plant City Community Choir is celebrating its 5th birthday! Founded in September of 2008, this coming June marks the end of our 5th concert year. To celebrate, we have chosen music that has made an impact on our ensemble. From the first piece the public ever heard us sing, to the first piece we ever performed on television, this concert will be a fun, exciting, and heartfelt thank you to our loyal audience.

Please join us on Saturday, June 1, 2013 at 7:30pm at Eastside Baptist Church in Plant City, Florida.

Tickets are $5 in advance at www.pccommunitychoir.com/tickets.php

or $7 at the door!

WHEN THE MOUNTAIN CHANGED ITS CLOTHING by CARMINA SLOVENICA

sabina sneider — %am, %30 %b %2013 %06:%May:%th 6MayGMT+0000

HOLLAND FESTIVAL, AMSTERDAM

25.6.2013

26.6.2013

http://www.hollandfestival.nl/en/program/2013/when-the-mountain-changed-its-clothing/

WHEN THE MOUNTAIN CHANGED ITS CLOTHING by CARMINA SLOVENICA

sabina sneider — %am, %30 %b %2013 %06:%May:%th 6MayGMT+0000

KUNSTSPIELE FEST HERRENHAUSEN, HANNOVER

21.6.2013 Orangerie

http://kunstfestspiele.hannover.de/Programm/Veranstaltungen/HEINER-GOEBBELS-WHEN-THE-MOUNTAIN-CHANGED-ITS-CLOTHING2

DVERI by CARMINA SLOVENICA

sabina sneider — %am, %30 %b %2013 %06:%May:%th 6MayGMT+0000

"Music making the inaudible song of angels around the God's throne audible to us"
DVERI
a concert of Orthodox church music
30th of May 2013 at 19.30
Serbian Orthodox church in Maribor

Music: A. D. Kastalsky, S. V. Rachmaninoff, S. S. Mokranjac, M.Tajčevič, Kassia, Russian, Bulgarian, Ukrainian, Greek and Georgian chants

"We have to experience beauty. Not only what we see, but also what we hear. If we, blessed by God, reach the paradise, what we see and hear will be more beautiful than any of our greatest hopes and expectations."

Performing:
Carmina Slovenica
Karmina Šilec

CJ Replay: The Canzonets of Giles Farnaby

Scott Dorsey — %pm, %16 %b %2013 %20:%May:%th 20MayGMT+0000

(An excerpt from the Choral Journal article, “The Canzonets of Giles Farnaby,” by James McCray.)

Giles Farnaby was born about 1565 although the actual date is not known. Because his music does not occur in The Triumphs of Orialla, many scholars believed his death to be about 1600, but recent investigation puts it much later, probably around 1630. Barnaby received a Bachelor of Music degree at Oxford in 1592. His last known musical compositions date from 1625, but they are not complete. As a writer for the virginal, his work was of a high standard and amount with almost fifty separate pieces. Yet, Thurston Dart correctly pointed out in the 1962 revision of Fellowes' edition (1), that the quality found in the music of Giles Farnaby may be attributed to his "freshness and gusto" rather than his technical skills.

Possibly his most important set of music was his Canzonets to Four Voices, published in 1598. There are twenty canzonets whose texts speak on various situations of love and/or passion. Some of the stylistic characteristics of Farnaby's canzonets are his lack of concern over the use of parallel fifths, octaves, etc.; his sometimes striking use of chromaticism; and his frequently complex rhythmic designs.

Certain characteristics may be observed in the twenty cazonets of Giles Farnaby:

1. Lack of solid technical writing skills typical of other contemporaries.

2. Inventive and fresh settings.

3. Consistent use of imitation.

4. All had four voices but the exact classification varies.

5. Wide ranges occur, especially in inner voices.

6. Most canozet settings are brief.

7. Chromaticism abounds.

8. Texts concern love (passion).

9. Syllabic setting of text dominates.

10. Text (word) painting moderately employed.

Intonation XI - Tonal Memory--A Two-Edged Sword

Richard Sparks — %pm, %29 %b %2013 %23:%May:%th 23MayGMT+0000

John Goldsmith's two guest posts (here and here) demonstrate a wonderful way to train your choirs to remember and audiate patterns, shifts of tonality, accurate half and whole steps, scales, etc. He creates ways to train the tonal memory in a positive way, which will help your choir in reading as well as to sing better in tune. It's a learnable skill.

Tonal memory can work against us as well, however. Singers have impressive abilities to memorize where pitches are.

On the positive side, Robert Fountain used to do an exercise in tonal memory with an Eb Major chord (from the bottom up: root, 5th, root 3rd), asking his choirs to be able to produce it from memory at any time. I've known other conductors who've worked on that kind of memory (not perfect pitch, but to develop a memory for a particular chord or pitch).

When I'm working on a piece intensively, I almost always find that if I don't think about it, but simply begin singing it, I'm almost invariably in the correct key (I don't have perfect pitch). My choirs can often do this as well.

But it also takes little time to memorize pitches incorrectly. An example:

With my PLU choir I did John Gardner's wonderful and dramatic, A Latter-Day Athenian Speaks (published by Oxford, now available only on rental, it's a fabulous--and difficult--a cappella setting ca. 13 minutes long). We'd been working on it, preparing for a January-Term tour to the mid-west and east coast. The end of the piece has a dramatic double-choir fugue and, even though we'd been singing it well in tune through the rehearsal process, when we got to the first performance, the choir (with all of the energy and excitement that goes with a first concert) drove that section of the piece a half step sharp. After that, we always sang it sharp. I'd rehearse it with some reference pitches from the piano and they'd lock it in, but in concert they'd be a half step sharp within very few bars. In essence, they now memorized going sharp there, heard the opening of the fugue that way, and no matter what I did, that's what was going to happen.

The power of tonal memory is just that strong.

It's one of the reasons that you have to be very careful not to allow your choir to flat or go sharp early in the learning process--it quickly becomes a part of how they hear the music and tonality. It's a reason to listen carefully early in the process. It's also why rehearsing well, not trying to do too much too soon, or using Robert Shaw-style countsinging/rehearsal techniques, etc., can make a huge difference in whether your choir stays in tune or goes flat (more usual than sharp, of course).

It's also the reason why, if your choir has been going flat in a particular key, if you suddenly raise the pitch by a half-step, they may be able to keep it in tune: you've moved out of the tonality where they've memorized going flat. They can now approach it with a fresh sense of where those pitches belong.

It's not about listening! Sometimes we say, "Listen!" . . . well, how could they go a quarter-step flat, exactly together, unless they were listening to each other?!

I'll write next about some ways to rehearse to avoid these kinds of problems. The use of the piano in rehearsal is a part of that.

There is, of course, more to say about intonation, but I won't go on posting too much longer about this topic. If you have specific intonation issues you'd like me to address, drop me a line (you can google my address at UNT or write through ChoralNet) and let me know what you'd like to ask. I have a few more things to write about intonation as well.

And looking ahead, let me know if there are other topics of interest for a blog series after the summer break.

My own blog has some earlier posts on programming, working with orchestra, etc. You can find it here: http://richardsparks1.blogspot.com/, and you can look at the list of blog posts by topic on the right hand side of the blog.

Until Saturday!

Medieval/castle/show stopper?

Tina Harris — %am, %30 %b %2013 %01:%May:%th 1MayGMT+0000

So did that title get your attention? Here's the situation: First concert of the school year in the fall (girls high school) - we have 4 weeks to put together what we call our "Season Sampler" - each performing group performs one piece (dance, theater, orchestra, choirs) for their parents to start off the year (it's also an opportunity for parents to sign up for volunteering, etc...). Our stage will be set with a castle (we're doing Once Upon a Mattress) so we've all decided to do something that would be fitting of the stage set. I have my beginning group singing a fun, upbeat song from the movie "Brave" - I might even add a few Irish dancers (yes I know the movie takes place in Scottland). So what do I have my advanced choir sing? I was thinking something from Anuna or Celtic Women, but nothings feeling just right. We only have a few weeks to put it together so it can't be too complicated, but it needs to be powerful enough to make an impression on it's own (no added bells and whistles).

I'd love some suggestions. Thanks.

Rarely performed pieces

Alan Davis — %pm, %29 %b %2013 %23:%May:%th 23MayGMT+0000

Hello Friends & Colleagues -

I am seeking to put together a program of Renaissance and Baroque choral music that features rarely performed pieces of high quality music for a vocal ensemble of 10-12 singers. Any pieces in 4, 5, or 6 vocal parts would be great.

If you know of any pieces that would fit the following criteria, please let me know:

4, 5, or 6 parts

Music composed between 1400 and 1750.

English, French, Gaelic, German,Italian, and Latin.

Suggestions of pieces composed by the famouse Renaissance/Baroque composers are welcomed, just not their famous pieces, for example; Palestrina Sicut Cervus or William Byrd Mass for Five Voices or Tallis If Ye Love me or Lamentations of Jeremiah.

Thank you for your suggestions.

All the best,

Alan Davis

atdchoral.com

gradmusic.org

Rivertree Singers at Spoleto Festival USA 2013

Eliezer Yanson — %am, %30 %b %2013 %01:%May:%th 1MayGMT+0000

Warren Cook, director

Jean Cook, accompanist

Sunday, June 2, 2013; 2:00 PM

St. Philip's Episcopal Church

142 Church Street, Charleston, SC

$11

Tickets may be purchased here.

The Rivertree Singers are alumni of collegiate choral organizations who love living and working in Greenville, SC, who share a passion for choral performance, and who believe that the chief end of man is to glorify God and enjoy Him forever.

Warren Cook has studied at Bob Jones University, Westminster Choir College, and earned the DMA in choral conducting at the University of South Carolina. He is the Director of Choral Activities at BJU where he conducts the Chorale and the Chamber Singers, the University’s two premiere choral organizations. Additionally, Warren teaches undergraduate and graduate music courses, trains opera and oratorio choruses, conducts choral-orchestral performances, serves as Pastor of Worship at Heritage Bible Church in Greer, and is director of Greenville SC’s newest community choral ensemble, Rivertree Singers. His choirs have performed at the World Choral Festival in Seoul, Korea and at MENC and ACDA events.

Program:
Halle, Halle, Halle.......................................Traditional Caribbean; Arr. Bell, Maule, and Haugen
O filii et filiae..............................................Leisring; Arr. Hoggard
Ave verum corpus.......................................Byrd
Jubilate Deo...............................................Anglea
Serenity (O magnum mysterium).................Gjeilo
Newtown Psalm..........................................Hudson
as is the sea marvelous................................Whitacre
Where Go the Boats?...................................Forrest
The Road Home..........................................Paulus
O Whistle and I'll Come To Ye......................Scottish Folksong; Arr. Wilberg
She's Like the Swallow.................................Canadian Folksong; Arr. Chilcott
Zion's Walls.................................................Adpt. Copland
Great Day....................................................Spiritual; Arr. Helvey
I'm Gonna Sing When the Spirit Says Sing.....Spiritual; Arr. Helvey
Ride On, King Jesus.....................................Spiritual; Arr. Hogan

Personnel:

Soprano: Abbi Belcher, Beth Bernard, Julianne Brown, Laura Brundage, Lydia Danley, Nikki Eoute, Jennifer Hoelscher, Heather Huron, Kaitlynn Tompkins, Martha Yanson; Alto: Charise Guidinger, Rachel Dahlhausen, Joyanna Hancock, Molly Ijames, Rachel Sanders, Heather Stanley, Staci Willis; Tenor: Kevin Delp, Tim Eidson, Jay Hancock, Brian Pinner, Michael Pope, Will Robinson, Jared Stanley, Eliezer Yanson Jr.; Bass: Peter Anglea, Steven Brundage, Troy Castle, Emmanuel Daniel, Aaron Dierking, Philip Eoute, Joey Hoelscher, Jonathan Moore, Tim Morgan

http://www.rivertreesingers.com

Mendelssohn's "Elijah," June 4th, UCLA

Kanwal Sumnani — %pm, %29 %b %2013 %21:%May:%th 21MayGMT+0000

UCLA Chorale/University Chorus/UCLA Philharmonia

Choral Masterwork: Mendelssohn’s "Elijah," Op. 70

Michael Dean, baritone (UCLA music dept. chair) 

Maria Fortuna, soprano 

Juliana Gondek, mezzo soprano

Todd Strange, tenor 

Donald Neuen, conductor

Royce Hall, 8:00 PM

A very dramatic oratorio on the life of the Old Testament prophet Elijah, by Felix Mendelssohn, will be performed by more than 200 singers of the UCLA Chorale and University Chorus, the UCLA Philharmonia, and guest soloists.

Tickets: $25; $15 for UCLA faculty & staff and any student (with a student ID)  Tickets may be purchased at the door, online here , or by calling UCLA's Central Ticketing Office at 310-825-2101.

This concert is possible due to the generous sponsorship of Malwarebytes, Inc. and UCIRA

Poster created by May Claire La Plante, the Publicity Chair for UCLA's Student Chapter of the American Choral Directors Association

Romanian Christmas Carols?

Nathaniel Lew — %pm, %29 %b %2013 %20:%May:%th 20MayGMT+0000

Does anyone know where I might find choral scores of Christmas carols in Romanian? I have a Romanian speaker in my collegiate chorus and would love to take advantage of the opportunity. I am looking for SATB music; the very few things I can find even referred to online are all SSA. A cappella is fine if the writing is not too hard, or with piano/organ accomp. Suggestions of settings of Romanian folksongs (not for Christmas) for the same forces would be welcome as well. Thanks.

Choral and Bell Ensemble Director

Mark Dumas — %pm, %29 %b %2013 %20:%May:%th 20MayGMT+0000

The United Methodist Church of Wentzville is looking to hire a part time music director (15-20 hrs per week) to lead our adult choir and three bell ensembles (adult, youth and children). Wentzville United Methodist Church is located 30 miles west of St. Louis, MO off of I70. The congregation is mid sized with two services: traditional and contemporary. Compensation is commensurate to experience and background. Starting date is August 1, 2013.

Please contact: Rev. Mark Dumas (636)327-6377

Part-time Youth and Childrens Choir Director

Brett Robison — %pm, %29 %b %2013 %20:%May:%th 20MayGMT+0000

Paradise Valley United Methodist Church has an opening for a Youth and Children's Choir Director Position. We want to fill this position by August 1, 2013. PVUMC is located at 4455 East Lincoln Drive, Paradise Valley, AZ 85253. All resumes and/or questions should be emailed to me: brett@pvumc.org.

Here is the job description:

Youth and Children’s Choir Director

Position Summary:

Responsible for rehearsing and directing the Youth Choir (grades 7-12) and Children’s Choir (Grades 1-6) as well as assisting in the development, direction, and implementation of the overall Youth, Children’s, and Music Ministries at PVUMC.

Responsibilities:

Coordinate with Music Director, Senior Pastor , Youth Director, Children’s Director, and Organist/Pianist to schedule choir events, dates the groups would sing in worship services, and larger church events that the children and/or youth choirs would be participants.
Selection of appropriate music for the choirs while considering worship themes and the age/ability of singers.
Communication with families of the singers in these choirs of the expectations and schedules of rehearsals and times they sing in worship and/or other church events.
Support the Worship, Music, and Fine Arts team by attending meetings and concerts when available.
Recruit for these choirs by coordinating with our Marketing Director, attending events with children and youth, and using any other creative ideas to make these choirs attractive to our young singers.
Rehearse the Youth Choir (Sunday 4-5pm) and Children’s Choir (Sunday 10:30-11:00am) on a weekly basis from mid-August through the end of May.
Prepare the Youth Choir and Children’s Choir to sing in worship services on an average of once a month.
Plan, Organize, and Lead a yearly weekend trip/tour for the Youth Choir that includes music ministry opportunities in churches/retirement communities. There would also be a “Tour Preview Concert” given by the Youth Choir for our congregation that would include the music they would sing on tour. (The tour usually takes place over Memorial Day weekend.)
Other responsibilities as requested by the Music Director dependent upon your qualifications and interest.

Skills Required:

Evidence of ability to participate in a team environment
Strong communication skills with children and adults
Ability to conduct music of varying genres.
Organizational skills required

Qualifications:

Bachelor’s Degree in Music.
Experience working with young singers (children and youth.)

Compensation:

Commensurate with experience

Additional Job Information:

Part-time salary position.
Would consider candidates that only want to direct either the Youth or Children’s Choir.

Thank you,

Brett Robison, Director of Music and Arts Ministries

brett@pvumc.org

The National Children’s Chorus Performing Finale Concert "Americana" June 14 at the Broad Stage

Karin Olsen — %pm, %29 %b %2013 %20:%May:%th 20MayGMT+0000

The National Children’s Chorus Performing Finale Concert "Americana" June 14 at the Broad Stage

June 8 the Junior Division to perform The Spring Showcase at St. Paul the Apostle Church

LOS ANGELES – America's leading youth choral institution, the National Children’s Chorus (NCC) has two performances in Los Angeles in June. One of the most highly anticipated shows of the year and the season finale is Americana at the Broad Stage June 14 at 7 p.m. The Spring Showcase, featuring the NCC's junior division, is June 8 at 2 p.m. at St. Paul the Apostle Church.

Americana, which the NCC is fittingly staging on Flag Day, celebrates the greatest music of Americans, tracing the influence of American compositional technique from the start of the last century into the present day. The evening will feature the rousing music of Copland, Gershwin, and Ives paired with contemporary works by some of the late 20th-century's most renowned composers. The NCC is also presenting a world premiere by the Grand Prize Winner of the 2012/13 NCC Broad Stage Composition Competition.

Featuring the NCC's junior division, the Spring Showcase is one of two each year and highlights the students ages 5 - 12 from beginner to advanced level. Appearing in six ensembles, the showcase gives these younger performers, relatively new to the stage, an opportunity to demonstrate their skills.

Referencing the final two performances of the season, NCC's artistic director Luke McEndarfer said, "Each June our students wow the audience with their talent and showmanship. While audiences are often surprised at the high performance levels of each group, parents watch the progress throughout the year. They witness their children blossoming under the full spectrum of the NCC's educational structure builds skill AND confidence. We pride ourselves on having a loving and supportive environment designed to develop the child as a person as well as an artist. Our year-end shows are terrific showcases for this."

Tickets for the "Americana" performance are sold out. Tickets may become available via waitlist by calling the Broad Stage box office at 310-434-3200. Tickets for The Spring Showcase are $25, $45 and $65 and are available through the NCC site.

McEndarfer and associate artistic director Dr. Pamela Blackstone will conduct "Americana" and will be joined by guest conductors for The Spring Showcase.

With a set of ensembles in Los Angeles and New York, the NCC trains students from more than 60 schools in each city who meet weekly for rehearsal and musicianship study. In residence at The Broad Stage in Santa Monica, the NCC is one of a few youth arts organizations in the world to have its entire concert season presented by a professional concert hall. This is the fourth season at The Broad Stage and the second in New York. The 2012/2013 season is entitled “Traditions,” presenting an eclectic array of musical styles, drawing on American cultural roots.

# # #

Contact: Karin Olsen / karin@amazonmarketingpartners.com / 310-497-0052

Quintessential a cappella pieces?

Conor Evans — %pm, %29 %b %2013 %18:%May:%th 18MayGMT+0000

Hi all,

I'm a contemporary music student whose recently discovered a love for a cappella choral pieces, but my knowledge of such pieces is particularly limited, due to not really having a strong background in classical music. I'm looking for some recommendations of pieces to help broaden my spectrum and choralnet seems to be one of the best resources online, though I apologise if this has been posted in the wrong sub forum. But would any of you be able to help me? Any genres/periods, etc. I'm particularly enjoying Tavener's work at the moment if that's of any use.

Thanks for your time,

Conor.

Waldorf School Middle Grades Choir Director and General Music Teacher

Gita Labrentz — %pm, %29 %b %2013 %18:%May:%th 18MayGMT+0000

The Westside Waldorf School in Pacific Palisades, California, is offering a part-time position for a trained musician with classroom teaching experience for the 2013/2014 school year. Teaching duties entail directing the combined middle school Choir, (grades 6 – 8), 2 times weekly. The position could potentially be expanded into that of Music Director who would help to develop the music program at our school, supporting the curriculum by building the song repertoire of all elementary grades 1 – 8, as well as teaching pentatonic flute and recorder.

Candidates must be willing to develop their knowledge of Waldorf education, particularly their understanding for what musical repertoire is appropriate at different developmental stages. A degree in music is expected. Waldorf certification is a plus.

Other expectations include supporting the rehearsal of music for festivals and class plays.

Some teaching of strings may also be available

The Westside Waldorf School hosts Grades 1-8, four Nurseries, four Kindergartens, two Parent-Child Programs and an Infant/Parent Program. The Grades Program includes Eurythmy, Spanish, Japanese, Handwork, Strings, Music, Woodwork, Games, a Stewardship Program, After School Sports, and an Aftercare Program. The Westside Waldorf Educational Community is made up of families, teachers and staff members with a wide variety of life experiences and geographic, ethnic, and cultural backgrounds. This diversity is central to the hosting of the many perspectives that Westside strives to foster in a Waldorf community.

To apply please send your resume, along with a cover letter and references to Gita Labrentz, e-mail: gita@wswaldorf.org

Westside Waldorf School, 17310 Sunset Boulevard, Pacific Palisades, CA 90272, 310.454-7064
Waldorf Early Childhood Center, 1441 15th Street, Santa Monica, CA 90404, 310.260-2708
www.westsidewaldorf.org

Paid Choir Section Leaders

James Biery — %pm, %29 %b %2013 %17:%May:%th 17MayGMT+0000

Grosse Pointe Memorial Church in Grosse Pointe Farms, Michigan, is currently auditioning singers for paid choir section leader/soloist positions for the 2013-2014 season, September 2013 through August 2014. The schedule includes Thursday evening rehearsals from 7:15-9:15 and Sunday morning services at 9 and 11 am with warm-up beginning at 8:15, as well as services during Christmas, Holy Week and Easter, and other services and concerts. Qualifications include the ability to lead the section vocally as well as by example, and the ability to sing solos as requested by the director; other essential aspects of the position include punctuality for all appearances and a commitment to the weekly schedule as well as the ability to be present for Christmas, Holy Week, Easter and other special services. The choir sings a wide variety of sacred choral literature, and presents at least two larger works each year. (The 2012-13 season included Bach Cantata 93 and Handel Chandos Anthem “As Pants the Hart.”) For more information, contact James Biery, Minister of Music at 313-882-5330, ext. 134, or jbiery@gpmchurch.org

Centennial Singers is a seeking a new Music Director

Jesse Hasty — %pm, %29 %b %2013 %17:%May:%th 17MayGMT+0000

Centennial Singers is a seeking a new Music Director. Centennial Singers performs two major concerts every year, one Christmas concert and one Spring concert. We perform several minor concerts at local businesses and retirement homes each semester and rehearse Tuesday nights during the season. Our repertoire includes both light hearted modern fare and works of the great masters. The Director is responsible for conducting rehearsals and concerts, choosing concert programs, attending monthly board meetings, auditioning choir members for placement, leading all other artistic aspects of the group, and assisting where possible with fund raising and membership activities.

The successful candidate will have:

a bachelor's degree in choral conducting or equivalent experience
at least five years’ experience as a professional conductor of a similar-scale organization
strong artistic and interpersonal leadership abilities
a passion and expertise in choral music
experience working with amateur singers

If you are interested please forward you resume and questions to me:

Jesse Hasty

ApplSpar@aol.com

Three new recordings made by Matthew Curtis (Choral Tracks)

Greg Bartholomew — %pm, %29 %b %2013 %18:%May:%th 18MayGMT+0000

After learning about Choral Tracks on the ChoralNet Composers of Choral Music forum, I recently hired Matt to make recordings of three of my pieces for which I did not yet have satisfactory recordings. For those unfamiliar with Choral Tracks, it is a business run by Matthew Curtis, a former Tenor and Assistant Music Director for Chanticleer; he provides two types of services: For choirs, he makes recordings as learning aids, and for composers he creates recordings of new works. What is amazing is that Matt records all vocal parts, and he does an outstanding job.

The amazing recordings that Matt made for me are now live on my website and I invite you to listen:

A Country Boy in Winter — a fun, rollicking piece for men's chorus (TTBB) — www.gregbartholomew.com/countryindex.html
Stoke Fleming — the first choral work I ever wrote, a meditation on rocks and waves (SATB) — www.gregbartholomew.com/stokeindex.html
The Fervid Hokey Poke — an SATB setting of the hilarious award-winning poem by Jeff Brechlin (SATB) – www.gregbartholomew.com/hokeyindex.html

Your comments are most welcome!

Love Story - Sacred love songs of the Renaissance

Eric Sorum — %pm, %29 %b %2013 %16:%May:%th 16MayGMT+0000

LOVE STORY

Sacred love songs of the Renaissance

The Hymnos vocal ensemble sings music of the Renaissance inspired by themes of love found in the Bible. Come and experience rich ensemble sounds mixed with hymns and readings to give a sweeping narrative of love and redemption.

The vocalists of Hymnos sing, and Eric Sorum conducts the works of Palestrina, Lassus, and Dowland, with a little J.S. Bach and many others. Alex Heetland on harpsichord and Bruce Jacobs on organ will be our dueling keyboardists on basso continuo and soli.

$15 suggested donation at the door. Everyone is welcome, please pay what you can!

June 9, 2013 at 5:00 P.M.
In the intimate acoustic of Our Saviour's Lutheran Church
674 Johnson Parkway
St. Paul, MN

Hymnos vocal ensemble

Eric Sorum, artistic director

Hymnos.voices@gmail.com

www.Hymnosvoices.org

About Hymnos:

The mission of Hymnos is to embed vocal music into our lives as an essence of community and spirituality. Hymnos is an art collective seeking to reshape classical and folk music, bringing listeners into close contact with renewed traditions, placing music in tangible contexts of society and faith, and always inviting listeners to sing.

Founded in 2011 by Eric Sorum, Hymnos has performed music of the Renaissance, Baroque, contemporary composition, and traditional hymnody and folk music throughout the Minnesota metropolitan area. Instrumental guests often join the choir of 8-12 mixed voices. Hymnos is available to hire for retirement centers, schools, weddings, funerals and evening church services. We are also always interested in hearing from skilled singers and other musicians who wish to audition for Hymnos. For all inquiries, please e-mail us at:

hymnos.voices@gmail.com.

Note for moderators: resubmitted for editing

St. Louis - Annual Auditions

Philip Barnes — %pm, %29 %b %2013 %14:%May:%th 14MayGMT+0000

The Saint Louis Chamber Chorus (www.chamberchorus.org) is now scheduling its annual round of auditions for the 2013-2014 season. Applications from baritones and basses are particularly welcome. All singers must audition each year for this 40 voice (modestly) paid ensemble. The SLCC presents six programs yearly, and specializes in a cappella repertoire. It is recognized as one of the longest-lived (founded in 1956) and respected choirs in the nation, and has received acclaim both in the USA and abroad for its recordings and championing of new music. Performances are given on Sunday afternoons, and the choir rehearses on Monday evenings. An explanatory leaflet about auditions is available upon request, and more information may be found on the website. To schedule an appointment, please call Executive Director, Linda Ryder, (636) 458-4343, or email

Paid Soloists (All parts) - CANTATICA CHAMBER ARTISTS

Michael Tamte-Horan — %pm, %29 %b %2013 %13:%May:%th 13MayGMT+0000

Announcing auditions for new professional solo vocal and instrumental chamber ensemble:

CANTATICA CHAMBER ARTISTS

Michael Tamte-Horan, Executive/Artistic Director and Conductor

Philadelphia, PA

Click to download audio

Solo/chamber ensemble recitals and large-scale solo/choral/instrumental concerts.

Auditions in progress and ongoing.

Rehearsals in Northern Philadelphia.

Performances in Greater Philadelphia and Eastern Pennsylvania.

Repertoire: Classical, contemporary, folk, jazz, gospel, theater and crossover.

Qualifications: Highly skilled art song singers capable of presenting exceptional, engaging performances. Flexible, well-controlled voices adaptable to various styles of music.

Paid, permanent/seasonal positions based on education, experience and ability.

Sample Programs and Repertoire, Application Form and additional information available at: www.cantatica.org.

Send resumes, photographs, recordings, web site links, application forms, and requests for additional information to: director.cantatica@outlook.com.

Great River Chorale (St. Cloud, MN) Announces Auditions for the 2013-2014 Concert Season

Deborah Ferrell — %pm, %29 %b %2013 %15:%May:%th 15MayGMT+0000

ALL VOICE PARTS ARE ENGOURAGED TO AUDITION!

ABOUT GREAT RIVER CHORALE

Great River Chorale is a select, auditioned 45-voice choral ensemble based in St. Cloud, Minnesota. The chorale rehearses Sunday nights and holds extra rehearsals prior to concerts. Members (ages 18 and up) are skilled professional and avocational musicians and choral enthusiasts who desire to sing high quality repertoire at the highest level of excellence.

Great River Chorale’s 2013-14 season will include two major choral-orchestral performances with the St. Cloud Symphony Orchestra. Great River Chorale also presents a highly anticipated annual Christmas concert that will feature John Rutter's Gloria and the Cantabile Girls’ Choir. A collaborative spring concert with the East Central Minnesota Chorale at St. Cloud's Paramount Theatre will commemorate the 70th anniversary of D-Day and will feature Randall Thompson's The Testament of Freedom.

WHERE:
Salem Lutheran Church
90 Riverside Drive SE

St. Cloud, MN 56304

WHEN:

Sunday, June 2, 4 - 7:30 p.m.

Monday, June 3, 4 - 7:30 p.m.

Thursday, June 6, 4 - 8 p.m.

Sunday, August 11, 5 – 8 p.m.

Monday, August 12, 5 – 8 p.m.

*Additional audition days/dates may be scheduled as need arises.

WHAT:
Each audition will be 15 minutes in length and will include the following:

-One prepared vocal solo (classical art songs, hymn, or folksong only; memorization not required). An accompanist will be provided (bring music for the accompanist).

-Sight reading and tonal memory exercises.

-Please check in 10 minutes before your scheduled audition. The 2013-14 schedule will be available at the audition and singers will be asked to indicate conflicts with the printed schedule prior to the start of the season.

HOW TO SIGN UP:
To schedule an audition contact GRC business manager, Deb Ferrell, at greatriverchorale@gmail.com or (320) 515-4472.

QUESTIONS?

contact GRC business manager, Deb Ferrell, at greatriverchorale@gmail.com or (320) 515-4472, or visit our website.

Conducting Workshop in Paris, France: European-American Musical Alliance

Mark Shapiro — %pm, %29 %b %2013 %13:%May:%th 13MayGMT+0000

One opening remains for the Conducting Program of the European American Musical Alliance in Paris (EAMA). For nearly two decades, EAMA has offered rigorous and compassionate musical training in the Nadia Boulanger tradition to composers, conductors and chamber musicians, who typically characterize the intensive four-week session, which includes in-depth work in analysis, harmony, counterpoint, and musicianship, as a life-changing experience.

The conducting program helps participants develop a deeper understanding of how musicianship can inform and shape the choices they make in rehearsal and performance. Participating conductors and composers have ranged from mid-career professionals to collegiate beginners, who often report that completing the program brought not only fresh perspectives and renewed inspiration, but also led to new possibilities and opportunities, including professional positions, advanced study, and creative partnerships with other musicians.

Please note that, while EAMA may be able to consider additional applications, it may no longer be possible to offer housing. More at eamusic.org.

Mark Shapiro

Director, Conducting Program, The European American Musical Alliance

Music Director: The Cecilia Chorus of New York; Cantori New York; the Prince Edward Island Symphony

Faculty: LIU Post, Mannes College the New School for Music

Centennial Singers is Looking for New Voices

Jesse Hasty — %pm, %29 %b %2013 %12:%May:%th 12MayGMT+0000

Centennial Singers is looking for new voices. We sing two concerts each year, one during the Christmas season and one in the Spring. Our repertoire includes both light hearted modern fare and works of the great masters. We rehearse on Tuesday nights at the local middle school where we share our love of music and each other, punctuating our rehearsals with a short break for refreshment and social interaction. If you would like to join in our love of music and our celebration of life with each other please contact or call Jesse Hasty at ApplSpar@aol.com or 215-518-7820.

So Cal - Meistersingers - AUDITIONS

Brian Dehn — %am, %29 %b %2013 %07:%May:%th 7MayGMT+0000

Join Meistersingers for their 14th Season!

Volunteer and Staff positions available in all sections.

Repertoire for the upcoming season:

A Renaissance Christmas - Gorgeous chants and motets from the Golden Age of choral Music

Face to Face: Handel & Part - our 5th presentation pairing seemingly disparet works, this time the fabulously difficult Dixit Dominus with Part's Berliner Messe.

The Lover, The Lunatic, and the Poet - Songs of Shakespeare

Email Brian Dehn if interested.

So Cal - Meistersingers - AUDITIONS

Brian Dehn — %am, %29 %b %2013 %07:%May:%th 7MayGMT+0000

Join Meistersingers for their 14th Season!

Volunteer and Staff positions available in all sections.

Repertoire for the upcoming season:

A Renaissance Christmas - Gorgeous chants and motets from the Golden Age of choral Music

Face to Face: Handel & Part - our 5th presentation pairing seemingly disparet works, this time the fabulously difficult Dixit Dominus with Part's Berliner Messe.

The Lover, The Lunatic, and the Poet - Songs of Shakespeare

Email Brian Dehn if interested.

Tacoma Community College Choral Concert

Wendy Moy — %am, %29 %b %2013 %07:%May:%th 7MayGMT+0000

The Tacoma Community College Music department presents an evening of choral music by the TCC Singers, TCC Voices, (Wendy Moy, director) and TCC Gospel Choir (Don Hurd, director) on Thursday, June 6 at 7:30 pm in the Auditorium. Admission is free.

Choral Caffeine: One Last Thought Before Summer

Scott Dorsey — %pm, %16 %b %2013 %21:%May:%th 21MayGMT+0000

Except for a very few holdouts, the academic year is over. Time for a little rest and rejuvenation. A change of scenery is in order, as is some time for reflection. Here, then, is a little something to ponder from your hammock. The following is by Kevin Peter Hand, a planetary scientist/astrobiologist in Pasadena, California and a 2011 National Geographic Emerging Explorer:

The drumbeat of human civilization is the pursuit of new knowledge. We explore, we discover, and we advance. From fundamental research on cancer to revolutionizing our understanding of the universe, it is not an either/or: we must do it all. Anything less is a sign that our priorities as a race have been hijacked by agendas beneath our potential. As has become a refrain in my community, the drumbeat continues and we echo the wise words of Teddy Roosevelt: Dare mighty things.

What will YOU dare to advance the choral art next season?

Dynamic Score Study

Scott Dorsey — %pm, %29 %b %2013 %13:%May:%th 13MayGMT+0000

(An excerpt from the interest session, “Dynamic Score Study: A Model for Teaching and Learning from the Art Museum," by Andrew Crow. Presented during the 2013 ACDA National Conference.)

One of the barriers we face in carving out time for score study is the silent and perhaps even tedious nature of the task. We stand a better chance of inspiring students to pursue score study with diligence if we avoid the “have-to’s” and consider it a sport.

Our overarching process is to examine the piece at a level closer, and closer, seeing greater detail, down to the closest note-by-note basis in our musical analogy. Then, we’ll work our way back out to gain perspective until we see the whole again.

For most of the process, score study occurs in silence and our goal has been to see everything that the composer put into the piece – we have “decomposed” it, as though reducing an elaborate meal to its raw ingredients. Next, we turn around and begin to reconstruct the recipe as we work our way back out, adding sound by sound until we have made the performance.

Remember that the ensemble’s rehearsal is the conductor’s performance. Our first rehearsal must be fully fledged, having traveled the full journey of score study to arrive at that moment. What remains of the process for us it to fit the composition to the ensemble and to wrap the ensemble around the composition itself.

Learning the score is not the ultimate goal of our study. Our goal is to make connections and the score/the music is our tool. In order to do this, we hold up the composition and treat the music itself as a frame, not an object. The frame holds a window through which we see a composer in the near or distant past. We see a culture near or far away. Hold it up again and we see that the frame holds also a mirror that reflects our own time and our own cultural image.

(The ACDA National Conference is just one of the many benefits of membership in the American Choral Directors Association. Join ACDA today.)

Houston Saengerbund seeking Maennerchor director

Burl Holloway — %am, %29 %b %2013 %02:%May:%th 2MayGMT+0000

The Houston Saengerbund, founded in 1883, is the oldest musical association in the city. The purpose of the Society is to cultivate the furtherance of song and music, to preserve the German language, to promote the Society's life and to convey good German customs and morals. We welcome all who enjoy singing and celebrating German culture.

The choir meets on Tuesday evening @ 7:00 pm. Summer rehearsal start Jully 16, and season rehearsal start September 10. It is a paid prosition.

We sing at varies ventu in the Houston area plus at the yearly state sängerfest. At this year sängerfest the Houston seangerbund had composed three new German choir peices, one each for of the choirs, maennerchor, damenchor and gemischterchor.

Speaking German is not required but is helpfull.

ANDRIS NELSONS, NEW BSO MUSIC DIRECTOR, CONDUCTS VERDI REQUIEM @ TANGLEWOOD--BE THERE!

Jennifer Moss — %am, %29 %b %2013 %00:%May:%th 0MayGMT+0000

Immerse yourself in glorious music on a mid-summer Saturday in the Berkshires, in the company of other musicians, sponsored by MassACDA. Itinerary includes morning dress rehearsal of Britten Spring Symphony and Vivaldi Gloria, conducted by Nicholas Cleobury at the Berkshire Choral Festival in Sheffield; buffet lunch; free time in Stockbridge; wine reception and talk at beautiful Stonover Farm B&B; independent picnic or dinner on Tanglewood grounds; and reserved discounted Tanglewood Shed ticket for the Verdi Requiem under the baton of Andris Nelsons.

At 34 years old, Latvian-born Andris Nelsons is the youngest music director to lead the Boston Symphony Orchestra in more than 100 years. He arrives in Boston with a reputation for a rare combination of youthful dynamism and artistic substance. "The music seemed to move forward as if driven from within," said one reviewer.

This so-called "Berkshire Extension" July 27 (the final day of MassACDA's 2013 Summer Conference) is open to all! Cost: $95 (everything but dinner); Optional round-trip bus from Amherst's Hampshire College, departs at 8 am, returns immediately after Tanglewood concert: $32. Register NOW online: massacda.org

FREE MUSIC (SACRED)

David McConnell — %pm, %28 %b %2013 %23:%May:%th 23MayGMT+0000

Immanuel UCC, 99 S. Waverly Street, Shillington, PA has dozens of anthems and cantatas that will be shredded - unless someone wants them for use at their church.

We don't have titles or numbers, so this is really a flea market situation - you are welcome to come and look through what we have and take whatever would prove useful to you.

We would like to be rid of the music by July 1 - let us know you are coming by calling 610.777.7107 or emailing at drdavid@immanuel-ucc.org

Director of Music

Joni Wiltz Berkley — %pm, %28 %b %2013 %23:%May:%th 23MayGMT+0000

Performing Arts School in western suburbs of Chicago in search of Director of Music . Looking for a candidate who is an innovative, big vision thinker who has experience in creating educational programming. Experience in Arts Management or Arts Administration necessary and a degree in Music or related field preferred.
Immediate Opening. Part-time position with flexible hours.
Please send a letter of interest and resume to
jwiltz@schoolofperformingarts.com

Let´s celebrate 50th M.L.King´s Speech Anniversary by Spirituals Concerts

Marek Slechta — %pm, %28 %b %2013 %22:%May:%th 22MayGMT+0000

Dear Friends (Conductors, Choir Masters and Singers),

would you and your choir like to participate at this extrordinary event?

Festive Spirituals Concerts = LET FREEDOM RING = 50th M.L.King´s Speech Anniversary

´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´´

on 28 August 2013 there is 50th Anniversary of M.L.King´s famous speech "I HAVE A DREAM" where he expressed his vision of a fair world where all people would be free, equal, have hope and desire for righteousness in brotherhood and singing all together Old Spiritual Free at Last.

A Cappella Choir Geshem after organizing 8 years of Spirituals Festival in Prague, together with International A Cappella Group LET´S O! and A Cappella Group DNA are calling you - all Choirs, Vocal Groups, Bands, A Cappella groups and Singers who perform spirituals to join this event and organize your concerts (together with other Vocal groups or alone) in your town, at your place.

If you like this idea and decide to make your concert of spirituals where the ideas of M.L.King´s speech would be mentioned, please, do not forget to write us as soon as possible the brief message (Who, Where, When and How your concert/event will be done). We collect all this inforfmation from all participants to inform all of you and media.

If you have any question, need scores of spirituals, information of M.L.King Speech or any other information, do not hesitate to contact me.

You find detailed information at the address

http://www.geshem.cz/index.php?option=com_content&task=blogcategory&id=73&Itemid=174

Marek Slechta

----------------------------------------------------------------------------------------------------------------

Marek Šlechta

Organiser of Choir´s Happening REMEMBER! | +420 774 685 370, mailto:marek.sle@seznam.cz

Conductor of GESHEM A Cappella Gospel Choir | www.geshem.cz

Leader of the International A Cappella group LET´S GO! | www.myspace.com/letsgo-group

Václav Brázda

External journalist for the radio Proglas | +420 777 640 556

representative of CASA in the Czech Republic | mailto:vdna@seznam.cz

Conductor of DNA A Cappella Group | www.dejnamakord.cz

St-Lawrence Choir seeks new Artistic Director

Amy Henderson — %pm, %28 %b %2013 %22:%May:%th 22MayGMT+0000

Recognized across North America as one of Canada’s best choral ensembles, the 70-strong, mixed-voice St. Lawrence Choir performs music from the classical choral repertoire as well as contemporary works by Canadian and other composers. We are currently seeking applicants for the position of Artistic Director. For a detailed job posting, please visit: http://www.choeur.qc.ca/the-artistic-director/.

Seeking a Summer Director of Music

James Mayo III — %pm, %28 %b %2013 %22:%May:%th 22MayGMT+0000

The pastor and trustees of the Christian Love Baptist Church are looking for a summer organist – beginning June 16th through September 1st. There are no rehearsals for the choir during the summer. There is one service at 11 am. The position compensates $300.00 a Sunday. The pastor will not require the organist to go on outside engagements. You will receive Tax Form 1099 at the end of the 2013 tax year. Taxes will not be withheld from your check.

The pastor and trustees require these items:

a love for Christ and His people.
Must be able to play the Hammond Organ proficiently.
Must have a great feel for gospel music (more traditional than contemporary, but a nice blend).
Playing by ear.
Reading music is strongly recommended.
You must be very familiar with hymns (particularly those in the New National Baptist Hymnal – either edition is fine)

If you are interested in this position, please contact James Mayo III, Director of Music, at 410-925-3227 and set up an appointment with the pastor and him. Please have a resume and two references from previous employers, who can vouch for your proficiency and skill set, available. Looking to fill this position as soon as possible.

We look forward to meeting you!

Within Creation from Hinshaw Music

Rob Monath — %pm, %28 %b %2013 %20:%May:%th 20MayGMT+0000

This gospel-style hymn by Rob Monath serves as the inspiration for a flowing, contemporary choral setting by renowned organist and arranger, Carolyn Hamlin. The music harks back to a time when people were intimately connected with nature in the daily experience of the sights and sounds of God's creation. The lyrics take us through a meditation on this theme: “The golden flowers, a winding stream, shining pastures of living green. We feel God’s presence, God’s loving grace, within creation, we find our place.” A Youtube video featuring stunning images of nature accompanied by a performance of the work is found here: http://www.youtube.com/watch?v=3v4EFZ2itYY

Church Organist/Accompanist

David Fitzpatrick — %pm, %28 %b %2013 %19:%May:%th 19MayGMT+0000

A vibrant and large Presbyterian Church (USA) with a strong music program located in downtown Doylestown seeks a Church Organist/Accompanist.

Education and Experience:

Bachelors of Music required. Masters preferred. Candidate must have experience as an organist and choral accompanist.

Responsibilities:

Plan, prepare, and play organ/piano music appropriate for each Sunday service of worship (8:30 and 11:00), keeping in mind the themes of the Christian Year, which would include all special services throughout the year.

Serve as principal accompanist for all music during services.

Accompany the Chancel Choir (Thursday Nights)

Accompany the Festival Choir. (Wednesday Nights – Spring)

Accompany the Children’s and Youth Choir. (Wednesday Nights).

Prepare and play appropriate music for weddings and funerals as scheduled. (with additional compensation provided).

Work with DOM in arranging substitute organists as needed.

Opportunity to perform an Organ Recital on our Celebrate the Arts Concert Series.

The Music Program:The music program at Doylestown Presbyterian Church (DPC) plays a vibrant role in the congregational and worship life of DPC. Currently, the program consists of three handbell choirs, two children’s choirs, a 55-voice adult choir, and an orchestra.

This is a part-time position (10-15 hours a week.). Compensation will be based on education and experience.

Click here to view full job description.

To Apply for this Position

Submit Resume, Cover Letter, Repertoire list, and contact information for 3-5 references. Candidates are encouraged to submit video examples or website links demonstrating their abilities on the organ and in rehearsal.

Please submit application materials to: organistsearch@dtownpc.org

Long Beach Camerata Singers to Hold New Singer Auditions

Gordon Capp — %pm, %28 %b %2013 %20:%May:%th 20MayGMT+0000

Artistic Director Robert Istad and the Long Beach Camerata Singers are seeking singers for all voice parts to join their 2013-2014 concert season. Auditions are Saturday, June 15, 2013 from 10:00 a.m. – 3:00 p.m. in the Social Hall at Christ Lutheran Church, located at 6500 Stearns Street, Long Beach, CA 90815.

Prospective singers should prepare an aria or art song that is no longer than five minutes in duration (memorization is not required) and expect to participate in a sight-reading exercise. Those auditioning are required to bring two copies of their own sheet music in the correct key, one for themselves and one for the provided accompanist.

Auditions are by appointment only and can be scheduled online at www.longbeachcameratasingers.org, or via phone at (562) 522-1045.

Programming for the 2013-2014 season includes a celebratory concert entitled Singers’ Choice in which the singers select the program from 40 years of repertoire, Handel’s Messiah, J.S. Bach’s St. John Passion, Broadway show tune favorites, and much more!

Robert Istad is the Artistic Director of Long Beach Camerata Singers and the Long Beach Bach Festival. He is also the Director of Choral Studies at California State University, Fullerton where he conducts the University Singers and Women’s Choir in addition to teaching courses in conducting, advanced interpretation and literature. Istad has prepared choruses for Esa-Pekka Salonen, Gustavo Dudamel and the Los Angeles Philharmonic, Carl St. Clair and the Pacific Symphony Orchestra, Sir Andrew David and the Los Angeles Philharmonic, Nicholas McGegan and the Philharmonia Baroque Orchestra and Keith Lockhart and the Boston Pops Esplanade Orchestra, as well as conductors Bramwell Tovey, Eric Whitacre, Giancarlo Guerrero, Marin Alsop, George Fenton, John Alexander, William Dehning, John DuPrez, David Lockington, and Mark Manderano. He received his Doctor of Musical Arts degree in choral music at the University of Southern California, is the Assistant Conductor of the Pacific Chorale, and is in demand as an adjudicator and guest clinician throughout the United States.

ABOUT LONG BEACH CAMERATA SINGERS

Long Beach Camerata Singers is a 501(c)3 non-profit, 80-voice choir that has provided Long Beach residents with high-quality choral music for more than 46 years. Currently under the artistic direction of Dr. Robert Istad, Director of Choral Studies at CSU Fullerton and Assistant Director of the Pacific Chorale, the choir presents 8 concerts a year, including a fully-orchestrated performance of Handel’s Messiah and an annual Bach Festival. Repertoire encompasses a wide range of works from the Renaissance to the present. Though its roots are in classical music, more contemporary choral works, jazz, Broadway and popular tunes have been added in recent years to broaden audience appeal.

For more information about Long Beach Camerata Singers, please visit us at www.longbeachcameratasingers.org or call (562) 522-1045. To stay connected with us, join our social networks at www.facebook.com/cameratasingers or www.twitter.com/lbcamerata.

JUNE 9 - 15: Conducting Workshop with Henry Leck and the Indianapolis Children's Choir

Laura Neidig — %pm, %28 %b %2013 %18:%May:%th 18MayGMT+0000

REGISTRATION IS STILL OPEN! June 9 - 15, 2013, campus of Butler University, Indianapolis, IN

For over two decades, Creating Artistry, a conducting workshop developed by Henry Leck, Founder and Artistic Director of the Indianapolis Children's Choir (ICC), has offered conductors a unique professional development opportunity.

This week-long experience provides choral conductors of all levels to hone their skills. Held on the campus of Butler University in Indianapolis, students will receive individual and master class training including: conducting gesture, vocal techniques, rehearsal efficiency, pacing, score analysis, Dalcroze eurhythmics, choral administration and more. Advanced ICC choirs will serve as laboratory choruses and provide the opportunity for participants to actively participate in and review the conducting process.

Special guests include:

· Steven Rickards: a highly acclaimed vocal instructor and performer at Butler University, the University of Indianapolis and Marian University.

· Tim Lautzenheiser: a prominent advocate for arts education, and an expert in positive attitude and effective leadership training

· Joshua Pedde: a frequent conductor and clinician throughout the US, and a certified Orff instructor

· Ruth Dwyer: an internationally recognized treble choir specialist and Kodaly educator.

Cost is $700 plus housing on the Butler campus. Contact Tracey Greider at 317-940-8043 or tgreider@icchoir.org. Click HERE for more information.

Caramoor presents: "She Loves Me"

Amy Laudicano — %pm, %28 %b %2013 %17:%May:%th 17MayGMT+0000

On Saturday, June 22 at 8:30pm and Sunday, June 23 at 4pm, Caramoor kicks off the 68th Summer Festival with its first ever Broadway production, She Loves Me. The 50th anniversary of the award-winning and rarely performed musical will star critically acclaimed actress Alexandra Silber, Drama Desk Award-winner and Tony® nominee Santino Fontana, Tony® Award-winner John Cullum, Drama Desk Award-winner Montego Glover, theater veteran Ryan Silverman, Tony® nominee Brad Oscar, rising Broadway actor Etai BenShlomo, and Tony® nominee Jonathan Freeman. Tony® Award-winner Ted Sperling will lead the Orchestra of St. Luke’s and will direct the semi-staged production, choreographed by Michele Lynch, in the Venetian Theater.

Music Folder Question

Pierce Dickens — %pm, %28 %b %2013 %15:%May:%th 15MayGMT+0000

Hello,

I need to replace the folders for my church choir soon. I would like to hear opinions regarding the choice of folders - music held by cords or 3 ring binder. Which do you prefer and why?

Thank you.

PDickens

July 11-13 - "Four Seasons" choral workshop with Robyn Lana and Bruce Rogers

David Topping — %pm, %28 %b %2013 %16:%May:%th 16MayGMT+0000

The Arizona ACDA chapter announces its "Four Seasons II" summer worksop in the foothills of Scottsdale, Arizona, from July 11-13, 2013. The featured headliners are Robyn Reeves Lana (Cincinnati Children’s Choir) and Bruce Rogers (Mt. San Antonio College), both nationally-known clinicians who will offer sessions that are practical and inspirational while meeting the needs of school, church, and community choral musicians. The event will also feature "local talent" presenting a wide variety of interest and music reading sessions, and a special concert featuring some excellent Arizona choral ensembles. The venue is the beautiful Pinnacle Presbyterian Church, and low room rates have been arranged at the Four Seasons Troon North, a resort with wonderful views and amenities.

More information is on the AzACDA website (www.azacda.org), including online registration links and a schedule of the event. Yes, we all know it's a little hot in Arizona in the summer, but as they say--"it's a DRY heat!" :-)

GREATER PHILADELPHIA CHORALE - CHORAL CLINICS

Clifford Barcliff — %pm, %28 %b %2013 %15:%May:%th 15MayGMT+0000

The Greater Philadelphia Chorale will be hosting a series of Choral Clinics starting Tuesday evening 7-2-13, 7:00 PM to 8:30 PM thru Tuesday evening 8-27-13. Each session will be led by one of the areas top choral conductors with a different piece being taught each night. The sessions are open to all singers who would like to enhance their musical enjoyment and skill.

Location: St. Jerome Church Hall, 8100 Colfax St. Phila., PA 19136 (NE Phila - Holme Circle area)

Music: Will be provided

Costs: $5.00 per session

Refreshments: Light refreshments served

For further information contact Cliff at 215-313-5363 or go to gpchorale.com

GREATER PHILADELPHIA CHORALE - RECRUITING NEW SINGERS

Clifford Barcliff — %pm, %28 %b %2013 %15:%May:%th 15MayGMT+0000

The Greater Philadelphia Chorale is actively recruiting new singers for the Sept. 2013 Season to begin 9-10-13.

The Chorale is a community based chorus comprised of mixed adult voices (SATB). Our organization is now ten years old and performs 3-6 concerts per season at varous venues throughout the five county Philadelphia area. Our concert content is based on a "pops" format with classical and contemporary music from around the world.

For further information you contact Cliff at 215-313-5363 or visit our web site gpchorale.com

Composition Contest-Indianapolis Symphonic Choir ($1,000 cash prize; no entry fee)

Eric Stark — %pm, %28 %b %2013 %13:%May:%th 13MayGMT+0000

Indianapolis Symphonic Choir Announces Fifth Annual

Christmas Carol Commission Competition

Entry process moves to online submissions

INDIANAPOLIS – May 21, 2013 – The Indianapolis Symphonic Choir announces its fifth annual Christmas Carol Commission Competition as part of its commitment to the future of choral music. Submitted works must be original, unpublished, and have not been publicly performed; between 3 and 5 minutes long; written for SATB, mixed adult choir; and may be a cappella or utilize keyboard accompaniment. Text and language are at the discretion of the composer, and should be suitable for a Christmas/holiday performance.

Last year’s winner was a work entitled “Still, Still, Still,” by Joey Hoelscher. Recent winners, including the 2009 winning composition, “Lullaby Carol” by Molly Ijames, have been published through EC Schirmer and Beckenhorst.

Composers 35 years of age or younger (as of September 16, 2013) who are United States citizens or legal residents may submit one composition via email (pdf) to the Indianapolis Symphonic Choir by September 16, 2013. There is no entry fee for submitted compositions. A completed submission form must accompany all musical compositions and may be found on the Symphonic Choir’s website www.indychoir.org.

Compositions must be submitted electronically as a pdf (8½ x 11 inch format) no later than September 16, 2013 to commission@indychoir.org. Questions may be e-mailed to commission@indychoir.org. A confirmation email will be sent upon receipt of the composition.

The winner will be notified by October 11, 2013, and the selected composition will be performed by the Indianapolis Symphonic Choir at its annual Festival of Carols performances in Indianapolis. A cash prize of $1,000, plus travel and lodging for the world premiere on either December 8 or 22, 2013, will be awarded to the winning composer.

The Indianapolis Symphonic Choir is a 501(c)3 non-profit performing arts organization based in Indianapolis, marking its 77th season in 2013-2014. A frequent artistic partner with the Indianapolis Symphony Orchestra, the Symphonic Choir is conducted by Dr. Eric Stark, governed by a volunteer Board of Directors, and administered by a professional staff. The Symphonic Choir is comprised of nearly 200 singers, auditioned annually, who perform 25 concerts each season reaching in excess of 25,000 persons. Visit www.indychoir.org for more information.

Bass Section Leader/Cantor Opportunity

Paul Kusler — %am, %28 %b %2013 %11:%May:%th 11MayGMT+0000

Sts. Peter and Paul Parish in Winter Park, Florida (Orlando Diocese) is in need of a bass section leader for its Parish Choir. Rehearsals are on Wednesday Evenings (7:00 to 9:00 PM) from September through beginning of June. The choir sings at the parish 10:00 AM Mass on Sunday morning. The bass section leader will also sing at the following liturgies: Thanksgiving Day, Christmas Eve and Christmas Day, The Paschal Triduum (Holy Thursday, Good Friday afternoon and evening, The Easter Vigil and Easter Sunday), Parish Feast of Saints Peter and Paul on the last Sunday in June. Other Liturgies/concerts as announced. The bass section leader has an opportunity to earn extra income as a parish cantor/song leader at any parish weekend mass (5pm Sat. 8am 10am 12nn Sun.) as scheduled. Please contact Paul Kusler by email to schedule an audition. paulkusler@stspp.net

Source for Trauermusik by Johan Ludwig Bach?

Randy Cornell — %am, %28 %b %2013 %10:%May:%th 10MayGMT+0000

I'm trying to locate a copy of Johan Ludwig Bach's Trauermusik, composed in 1724 for the obsequies for Ernst Ludwig I, Duke of Saxe-Meiningen. If anyone has access to the score, please contact me directly at canto1951(a)mac.com. Thank you.

LA Chamber Orchestra's 2013-14 Season Includes Premieres and Masterworks

Susan Gordon — %am, %28 %b %2013 %07:%May:%th 7MayGMT+0000

Los Angeles Chamber Orchestra (LACO), considered one of the nation’s premier orchestras as well as a leader in presenting wide-ranging repertoire and adventurous commissions, announces its 2013-14 season, its 45th, featuring a compelling mix of beloved masterpieces and genre-defying premieres from firmly established and notable up-and-coming composers programmed by Jeffrey Kahane, one of the world’s foremost conductors and pianists, who marks his 17th season as the Orchestra’s music director. Kahane – hailed by critics as “visionary” and “a conductor of uncommon intellect, insight and musical integrity” with “undeniable charisma” – leads four of seven “Orchestral Series” concerts from the podium and keyboard with a wide range of established and rising guest artists, most of whom are making their LACO debuts.

The first two concerts of LACO's “Orchestral Series,” usually presented at the Alex Theatre in Glendale on Saturday evenings, temporarily shift location for the Saturday night programs to Pasadena’s Ambassador Auditorium while the historic Alex Theatre undergoes extensive $6 million backstage renovations, slated for completion in October 2013. All seven Sunday evening concerts continue to take place at UCLA’s Royce Hall. Kahane also continues to lead the popular “Discover” concert at Ambassador Auditorium and appears as both as conductor and pianist on the “Baroque Conversations” series at Zipper Hall, both of which offer audiences an in-depth look at the music being presented as well as an opportunity to get to know LACO artists on a more personal level. LACO's “Westside Connections” series moves to the new 344-seat, state-of-the-art Ann and Jerry Moss Theater in the Herb Alpert Educational Village at New Roads School in Santa Monica, providing a intimate setting for the fascinating and often surprising programs.

“There's great sonic depth, emotional texture, richness and color in the repertoire LACO explores this season,” says Kahane. “I look forward to collaborating closely with my remarkable colleagues in the Orchestra as well as with the tremendously gifted guest artists who are joining us for the first time or making a long-awaited return.”

Among numerous season highlights across these four diverse series is a world premiere by emerging composer Hannah Lash, whose work has been hailed as “striking” by The New York Times, presented as part of the Orchestra’s unique “Sound Investment” commissioning program, initiated to engage LACO audiences in developing new works.

Two highly anticipated West Coast premieres include Anna Clyne’s impressionistic Prince of Clouds, a LACO co-commission with the Chicago Symphony Orchestra, IRIS Orchestra and the Curtis Institute of Music, heralded as “captivating” and “exhilarating from beginning to end” (Washington Post), and Bruce Adolphe’s Do You Dream in Color?, a powerful work set to a poem about living without sight by mezzo-soprano Laurie Rubin, who was born blind and joins LACO for the West Coast premiere of the orchestral version.

In addition to Rubin, other guest artists making their LACO debuts are Natasha Paremski, proclaimed a “spectacular pianist” (American Record Guide), performing Chopin’s Piano Concerto No. 2 in F minor, Op. 21; cellist Jean-Guihen Queyras, praised for his striking originality and elegance, performing Haydn’s Cello Concerto No. 1 in C major; rising violinist and 2012 Avery Fisher Career Grant recipient Benjamin Beilman, featured on Mozart’s Violin Concerto No. 5 in A major, “Turkish,” K. 219; and young piano wonder Alessio Bax, whose artistry “quivers with an almost hypnotic intensity” (Gramophone), playing Mozart’s Piano Concerto No. 24 in C minor, K. 491. Highly regarded violinists and Curtis Institute of Music alumni Jennifer Koh (2002) and Jaime Laredo (1959), who was also Koh’s principal teacher at Curtis, team up for Clyne’s aforementioned work and Bach’s Concerto in D minor for Two Violins, BWV 1043. Jeremy Denk, “a pianist you want to hear no matter what he performs” (The New York Times), returns to LACO to take center stage in all three pieces on the closing concert, including Ligeti’s Piano Concerto and a pair of works for two pianos that he performs with Kahane.

Making their LACO debuts as well are guest conductors Hans Graf, Houston Symphony Music Director Laureate and acclaimed Mozart interpreter; James Feddeck, Cleveland Orchestra Assistant Conductor; and Oregon Bach Festival Artistic Director-Designate Matthew Halls.

Reflecting LACO’s keen artistic sensibilities and technical acumen across musical genres, the repertoire runs the gamut from Aaron Jay Kernis’ Musica Celestis, Lutoslawski’s Chain 2 and Britten’s Variations on a Theme of Frank Bridge, to such timeless masterworks as Beethoven’s Symphony No. 6 in F major, “Pastoral” and Symphony No. 1 in C major, Schubert’s Symphony No. 3 in D major and Haydn’s Symphony No. 102 in B-flat, major.

LACO’s popular annual “Discover” concert at Pasadena’s Ambassador Auditorium features an in-depth examination by Kahane that sheds light on the creation and significance of Beethoven’s pivotal Symphony No. 3 in E-flat major, “Eroica,” about which the composer stated, “I think heaven and earth must tremble beneath us when it is performed.”

Jeffrey Kahane, Concertmaster Margaret Batjer and Principal Oboe Allan Vogel are among the LACO artists featured in the “Baroque Conversations” series at downtown LA’s Zipper Hall. This enlightening five-concert series provides insight into the genesis of orchestral repertoire from early Baroque schools through the pre-classical period.

Continuing to step outside the proverbial music "box," LACO’s innovative “Westside Connections” series this season, moving to Santa Monica's Ann and Jerry Moss Theater, features a thought-provoking exploration of connections between music and Los Angeles and with such featured guests as Fairfax High School Alumnus Arnold Steinhardt, who was First Violin of the illustrious Guarneri Quartet for all 45 years of its existence. The inter-disciplinary three-concert chamber music series, designed to illustrate the myriad ways music is woven into society and our lives, is curated by Concertmaster Margaret Batjer, who selects chamber works to complement the presentations of the special guests. The new 344-seat, state-of-the-art venue, with acoustics by Yasuhisa Toyota, acoustician for Walt Disney Concert Hall, opened in early 2013.

For a free season flyer, further information about the Los Angeles Chamber Orchestra’s 2013-14 season or to order tickets, please call 213 622 7001, or visit www.laco.org.

SSA and guitar

Van der Cruyssen Rudy — %am, %28 %b %2013 %07:%May:%th 7MayGMT+0000

Dear friends,

I would like to program a concerrt with my SSA choir (15 singers) and guitar. I've no music in my library for this setting.
All good ideas are welcome!

Rudy Van der Cruyssen

Voices Belgium

rudy.vandercruyssen(a)knokke-heist.be

Rutter Requiem and the Music of Philip Stopford

Derek Turner — %am, %28 %b %2013 %09:%May:%th 9MayGMT+0000

The Cantabile Ensemble proudly presents 'Requiem' by John Rutter

together with a selection of choral music by Phlip Stopford

including the world premiere of 'Jesu, Lover of My Soul'

conducted by Philip Stopford

All Saint's Chrch, Saint Helier

7 p.m. Sunday 30th June 2013

CJ Replay: Voice Lessons in Choir

Scott Dorsey — %pm, %16 %b %2013 %20:%May:%th 20MayGMT+0000

(An excerpt from the Choral Journal article, “Voice Lessons for Your Choir,” by Gene Grier.)

Beautiful tone is the desired result of all good singing. Understanding the vocal mechanism and its unique capabilities will lead to this result. Good singers need to develop an awareness of 1) breath control, 2) tonal support, 3) voice placement, 4) tone quality, 5) tonal resonance, 6) intonation, 7) balance and blend when singing with others, 8) diction, 9) sensitivity to the music and lyrics, and 10) stylistic authenticity.

No matter what type or style of music being performed (Bach, rock, opera, jazz, etc.), the basic concepts of good singing always apply. Good singing technique does not change with the style of music; what changes is the approach to the basic musical concepts as they apply to that particular style of music. This means a change in approach to 1) tone, 2) diction, 3) rhythmic interpretation, 4) articulation, and 5) sensitivity to the lyrics.

We all know the difference between a voice teacher and a vocal coach, but many of our students do not. We encourage our singers to take private voice lessons and we advise our advance students to work with a vocal coach. When this is not possible, we bring the teacher/coach into our group lessons and masterclasses. In this way, we avoid vocal abuse and encourage good vocal technique and health. In essence, we all benefit-our choirs sing better and sound better!

Organist/Pianist and Accompanist (Part-Time)

michael todd krueger — %am, %28 %b %2013 %03:%May:%th 3MayGMT+0000

Organist/Pianist and Accompanist (Part-Time)

King of Glory Lutheran Church (ELCA)

Arvada, Colorado

King of Glory Lutheran Church, Arvada, Colorado, announces a position vacancy for a part-time Organist/Pianist and Accompanist to serve the congregation and work collaboratively with the Music Ministry team.

King of Glory (KOG) is a congregation that values musical excellence, creativity and diversity. The music ministry program includes vibrant worship services, chamber music opportunities and concert performances. Worship services are musically enhanced by the Adult Choir, Handbell Choir, various soloists and professional musicians and led collaboratively by the Minister of Music and the Organist/Pianist playing the Layton-Lane pipe organ and/or a Steinway upright piano. A harpsichord (Stewart Kull, builder) is also available. KOG's unique sanctuary is an outstanding acoustic space for congregational singing as well as concertizing.

The successful candidate for this position will have excellent skill as a keyboard performer on both organ and piano and significant experience as a church musician. A degree in organ performance or church music is preferred, but not required. Applicable knowledge of Lutheran hymnody and liturgies is a plus. Duties include playing for one Sunday morning worship service, special services (Christmas Eve, Holy Week, etc.), accompanying the Adult Choir at Wednesday evening rehearsals (Sept-May) and playing for weddings and funerals as needed. For further information, a detailed position description or to apply for the position, contact Michael Todd Krueger, Minister of Music at or by phone: (303) 828-6683. Compensation is competitive and commensurate with skills and qualifications.

Fishbein: Two Prayers for the Sabbath Evening (Transcontinental Music Publications)

Joshua Fishbein — %pm, %27 %b %2013 %19:%May:%th 19MayGMT+0000

Two Prayers for the Sabbath Evening (I. V'sham'ru, and II. Oseh Shalom) by Joshua Fishbein has recently been released by Transcontinental Music Publications. These pieces won the Guild of Temple Musicians Young Composer Award in 2012. Additionally, Oseh Shalom won the ACDA's 2011 Raymond W. Brock Memorial Student Composition Competition.

Watch the premiere performance of Oseh Shalom by the CSU Fullerton University Singers from the 2012 ACDA Western Division Conference on YouTube: http://www.youtube.com/watch?v=ONoZimptaHs

This set of pieces is available for purchase on the URJ website (http://urjbooksandmusic.com/product.php?productid=13022&cat=414&page=1). On the same site, you may also preview the score and listen to a sample recording with Cantor Lori Corrsin and the Emanu-El Choir in NYC.

Song from about 1970

Karyn Gibson — %pm, %27 %b %2013 %20:%May:%th 20MayGMT+0000

When I was in junior high choral group, we sang a beautiful song by Lan O'Kun. I used to be able to hum the tune, a few words. Now I can't remember anything, even the title. Can someone help with possible songs that would've been published for choirs? We were an intermediate group and I'm sure we did this for a performance. Even just the lyrics would help me get my memory back. I'm not a teacher, just a wistful singer. Many thanks. Karyn from Kansas

Tucson Arizona Boys Chorus to Tour China

Julian Ackerley — %pm, %27 %b %2013 %19:%May:%th 19MayGMT+0000

The Tucson Arizona Boys Chorus will serve as America’s Singing Goodwill Ambassadors with a concert tour to China. The 22 choristers between the ages of 11 to 14 will travel four weeks during June to 25 cities throughout the country and will perform 23 concerts in extraordinary concert halls. Destinations on this historic tour include Beijing, Huhehot, Bayuquan, Dalian, Qingdao, Yantai, Zhengzhou, Wuhan, Chongqing, Shenzhen, Huizhou, Dongguan, Ji-An, Yichun, Wenzhou, Lishui, Ningbo, Kunshan, Taizhou, Maansahn, Hefei, Zhangjiagang, Wuxi, Changzhou and Shanghai,

Founded in 1939, the Tucson Arizona Boys Chorus is currently celebrating its 74th anniversary. The tour this June will be the fifth trip to China. Other tours were made in 1987, 2001, 2007 and 2011. The Boys Chorus is under the leadership of director Dr. Julian Ackerley, ACDA National Boychoir Repertoire and Standards Chair. The boys will represent the United States by sharing the spirit and vitality of the American southwest in this significant cultural exchange.

The 100 Voice Project - Season 2013 (Barbados)

Ryan Boyce — %pm, %27 %b %2013 %17:%May:%th 17MayGMT+0000

The 2013 Season of the 100 Voice Project - happens this August. Participant Requests are still being accepted, and there is still opportunity for composers and arrangers to have their music showcased. As usual, we have already had persons from Germany, Canada, Turks & Caico, Dominica, Belgium to name a few,joining up to be part of this year's project...

Feel free to be a part of this year's project...

mail@caribbeanmusician.com

http://www.the100voiceproject.com

https://www.facebook.com/groups/158224944214536/

University of Toronto Summer Conducting Symposium Deadline THIS WEEK!

Hilary Apfelstadt — %pm, %27 %b %2013 %16:%May:%th 16MayGMT+0000

The University of Toronto Summer Conducting Symposium (July 2 - 5, 2013) deadine for applications is only two days away, on Wednesday, May 30th. This workshop is designed for choral musicians working in school, community, or church settings and will accommodate various levels of conducting background.

Guest instructor is Dr. William Weinert from the Eastman School of Music, and U of T professors Hilary Apfelstadt and Lori Dolloff will also teach conducting classes. A special feature of the workshop is the Directors' Chorus, conducted by Dr. Weinert, featuring the Symposium Singers, twenty members of the U of T MacMillan Singers, and all of the conducting workshop participants. Come and experience excellent rehearsal techniques in a practical context.

Elizabeth MacDonald, soprano, will offer lectures on vocal techniques for choral singers, as well as individual consultations for those wishing to participate. Nancy Sicsic, Alexander Technique specialist, will present two sessions and also offer coaching during the workshop on a sign-up basis.

For further information, email Hilary Apfelstadt, coordinator of the workshop, at hilary.apfelstadt@utoronto.ca or go to

http://www.music.utoronto.ca/events/summer/Choral_Conducting_Symposium.htm

Anyone know how to find music by GANNA GAVRYLETS?

Joanna Manring — %pm, %27 %b %2013 %18:%May:%th 18MayGMT+0000

Greetings! I came across the following YouTube video of the Kiev Women's Chorus singing "Oy v poli poli" and would LOVE to get my hands on this score for my choir. I don't know if Ganna Gavrylets is a Russian composer or not: Google searches turn up only the video. I've tried writing to the administrators of the German choral festival at which this song was performed, and I've spent fruitless hours searching for the composer, sheet music, and the choir online. Any help on this would be greatly appreciated! This composer writes exquisite music!

Thank you!

Joanna

Unpaid Conducting Intern position for Community Choir

Dean Rishel — %pm, %27 %b %2013 %15:%May:%th 15MayGMT+0000

The Greater South Jersey Chorus, an 85+ voice volunteer, auditioned community choir based in Cherry Hill, NJ, is offering an unpaid position as Conducting Intern for its 2013-2014 season. The candidate should be either an undergraduate or first year graduate conducting major, or a less experienced conductor needing the opportunity of working with larger groups. The candidate is guaranteed regular face-time with the chorus, including warm-ups, the rehearsal of the general repertoire, and if deemed prepared by the Artistic Director, may be assigned a selection to conduct in each of the two major concerts (Dec. and May). The Intern is expected to have considerable singing experience (choral or solo), and to sing with both the Chamber Choir - a smaller select group - as well as with the full chorus. She or he will observe and assist the Artistic Director with singer auditions, and handle other minor appropriate duties as they arise. Rehearsals for the two choirs are regularly held on Monday evenings from 6:30 - 10:00, plus one Saturday rehearsal per semester. This unpaid position can begin at any time and so may include observing the planning of the repertoire for the upcoming season.

Interested conductors should contact the Artistic Director through the chorus website or at

deanrishel@gmail.com

Gypsy Music by Goran Bregovic needed!

Yara Gutkin — %pm, %27 %b %2013 %15:%May:%th 15MayGMT+0000

Does anyone have or know of any scores/arrangments from the Serbian composer Goran Bregovic? I love his song Ederlezi.

http://www.youtube.com/watch?v=bStwaOGxy_Q

Many thanks!

Yara Gutkin

Catalan/ spanish composer (Christmas) repertoire for Boys Choir wanted

Winfried Deijmann — %pm, %27 %b %2013 %15:%May:%th 15MayGMT+0000

The Norwegian Boys Choir under the direction of Danuta Kozon is a relatively small choir (24 boys +8 males) and I am searching for latin repertoire from Catalan/Spanish composers for our upcoming concert tour to Spain from romantic to contemporary style. Any help is appreciated. :-)

Winfried Deijmann - organizational leader

Young Prague 2014

Marita Werres — %pm, %27 %b %2013 %14:%May:%th 14MayGMT+0000

International Festival for Youth Choirs and Youth Orchestras from 27 March – 30 March 2014

The 12th edition of the International Youth Festival and Competition “young2014prague” has established itself as an important musical event for Young Choirs and Youth Orchestras. In 2014 the festival organizers expect to welcome 1000 young people aged 8-26 years to take part in the non-competitive festival and competition in Prague, the Capital of the Czechs Republic and one of the most wunderful Human Heritage Sites of Europa.

For more details, terms and conditions, please visit our web site:

http://www.musicultur.com/en/trips/reisen/a-new-addition-to-our-program-young-prague-2014.html

or contact us:

MusiCultur Travel GmbH, Bonn, Germany

E-mail: info@musicultur.com

Fon:++49/(0)228/28986011

International Choir Festival “Alta Pusteria” 2014, Italy

Marita Werres — %pm, %27 %b %2013 %14:%May:%th 14MayGMT+0000

Choir festival in South Tyrol from 18 June to 22 June 2014

The Choir Festival in South Tyrol is open to all types of choirs and offers up to sixty performances such as concerts in theaters, concert halls and churches in various small towns of the Val Pusteria and open-air performances. All choirs have the possibility to perform three to six concerts. The repertoire is free of choice: there are no compulsory pieces and all musical periods and music styles are admitted.

Be inspired by this unique musical event in the midst of the wild and romantic landscape of South Tyrol.

For more details, terms and conditions, please visit our web site:

http://www.musicultur.com/en/trips/reisen/new-international-choir-festival-alta-pusteria-2014-italy.html

or contact us:

MusiCultur Travel GmbH, Bonn, Germany

E-mail: info@musicultur.com

Fon:++49/(0)228/28986011

Praga Cantat: International Choir Competition and Choir Festival from 30 October to 02 November 2014

Marita Werres — %pm, %27 %b %2013 %14:%May:%th 14MayGMT+0000

The Praga Cantat Choir Competition and Choir Festival has established itself as an important choral event in the recent 27 years to which over 700 choirs from over 35 countries attended. Concert venue is the Mayakovsky Hall of the historical National House.

Enjoy your stay in Prague, the city with hundreds of towers and its numerous churches, castles, palaces, the world known Charles Bridge, the Hradschin Castle and the historic Old Town, a UNESCO world heritage site.

For more details, terms and conditions, please visit our web site:

http://www.musicultur.com/en/trips/reisen/praga-cantat-2014.html

or contact us:

MusiCultur Travel GmbH, Bonn, Germany

E-mail: info@musicultur.com

Fon:++49/(0)228/28986011

ChoralNet - ChoralNet Daily

Board of Directors/Conflict of Interest

Tenor Section Singer for High Holiday Choir

Exultate Chamber Singers - Auditions and our new Artistic Director

CJ Replay: The Role of the Choral Conductor

Section Leader Positions for 2013-2014 Choral Season in MetroWest Boston

CHOIRS - 52nd INTERNATIONAL CHORAL SINGING COMPETITION SEGHIZZI AND 11th FESTIVAL

47 Choir robes.

Hoping to borrow or rent scores

Church Organist

PART-TIME PIANO ACCOMPANIST

Holst Planets Neptune Choral Score

Raycreations Music Recent Posts

It's Our Party - Vox Femina LA's Sweet/Sassy 16th Birthday!

IT'S OUR PARTY! A SWEET/SASSY 16 PARTY

Saturday, June 15, 2013 8 PM

Gala Concert! Join Pennsylvania Girlchoir and Keystone State Boychoir on JUNE 17

Please help! Program and scheduling conflicts!

Edwin Fissinger Choral Composition Competition Winners Announced

Sounds Like Love Choral Festival

June 29 Summer Vocal Workshop from Vienna Choral Society (with The Reston Chorale)

Revised: The National Children's Chorus Performing Finale Concert "Americana" June 14 at The Broad Stage

Looking for a copy of Wikander's Kung Liljekonvalje TTBB

Choir Directors: The Audience View

Advice for a new teacher?

The Play of Daniel - June 22, 23, 29 & 30

Why Music Makes Our Brain Sing

need to borrow

need to borrow

Wanted Used Choir Robes!!!!

Can "Non-auditioned" still have a screening process for members?

The American Prize 2013 FINALISTS in Choral Composition

Messiah orch parts

Lara Hoggard's choral arrangement of Enescu's Romanian Rhapsody?

Children's Choir Director Wanted

Worship Organist/Pianist - Part Time

Director of Choirs - Part Time

Choral Director

2 Trpts 2 Tbns for Christmas

free robes

Pianist for special events and accompanying

Rehearsal Protocols and Section Leader Roles in Community Chorus

Music Director First Congregational Church of Sharon, MA

What's on Great Sacred Music, Sunday, June 9, 2013

Chamber Choir in Chicago is holding auditions in June

Summer Fun for Singers

Intonation XIV - Final thoughts/Eric Ericson & intonation

Director of Music

Associate Girlchoir Conductor

Heart of the Valley Children's Choir 30th Anniversary Festival

Sing Faure's Requiem for the D-Day 70 Anniversary

Sing at Chicago's Orchestra Hall at Symphony Center with Z. Randall Stroope

Mozart! A Choral Festival in Salzburg, June 25-29, 2014

Sing Mass in St. Peter's Basilica in the Vatican as part of the Rome International Choral Festival with Z. Randall Stroope

How do I convince my superintendent...

Conductor needed - NEW Community Choir forming at IUP

Repertoire suggestions for Evensong

Looking for copy

NEED TO BORROW: Inscriptions from the Catacombs (Lockwood)

Young Men's Ensemble Director; New Jersey Youth Chorus

Free Concert - Gettysburg 150th Commemoration Tour Bon Voyage Concert

Youth Choir Director

Alto Section Leader - beginning September 2013

Serious Food Songs

Pueri Cantores Christ the King and Nova Vocal Ensemble: In Time of Silver Rain

New children's choral music by Sherelle Eyles

Name the Label Contest

ChoralTech: Easy for You to Say!

Looking for music for "If you want to find Jesus, go in the wilderness"

HIgh School Choral Director - Raleigh, NC

RVW Toward The Unknown Region

Worship and Praise Team Leader

Position Available - Worship & Praise Team Leader

Masterwork Chorus Summer Sings

Director of Worship & Music (Layfayette, CA)

JOB DESCRIPTION

Choral Evensong with David Briggs on June 9 at 7:00 p.m.

TEXT ME

Choral Accompanist Needed in Middle Georgia

Soprano Position Open

Saturday, June 15, 2013
8 PM