ChoralNet - Daily http://www.choralnet.org New postings in DailyYear of birth for John Purifoy? Glenn R. Gregghttp://www.choralnet.org/view/483311%pm, %09 %b %2016 %19:%Feb:%th 19FebGMT+0000http://www.choralnet.org/view/483311Can someone provide a year of birth for John?
Thanks!
Glenn
Dr. Glenn R. Gregg
Artistic Director
Kirkland Choral Society
www.kirklandchoralsociety.org
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Music be the Food of LOVE carolyn Eynonhttp://www.choralnet.org/view/483309%pm, %09 %b %2016 %19:%Feb:%th 19FebGMT+0000http://www.choralnet.org/view/483309The Carolyn Eynon Singers, celebrating the music of LOVE, presents "MUSIC BE THE FOOD OF LOVE" on Sunday, February 21, at Scottsdale Center for the Arts, Stage 2. Music by Keith Hampton,B. Kornelis, Joe Raposo, John Stephens,K. Memley, Dan Forrest,Steve Zegree, B. Johnson, Mark Hayes, D. Phelps, D. Dickau, Carly Simon, Craig Hella Johnson, and Rodgers and Hammerstein II will be sung by the 26 adults, accompanied by French horn, Flute, Congas, Bongos, acoustic bass, drums and piano. This concert is featuring guest lecturer, BRUCE PULK, Phoenix Symphony timpanist, who will speak at 2 to 3:00pm on SHAKESPEARE IN LOVE, during which the CES quartet will perform George Shearing's IT WAS A LOVER AND A LASS.  Tix; at CESingers.com or at SCA BOX OFFICE;480-499-8587 ]]>Join the Colburn Community Chorale in singing the Polovetsian Dances! Mikhail Shtangrudhttp://www.choralnet.org/view/483301%pm, %09 %b %2016 %17:%Feb:%th 17FebGMT+0000http://www.choralnet.org/view/483301Join the Colburn Community Chorale for the exciting Spring 2016 semester, singing Handel's "Zadok the Priest," Borodin's "Polovetsian Dances," Schubert's Mass in G and other choral masterworks.  The upcoming performances include the collaboration with the Colburn School orchestras and dancers and choral concerts in Zipper Hall.
 
The Colburn Community Chorale seeks the finest volunteer classical singers in Los Angeles, interested in performing the greatest choral repertoire in the best performance spaces. The ensemble is committed to the training of vocal technique and expressive sound through study and performance of sophisticated choral music.
 
The ensemble meets weekly on Thursday evenings, 7:00pm–9:30pm on the Colburn School’s state-of-the-art campus, located in Downtown LA, diagonally across the street from the Walt Disney Concert Hall. The Colburn School's mission is to provide the highest quality performing arts education at all levels of development in an optimal learning environment.
 
We would love to see and hear you in the Chorale and will be hearing new singers by appointment. To set up an audition, email cspa@colburnschool.edu or call (213)621-4548. For more information visit www.colburnschool.edu.
  ]]>
Congregational Song Workshop for Musicians and Pastors CJ Redden-Liottahttp://www.choralnet.org/view/483305%pm, %09 %b %2016 %18:%Feb:%th 18FebGMT+0000http://www.choralnet.org/view/483305
The Hymn Society in the United States and Canada is excited to announce a special, one day workshop for Pastors, Musicians, and Congregations on enlivening congregational song in the Washington, DC area.
 
Singing with the Spirit
February 27, 2016
9:30 a.m. to 6 p.m.
Vienna Baptist Church
Vienna, VA (just west of Washington, DC - and Metro Accessible)
 
Featuring clinicians Mel Bringle, William Bradley Roberts, Deborah Carlton Loftis, and Elaine Rendler, with tracks for Pastors and Worship Leaders, Keyboardists, and Singers.
 
A Hymn Festival led by Mel Bringle will take place at 4:30 and is free and open to the public.
 
Please see the Hymn Society (www.thehymnsociety.org) website for more information or to register. Registration is just $65 ($55 for Hymn Society Members) and includes lunch. 
 
Questions? Please email CJ Redden-Liotta (music@vbc-va.org). 
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New Edition of Sing Me to Heaven for vocal solo! Dan Gawthrophttp://www.choralnet.org/view/483289%pm, %09 %b %2016 %14:%Feb:%th 14FebGMT+0000http://www.choralnet.org/view/483289 

 

I have two exciting bits of news to share today—

 

First, as a part of celebrating the 25th anniversary of the premiere performance of Sing Me to Heaven back in 1991, we are releasing a vocal solo version of the piece. There have been many requests for this over the years, so we are pleased to be making it available. There are versions in four different ranges. (Click the link below and go to the Catalog section to see ordering info.)

Second, also to mark the 25th anniversary is a completely new website. This one will work with all sorts of mobile devices far better than the “legacy” website which we had been using, and I’m resolving to keep it updated frequently with blog posts (see: How to Write a Choral Masterpiece, for example, or The Five Stages of a Commission) and news items.

Please do have a look, leave comments and enjoy it. I hope you will visit frequently!

 

Click madly!

www.DunstanHouse.com

 
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Alone at ACDA Eastern? Braeden Ayreshttp://www.choralnet.org/view/483293%pm, %09 %b %2016 %15:%Feb:%th 15FebGMT+0000http://www.choralnet.org/view/483293Hey all--I'll be at ACDA in Boston later this week all by my lonesome. It's not my normal convention (I'm usually Southwest) but I got invited to present a piece for the composition masterclass. I'll be on the special "Composer Track." If there's anybody else out there who's in a similar boat, or has room in their posse for one more, message me and let me know! I'd rather have some buddies than spend the entire convention floating around all by my lonesome. I promise I'm really good company, ha! 

See you there! 
Braeden ]]>
Section Leader Positions — Cathedral Choral Scholars Randall Swansonhttp://www.choralnet.org/view/483291%pm, %09 %b %2016 %15:%Feb:%th 15FebGMT+0000http://www.choralnet.org/view/483291
The Cathedral of Saint Raymond Nonnatus in Joliet, Illinois seeks experienced choral singers in all voice parts for the remainder of its 2015–2016 season.  The Cathedral Choral Scholars form the core of the Cathedral Choir, and members serve as section leaders in the larger ensemble.  Choral Scholars also sing as a stand-alone ensemble on occasion, and repertoire spans the centuries from Medieval chant to the finest sacred choral music of our own time.  Interested singers must have excellent sight-reading, tuning, and leadership skills, and must be available for Holy Week and Easter, in addition to regular weekly services between now and mid-May, 2016.  The complete 2015–2016 choir schedule is available HERE.   
 
The Choral Scholar stipend is very competitive, and additional professional opportunities are available for singers who wish to serve as cantors for weddings, funerals, and other Cathedral liturgies.  For more information, or to schedule an audition, please contact Cathedral Director of Music Dr. Randall Swanson at cathedralmusicjoliet@gmail.com
 
•  More information about the Cathedral music program may be explored online at www.straymond.net/music  
•  The Cathedral is located less than 45 minutes from downtown Chicago (ample free parking is provided). 
•  For a map and directions, click HERE. ]]>
AA Little Night Music Terri Leszczyszynhttp://www.choralnet.org/view/483287%pm, %09 %b %2016 %14:%Feb:%th 14FebGMT+0000http://www.choralnet.org/view/483287
7:30 pm, Our Lady of the Lake Catholic Church
195 Amick’s Ferry Road in Chapin, SC
Suzanne Ringer, Conductor
Susan Richie, Accompanist
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Seeking Vocal Teacher/Coach for vocal class in Nassau County, NY. George Francoishttp://www.choralnet.org/view/483272%am, %09 %b %2016 %02:%Feb:%th 2FebGMT+0000http://www.choralnet.org/view/483272Seeking a well-trained vocal teacher/coach for a music class, held on Monday evenings in Nassau County. The pay is $200 for a 2-hour class, and you would be working with 10 adult students.  You are paid every week. There is a simple curriculum to follow...basic theory as well as vocal production. The vocal classes were designed to provide training and as a feeder system for the choirs of St. John's UMC in Valley Stream. If you would like to hear more about the job and how we have set this up, please email me at gsfrancois@hotmail.com.

Please include a head-shot, resume, and a phone number in the email.
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Director of Music & Arts Jennifer McLaughlinhttp://www.choralnet.org/view/483283%pm, %09 %b %2016 %13:%Feb:%th 13FebGMT+0000http://www.choralnet.org/view/483283The Unitarian Universalist Congregation of Fairfax seeks a Director of Music and Arts. UUCF is a large, vibrant liberal religious congregation in Fairfax County near Washington, DC. Our music program currently includes an adult choir, children’s and youth choirs, house and jazz bands, a handbell group, a drum circle, musicians supporting our weekly children’s chapel services, and a variety of small chamber choirs and instrumental ensembles. The candidate we seek would direct most if not all of the ensembles, lead congregational singing, find ways to tap into the congregation’s deep well of musical and other talent, and administer the entire music program, including coordinating occasional benefit concerts and guest artists and planning special educational programming during the summer.  We’re looking for a director who is comfortable moving among the full range of musical genres, and who knows how to use the arts to build community and help people minister to each other and our world. We are open to hiring a full-time music director who is both a skilled choir director and a professional-caliber pianist, or to hiring a separate pianist, in which case hours and salary would be negotiated. The full-time salary range is $65-75,000 based on experience. For an expanded position description and to apply, please visit http://uucf.org/jobs/.  ]]>Artistic Director Search, New Jersey Gay Men's Chorus Steven Russellhttp://www.choralnet.org/view/483270%am, %09 %b %2016 %00:%Feb:%th 0FebGMT+0000http://www.choralnet.org/view/483270
The New Jersey Gay Men’s Chorus (NJGMC), based in Princeton New Jersey, is 
seeking an artistic director from August 1, 2016 through July 31, 2017.
 
 
Please send: cover letter, cv and or resume to Artistic@njgmc.org
 
Job summary:
● Leading Monday night rehearsals for a TTBB chorus of 25 members.
● Creating a program for Winter and Spring concerts
● Conducting gigs throughout the state
● Working closely with an Artistic Committee and Board on musical selections.
 
About the NJGMC:
The NJGMC is a volunteer chorus drawing from communities in New Jersey and Eastern 
Pennsylvania and is comprised of about 25 singing members (men and women) and 10
non-singing members. During our 25-year history, the NJGMC has presented an annual 
concert series consisting of two or three concert weekends, as well as various community 
performances (gigs) as part of our commitment to involvement and outreach. The 
NJGMC is the only New Jersey member of the roughly 170 member international Gay 
and Lesbian Association of Choruses (GALA Choruses). As the sole New Jersey 
member of GALA, we have represented the Garden State at GALA festivals in Tampa, 
Montreal, Miami and Denver.
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ViVoce Portland Revels Women's Chorus Lisa Santohttp://www.choralnet.org/view/483269%pm, %08 %b %2016 %23:%Feb:%th 23FebGMT+0000http://www.choralnet.org/view/483269

ViVoce will be holding auditions in February, 2016.

 

ViVoce, a women’s a cappella singing group affiliated with Portland Revels, performs folk and classical choral material, weaving past with present through song and story.   ViVoce's stylistic range runs from Gregorian plainsong to rousing American folksongs.   Our winter concert (Jan 2016) included songs from Bulgaria, Finland, Norway, Ireland, North America, medieval France, renaissance, Italy, and contemporary composed works, including Eatnemen Vuelie, by Frode Fjellheim. 

 

Members of ViVoce are experienced singers with good musicianship (sing a part independently and read music).   We enjoy singing together and aiming for musical excellence.  We rehearse Monday evenings (Sept. – June in NE Portland).

 

For more information about the group, including rehearsal and concert schedule for Spring/Summer 2016, or to arrange a time to sing for us, please contact ViVoce@portlandrevels.org.

 

For more information about ViVoce or Portland Revels, please visit

www.portlandrevels.org

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Cantare Con Vivo: Mass in B Minor - J. S. Bach Janice Leehttp://www.choralnet.org/view/483268%pm, %08 %b %2016 %23:%Feb:%th 23FebGMT+0000http://www.choralnet.org/view/483268
CANTARE CON VIVO
David Morales, Artistic Director
PRESENTS
 

Mass in B Minor - J. S. Bach

 
March 12 at 7:30 p.m.
Walnut Creek Presbyterian Church
1801 Lacassie Ave, Walnut Creek, CA 94596

 
 
FOR IMMEDIATE RELEASE                                                                                 CONTACT: Janice Lee
                                                                                                                                    (510) 836-0789
 
Cantare Con Vivo is proud to present Bach’s Mass in B Minor. Without question, Bach’s Mass in B Minor remains one of humankind’s supreme artistic achievements. The first documented complete performance of this great work took place in 1859-109 years after Bach died. The movements were assembled over the last 25 years of Bach’s life, yet the work is very unified, as if he wrote it in one sitting. Bach employs compositional styles that reflect sacred music from both the Renaissance and Baroque periods, with movements notably requiring the chorus to divide into four to eight parts. Each vocal solo movement features a complementary instrumental solo, adding another layer of beauty and colorful richness.
 
An outstanding quartet of soloists will join both the Chorale and Chamber Ensemble, 110 voices strong, accompanied by full orchestra in presenting this legendary masterpiece. This is not to be missed!
 
Tickets are $35 General, $30 Senior, $10 Student, $200 Group of 8
Advance purchase of tickets is recommended by going on-line to www.cantareconvivo.org, or by calling the Cantare office at (510) 836-0789.
 
Cantare Con Vivo, founded in 1987 by Artistic Director David Morales, has been widely praised for choral excellence, their admirable community outreach and education programs serving 2,500 children in Oakland, and the sheer joy that they bring to audiences of all ages.
 
 
 
 
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Need Publisher Advice Steve Murrayhttp://www.choralnet.org/view/483255%pm, %08 %b %2016 %21:%Feb:%th 21FebGMT+0000http://www.choralnet.org/view/483255Greetings colleagues:
 
Last December I had the premier of my setting of E. E. Cummings' Little Tree for mixed chorus and orchestra.  I am willing to self-publish the work but would prefer to shop it out to established publishers.  The piece is about 5 minutes long, it is secular, not too difficult and is very accessible.  It may be heard at www.youtube.com/watch?v=uNDIWz5Q42o.  I would like your thoughts about those publishers who tend to deal with this kind of Christmas music.  Thanks in advance for any help you might give.  
 
Steve Murray
s.l.murray39(a)gmail.com 
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Robert Shaw Centenary Symposium on the Brahms Requiem Christie McKinneyhttp://www.choralnet.org/view/483261%pm, %08 %b %2016 %21:%Feb:%th 21FebGMT+0000http://www.choralnet.org/view/483261
www.chorusamerica.org/shaw100
 
Explore Robert Shaw's legacy and one of the greatest choral masterworks of all time at Chorus America’s Robert Shaw Centenary Symposium on the Brahms Requiem (April 12-15; Atlanta, GA).
 
Learn from faculty led by Craig Jessop, Ann Howard Jones, and Michael Musgrave in an intimate setting that includes both seminar-style sessions and networking opportunities. The symposium is hosted by the Atlanta Symphony Orchestra and Chorus and centers around the ASO's performance of the Requiem.
 
Register by February 29 for a $50 discount on the $450 rate - a special $250 student rate is also available! For more information, visit chorusamerica.org/shaw100.
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Super Bowl America the Beautiful Allen Crowellhttp://www.choralnet.org/view/483251%pm, %08 %b %2016 %18:%Feb:%th 18FebGMT+0000http://www.choralnet.org/view/483251There's a bit a a buzz regarding the arrangement of "America the Beautiful" sung by the Armed Forces Chorus at Super Bowl 50.  It was written specifically for the occasion by Ron Harris, who once upon a time was an arranger for The United States Army Chorus when I conducted it.  (The director of the group on Sunday was Captain Curtis Kinzey, a former student of mine and the current conductor of TUSAC.)  Ron Harris can be reached at <HarrisHQ@aol.com> or through his publisher, Carl Fischer.
 
Allen Crowell
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Burlington Welsh Male Chorus's Annual Concert Craig Howellshttp://www.choralnet.org/view/483246%pm, %08 %b %2016 %16:%Feb:%th 16FebGMT+0000http://www.choralnet.org/view/483246 ]]>St David's Day Concert Craig Howellshttp://www.choralnet.org/view/483245%pm, %08 %b %2016 %16:%Feb:%th 16FebGMT+0000http://www.choralnet.org/view/483245 ]]>Canadian Chamber Choir Seeking Conducting Fellow Applicants Corey Ticknorhttp://www.choralnet.org/view/483239%pm, %08 %b %2016 %15:%Feb:%th 15FebGMT+0000http://www.choralnet.org/view/483239The Juno-nominated Canadian Chamber Choir is currently accepting Conducting Fellow applications for a tour of Nova Scotia and Prince Edward Island taking place August 12-22, 2016. Applications must be received by March 31st, and the successful applicant will be notified by April 15th.

This tour will feature a residency at the Nova Scotia Choral Federation summer choral camp, and at least four public concert performances.

The Canadian Chamber Choir’s Conducting Fellow Program offers emerging or established Canadian choral conductors a unique opportunity to hone their skills through the preparation and rehearsal of challenging repertoire under the leadership of CCC Artistic Director Dr. Julia Davids. Conductors will benefit from advanced in-depth training and immersion in a professional music-making environment while on tour for approximately 10 days with the CCC. The Conducting Fellow must be a legal resident of Canada.

For complete application information, please visit the CCC website:
http://canadianchamberchoir.ca/welcome/education-and-masterclass/conducting-fellow-program/ ]]>
Cork International Choral Festival 2016 - Gala Tickets On Sale Now! Leona Murphyhttp://www.choralnet.org/view/483238%pm, %08 %b %2016 %14:%Feb:%th 14FebGMT+0000http://www.choralnet.org/view/483238
JOIN US IN CORK IN 2016! 
Make MUSIC, make FRIENDS, make MEMORIES, MAKE A DATE now with the 62nd Cork International Choral Festival 2016!
 
From 27th April – 1st May 2016 Cork will welcome choirs from across the world for a programme of choral concerts, national and international competition, and internationally renowned performers as thousands of participants bring the city to life for five days in May. For visiting choirs, Cork provides an opportunity not only to perform; but also to experience some of the world’s best choral music, soak up the atmosphere and enjoy the mingling, singing and fun of the Festival Club, and explore the vibrant city of Cork and its surrounds on Ireland’s beautiful south coast.
 
Tickets are on sale now for this year's Gala Concerts and there are great discounts available for Friends of the Festival and for groups booking together.
 

Opening Gala Concert 

27 April - Cork City Hall
A Celebration of Irish Heritage with performance by Fleischmann Choir and CIT CSM Symphony,  Conductor Conor Palliser.   The programme will feature Gerald Finzi’s Intimations of Immortality for Tenor, Chorus and Orchestra with soloist Robin Tritschler and the first performance in Cork of Fleischmann’s Cornucopia for Horn and Orchestra with soloist Cormac Ó hAodáin. Programme will also include Seán Ó Riada’s Mise Éire Suite together with an accompanying film of the period.
 

The Real Group

28 April - Cork City Hall
Reprising their extraordinary 2013 concert, The Real Group from Sweden return to Cork to showcase their amazing vocal talents. The Real Group is one of the world’s finest vocal ensembles. They are renowned for their excellent ensemble singing, stunning arrangements, and captivating audiences world-wide.
 

Chamber Choir Ireland 

29 April - St. Fin Barre's Cathedral
Ireland's premier ensemble and Festival Choir-in-Residence, Chamber Choir Ireland present their annually awaited concert. Under its conductor Paul Hillier, Chamber Choir Ireland will present an exciting and unique programme for Festival audiences including a 1916 commemorative programme and a Shakespeare element commemorating the Bard’s death.
 

Evocations – White Raven

29 April - North Cathedral
Our late night concert, noted for its sacred and reflective atmosphere, presents one of the foremost exponents of medieval song - White Raven. Based in Switzerland, this a cappella vocal trio, sings arrangements of Irish traditional, Scottish, and medieval song. Hailed as “voices of purest gold” by the Irish Times critics, White Raven has perfected the art of ensemble singing with their unique timbre and exquisite blend of voices.
 

International Fleischmann Gala 

30 April - Cork City Hall
An opportunity to hear some of the world's top amateur choirs compete for the Fleischmann International Trophy Judged by a panel of eminent musicians and choral experts, the competition is presented in a concert format and features music from Renaissance to contemporary and compositions from each choir’s home country.
 

Closing Gala Concert

1 May - Cork City Hall
International choirs present choral music representative of their musical and ethnic backgrounds in a celebratory final concert. The week draws to a close and our international choirs mark the end of a superb festival with a joyful and colourful celebration of song, with a few surprises!
 
 
For more information on the Cork International Choral festival, including free events, visit www.corkchoral.ie.
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Sarteano Musica Sacra Choral Workshop Simon Carringtonhttp://www.choralnet.org/view/483234%pm, %08 %b %2016 %12:%Feb:%th 12FebGMT+0000http://www.choralnet.org/view/483234
This summer sees my 12th annual chamber choir choral conducting workshop in the beautiful, unspoilt hilltop town of Sarteano, Italy - undoubtedly one of the favourite weeks of my musical year! I go back every time for the joy of sharing musical ideas with colleagues and friends in idyllic surroundings. The workshops and rehearsals are challenging but always fun, the landscape and food unbeatable, the enthusiasm and welcome of the townspeople irresistible. You can read more about it here: http://www.sarteanochoralworkshop.com/. I recommend this delightful week to everyone looking for the chance to make music in glorious surroundings where the company is convivial and the atmosphere beguiling!
On July 22nd, the day before the course begins I'll be holding a mini intensive score study workshop entitled, A Personal Approach to Choral Score Preparation:Examining the Essentials and the Extras.
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Bach & His Predecessors Sue Cevascohttp://www.choralnet.org/view/483231%am, %08 %b %2016 %06:%Feb:%th 6FebGMT+0000http://www.choralnet.org/view/483231
DIABLO CHORAL ARTISTS presents "Bach and His Predecessors", a concert featuring Bach’s Jesu, Meine Freude, Schutz' Cantate Domino, Telemann's Singet Dem Herrn and Buxtehude’s Magnificat, with string ensemble.  Music Director, Mark Tuning.
Friday, March 11, 8:00pm, St. Paul’s Episcopal Church, 1924 Trinity Ave., Walnut Creek,
Sunday, March 13, 3:00pm, St. Stephen’s Episcopal Church, 66 St. Stephen’s Drive, Orinda
Tickets http://www.brownpapertickets.com/producer/16457:
adults $25, seniors 60+ $18, students $5, ($3 discount - adult & senior - before 3/8/16)
www.dcachorus.org
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The State of ACDA and Our Next Steps Tim Sharphttp://www.choralnet.org/view/483276%am, %09 %b %2016 %06:%Feb:%th 6FebGMT+0000http://www.choralnet.org/view/483276
When I started my work as Executive Director of the American Choral Directors Association in 2008, I began with a vision for ACDA I have not varied from since the start: I envision an ACDA that establishes the opportunity for every child in the United States to sing in a choir; I envision an ACDA that is fully engaged in world choral initiatives; I envision an ACDA that utilizes the full extent of technological communication and other technologies for the benefit of our membership; and, I envision an ACDA that sets the research and publication agenda for the best thinking, past and present, in choral music.
 
In 2012, I entered what I consider the second phase of my work, beginning a period of strategic planning with our Association in order to discern the kind of ACDA our membership wanted to be in the twenty-first century. That process touched on planning that started with our national leadership, continued with a national survey of our membership, was followed by a period of reflection and refinement of the survey results, was distilled into ACDA’s first-ever Mission Statement, and finally culminated in reforms that were ratified in January of this year by our entire membership that will reshape the way ACDA does its work to fulfi ll its mission.
 
I now enter what I consider my third phase as ACDA’s Executive Director, looking to the next four years and the work that lies ahead for us. In this extended blog (spoiler alert!), I would like to reflect on what I know now that I may not have known as clearly earlier in my work, where I think we are as an Association at this point in time, and where I see my work headed in the years to come.
 
The American Choral Directors Association is a not-for-profit association of choral music educators, conductors, performers, students, composers, music industry members, and others involved in choral music performance, education, composition, and advocacy. The mission of ACDA is to inspire excellence in choral music education, performance, composition, and advocacy, and our twelve purposes are always printed in the sidebar of my monthly column in Choral Journal. ACDA is the world’s largest professional choral music association. Through its membership of more than 21,000 active, retired, student, international, and industry members, and hundreds of thousands of choral music performers, ACDA serves millions of singers of all ages and of all levels of performance. There are ACDA state associations in all fifty United States, which we organize into seven geographical divisions. ACDA provides a wide array of services to support choral music education and performance, including print and web-based media, professional development conferences and workshops, collaborative partnerships with similar associations, and a growing number of benefits to its members (see my editorial in the January 2016 edition of Choral Journal). ACDA is recognized as the national voice for choral music education and performance, and as such represents the field in national initiatives and advocacy. ACDA has an office staff of fourteen, with additional contract labor staffing.
 
My organizational leadership is characterized by innovation, collaboration, discipline, and mentorship. In order to meet the challenges of a twenty-first-century not-for-profit voluntary membership organization, today’s leader must be innovative. Strategic planning takes place in every area of an organization’s work to assist in charting a course of action pursued to address a mission and vision. Collaboration unifies stakeholders in the ownership of that vision and the pursuit of the mission. Discipline is required in order to provide stewardship in the directed use of the Association’s resources. Mentorship throughout this process creates a sustainable environment for the plans implemented and for the never-ending task of strategic planning. My professional experience over the last eight years in leading the world’s largest non-profit professional organization for conductors, combined with my earlier work as associate dean in higher education, teaching and research experience, and experience running my own successful corporation, has allowed me to work and lead in environments motivated by different action perspectives and motivations. Non-profit associational work, higher education, denominational church life, and my own for-profit corporation have each offered insights into the motivation for different aspects of our mission. All of these experiences have taught me a great deal about leadership, budgeting, management, human resources, business analysis, legal procedures, strategic planning, operational finance, technological systems, data systems, social media, and a number of other practical aspects of business and academic work, work within a faith community, and work motivated by profit. It is my desire to continue to channel this knowledge and experience for the benefit of ACDA and our mission. The greatest opportunity of all in the coming years for the work of ACDA will be to cultivate the resources necessary to accomplish our Association’s mission and vision. Strategic planning will be called upon again to develop the resource and financial architecture needed by ACDA. I am pleased that my interest, expertise, experience, and energy collide with this moment in the life of our Association. The guiding principles necessary for a successful development plan will again be in the areas of innovation, collaboration, discipline, and mentorship. A widening circle of stakeholders is involved in the development of the resources that will advance ACDA in this area, including partners representing both individual philanthropy and institutional philanthropy. These partners include current members, retired members, friends and donors, regional and national institutions, and others desiring to share in the mission and vision of ACDA. I am pleased we have had success in the areas of strategic planning, enrollment management, philanthropy and fundraising, conference planning, talent recruitment, and other areas. I am also pleased that I approach this work with a trajectory that offers confidence within my own scholarship and pedagogy but excited about directing my eff orts toward a worthy pursuit such as our Association’s mission.
 
The further development of the financial architecture of ACDA will be one of the greatest intrinsic rewards of my work with our membership and leadership in the years ahead. As Executive Director of the American Choral Directors Association, my official contractual duties are as follows:
 
1. Coordinate and communicate with the National Executive Committee to supervise all operations of the ACDA organization.
2. Supervise the programs, projects, and activities of the ACDA staff.
3. Direct and coordinate development activities of the ACDA organization, all endowments and all entities, and the programs and events related thereto.
 
Practically speaking, these duties are worked out in the daily and ongoing responsibilities described by the following tasks I have identified over the last eight years. This list is developed to inform and guide the work of my position now and in the future:
 
• Fiscal management of the ACDA budget and staff .
• Communicating clearly and listening to members, including the ability to clearly articulate ACDA’s message and to command the respect of the ACDA audience.
• Building relationships within a diverse membership organization and with other organizations, business groups, and coalitions.
• Negotiating and building consensus.
• Building teams, including the recruitment, development, and supervision of staff .
• Developing sources of non-dues revenue.
• Understanding business issues as they affect ACDA, knowledge of how associations can work most effectively, and a familiarity with the legal issues related to association management.
• Developing a global vision and an ability to understand and anticipate emerging needs as they might affect ACDA.
 
In addition to the effective performance of the above responsibilities, I have concluded that the Executive Director of ACDA should demonstrate the following personal attributes in the accomplishment of the duties of this position:
 
• Strong personal character, a keen sense of protocol, and respect in the discipline.
• Proven leadership ability and demonstrated business management skills.
• Strong strategic-thinking and listening skills.
• An entrepreneurial spirit.
• Sufficient self-confidence to place service over ego.
• Diplomatic skills necessary to reach common ground and build alliances without compromising ACDA’s interests, and the ability to command the respect of colleagues and political communities.
• The ability to build and maintain key relationships through networking.
• An understanding of the role of Executive Director that supports the policy-making role and responsibilities of elected leaders.
• An understanding that the Association belongs to the members and a willingness to put members and mission first.
• An ability to work in a decisive manner in a results-oriented, decision-making environment.
• A reputation for being energetic, intelligent, hard working, enthusiastic, and willing to offer opinions and judgments. Further, the Executive Director of ACDA will be responsible for the following as we look to the future:
• Implementing the vision of the Association.
• Managing the operations of the Association.
• Providing leadership to the staff , including responsibility for hiring, training, supervising, and evaluating staff .
• Providing advice and counsel to the appointed and elected
officers and members to ensure the achievement of the Association’s mission and goals.
• Managing the strategic planning process in conjunction with the Executive Committee.
• Overseeing and managing the development of the budget of the Association while identifying new sources of revenue.
• Developing and implementing a robust membership retention and attraction program, and ensuring that the Association’s offerings are aligned with the needs of the membership.
• Building and enhancing relationships with the Executive Committee, the National Board, and with state and division leadership.
• Demonstrating responsiveness to the needs of the division and state ACDA chapter leadership and membership.
• Ensuring compliance with all legal and regulatory requirements applicable to the operation of the Association.
• Leading a results-oriented, responsive, and well-integrated senior management team focused on goals and objectives designed to meet the needs of ACDA’s growing membership.
• Articulating clearly the issues of concern to ACDA and the choral music profession and serving as an effective advocate for the interests of choral music education in interactions with other associations, business groups, the music industry, government policymakers, and other organizations.
• Advocating for the visibility of the organization with all of its publics.
• Overseeing and participating in the implementation of ACDA’s governance structure.
 
Goals for the Next Four Years
 
Utilizing my ongoing study and evaluation of the work of ACDA, along with the evaluation data collected over the last four years, I have developed the following goals for my work in leading the Association in the years ahead in three key areas:
 
1) Association Strategy and Planning
To lead the Association in its first-ever study of the financial architecture at work throughout the Association and, after a thorough study of the findings, develop a plan for addressing the interrelated financial needs of the Association as we move into the future.
 
2) Program Management
To lead the Association in staffing and engaging our new program structure, a process that began with the final constitutional vote of the membership in January 2016. The initial program and committee staffing aspect of this goal will take place in the spring of 2016, and engagement will begin with the gathering of the leadership at the National Leadership Conference in June 2016. Further engagement will take place as agendas are carefully built by the Standing Committees, and Committee Chairs are motivated to lead the work and achieve the outcomes defined.
 
3) Personnel Management
To continue the development of a professional staff in the National Office, aligning current and future staff with new structure (as of February 1, 2016), program, and financial requirements identified in the ongoing process of strategic planning.
 
It is with a sense of excitement and humility that I anticipate the coming years of serving the American Choral Directors Association as Executive Director.
 
Tim Sharp
 
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What's on Great Sacred Music, Sunday, February 7, 2016 Robert Kennedyhttp://www.choralnet.org/view/483226%pm, %07 %b %2016 %23:%Feb:%th 23FebGMT+0000http://www.choralnet.org/view/483226
My playlists are on Spotify for you to enjoy: GSM - February 7, 2016
Don't forget that we have more choral and organ music programmed
on Sunday evenings beginning at 10 p.m. eastern.
 
Rob
Rob Kennedy
Great Sacred Music
The Classical Station
http://theclassicalstation.org
To subscribe to my weekly playlist emailing:  send
your email address to sacred@theclassicalstation.org
------------------------------------------------
 
08:02:00
African-American spiritual, arr. by William Appling: We Shall Walk Through the Valley
William Appling Singers, William Appling
 
Giovanni Pierluigi da Palestrina: Motet: Jubilate Deo
The Studio of Ancient Music of Montreal, Christopher Jackson
 
John Tavener: A Hymn to the Mother of God
Cambridge Singers, John Rutter
 
The "corn ditties" of the 18th century were the precursors of African-American spirituals.
On this Sunday before Ash Wednesday a shout of praise by Italian Renaissance composer
Palestrina seems appropriate. Psalm 100 begins with such an exultation: "O be joyful in the
Lord!" The Orthodox churches influenced much of the work of English composer Sir John
Tavener (1944-2013) as we will hear in this evocative A Hymn to the Mother of God.
 
08:13:18
Adolphus Hailstork: Nocturne
VocalEssence Ensemble Singers, Philip Brunelle
Maria Jette, soprano
 
Giuseppe Verdi: Ave Maria ~ Four Sacred Pieces
Swedish Radio Choir; Stockholm Chamber Choir, Riccardo Muti
 
Anonymous: Tierce en taille in C
Kenneth Gilbert, organ
1981 Helmut Wolff organ, McGill University 
 
American composer Adolphus Hailstorck studied with Nadia Boulanger and earned
his doctorate from the University of Michigan. The great Italian opera composer Guiseppe
Verdi wrote his Ave Maria (sulla scala enigmatica) in 1889 and revised it in 1897. Le Livre
d'orgue de Montreal is an 18th manuscript of French organ music some of which has been
attributed to Nicholas Lebegue ((1630-1702).
 
08:31:55
Sir Joseph Barnby: When morning gilds the skies
Choir of Wells Cathedral, Malcolm Archer
Rupert Gough, organ
 
Heinrich Schutz: Fili mi Absalon
New York Cornet and Sacbut Ensemble, Johannes Somary
John Ostendorf, bass-baritone; Johannes Somary, baroque organ
 
Traditional American spiritual: There is a Balm in Gilead
(an orchestra assembled for this event), James Levine
Kathleen Battle and Jessye Norman, soprano
 
When morning gilds the skies was recorded by Wells Cathedral Choir as part
of their five CD set entitled The English Hymn. German composer Heinrich Schutz
captures the anguish and despair of King David upon hearing that his son Absalom
has been killed in battle. The text comes from 2 Samuel 18:33. American sopranos
Kathleen Battle and Jessye Norman recorded this spiritual in Carnegie Hall on March
1990 for a television presentation.
 
08:47:11
Felix Mendelssohn: Sonata in A Major, Op. 65, No. 3
Andrew Scanlon, organ
The Perkins & Wells Memorial Organ, C.B. Fisk Op. 126, 2005, St. Paul's Episcopal Church, Greenville, NC
 
Here is another stellar combination of composer, instrument and performer. Mendelssohn
modeled much of his writing for organ on the works of Johann Sebastian Bach. The organ in St. Paul's
Episcopal Church, Greenville, North Carolina is another superb musical instrument crafted by one of America's
foremost organ builders. Professor Andrew Scanlon is highly-regarded both for his performing and his teaching.
 
08:59:49
J.S. Bach: Missa Brevis in A, BWV 234
Pygmalion, Raphael Pichon
Eugenie Warnier, soprano; Magid El-Bushra,
alto; Emiliano Gonzalez-Toro, tenor; Sydney Fierro, baritone
 
Ensemble Pygmalion has been active in France since 2006. Its brilliant young conductor Rafael
Pichon has established a solid reputation as one of the premier early music conductors in the world today.
 
09:31:59
George Frideric Handel: Salve Regina
English Concert, Harry Bicket
Lucy Crowe, soprano
 
Handel wrote his Latin motet Salve Regina whilst in Rome. The work dates from 1707 and was first
performed in the Church of Santa Maria in Montesanto, Italy.
 
09:45:16
Frank Martin: Passacaille
James Lancelot, organ
1876 Willis/Harrison & Harrison organ in Durham Cathedral, England
 
Swiss composer Frank Martin (1890-1974) wrote his Passacaille for organ in 1944. Martin was influenced
by classical composers as well as by the twelve tone method of composition used by Arnold Schoenberg.
 
09:58:23
Marc-Antoine Charpentier: Messe des Morts, H.7
Le Concert Spirituel, Herve Niquet
 
French composer Marc-Antoine Charpentier (c.1634-1704) wrote this Requiem between 1688 and 1698.
 
10:23:46
Alexander Agricola: Missa Guazzabuglio
Huelgas Ensemble, Paul van Nevel
Franco-Flemish composer Alexander Agricola (1445-1506) didn't actually compose a Missa Guazzabuglio.
Conductor Paul van Nevel stitched together five movements of other masses which Agricola had written to
create this pastiche.
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Concordia Choral Arts seeks new members! Kate Mikijanichttp://www.choralnet.org/view/483221%pm, %07 %b %2016 %18:%Feb:%th 18FebGMT+0000http://www.choralnet.org/view/483221Concordia Choral Arts is a non-profit choral organization out of Chester/Delaware counties in Southeast PA. Our premier mixed ensemble, Concordia Voices (~40 singers), seeks new members to join us for our spring season themed, "New Heaven." Rehearsals take place on Sunday afternoons from 3-5pm in Paoli, PA starting on 2/14 with concerts on 5/14 and 5/15. 
 
Auditions are taking place Wednesday, February 10th in the evening by appointment. Auditions are approximately 10 minutes long and consist of four parts: range test, tonal memory, sight-singing, and performing "America the Beautiful" acappella in B-flat major.
 
For more information and/or to schedule an audition appointment, please contact choral director Kate Shealy by email: skshealy@gmail.com.
 
To learn more about us, listen to recordings, and see our vision statement, visit our website: www.concordiachoralarts.org
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Composition Spotlight -O sacrum convivium Jack Senzighttp://www.choralnet.org/view/483212%am, %07 %b %2016 %10:%Feb:%th 10FebGMT+0000http://www.choralnet.org/view/483212
COMPOSITION SPOTLIGHT ~ by Jack Senzig
 
(The Composition Showcase is a unique resource for conductors.   Choral composers are allowed to share only a few of their best works.  Each week we offer you the best of the best on a silver platter.   The Silver Platter Award winners are works that your choirs will love to sing and your audiences will love to hear)
 
Silver Platter Award Winner:
O sacrum convivium by Cyrill Schürch SATB/SATB a cappella (Click here for PDF and here for AUDIO)
 
Level: Advanced High School or Higher
Uses: General Concert
Program Themes:  Easter, Body of Christ, Transcendent Chorals
This Piece Would Program Well With:  O Sacrum Convivium! by Oliver Messiaen available from JWPepper and SheetMusicPlus
 
Master composer Cyrill Schürch sends the audience to new heights with this beautiful choral duet between two SATB (non divisi) choirs.   If you are in a hurry, start listening at 1:47, though I’m sure you will go back to hear the whole work.   The short length of the work is an asset to aspiring choirs ready to sink their teeth into a true gem.   Inspiring!
 
O sacrum convivium is available through the composer’s website: http://cschurch.net/en/order-music/
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"United We Stand" by Jay Althouse Tina Heidrichhttp://www.choralnet.org/view/483206%pm, %06 %b %2016 %20:%Feb:%th 20FebGMT+0000http://www.choralnet.org/view/483206Item: "United We Stand" - SATB
Composer/Arranger/Edition: Jay Althouse
Starting: March 1, 2016
For: April 5, 2016
Copies: 60
Willing to rent: Yes
 
Looking to borrow or rent 60 copies of "United We Stand" by Jay Althouse and Sally Albrecht.
 
Brass parts would be helpful too.
 
Tina Heidrich
Connecticut Master Chorale
info@cmchorale.org
www.cmchorale.org
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What was old in 1750? Nick Pagehttp://www.choralnet.org/view/483198%pm, %06 %b %2016 %15:%Feb:%th 15FebGMT+0000http://www.choralnet.org/view/483198As choral musicians we sing music from many traditions and many times.  When we study the classical music of Europe, we learn what choral music was being composed in 1750, but we rarely hear about what was actually being sung.   We know that Romantic era composer Mendelsohn was a champion of Baroque music.  We know that Beethoven was revered throughout the Romantic period.  Was anyone singing Medieval or Renaissance music during the Baroque era?    We hear about what was new from Ars Nova to Avant Garde, but what old music was celebrated in past times?  When we look at concert programs from the 19th century we see composers who were contemporary at the time, but who are now mostly unheard of.  Do we see composers of previous times, composers who have passed the test of time?
 
 
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Chanticleer and Cantus walk into a bar and sing the Biebl Ave Maria Paul Rudoihttp://www.choralnet.org/view/483200%pm, %06 %b %2016 %15:%Feb:%th 15FebGMT+0000http://www.choralnet.org/view/483200Yes, it was that random, that surprising, and that special.
 
Cantus has always been in Chanticleer's shadow.  How could we not?  Chanticleer was one of the main catalysts for Cantus' existence, their 12 members influencing Cantus' early days as a student ensemble, their classic sound a perfect reference for Cantus on their student recordings of the late 1990's, and their full-time employment a dream on which to build a fledgling non-profit company.  Over time, Cantus came into their own: They fleshed out a more efficient chamber music process; Members moved on and, because voices continue to mature in their 20's, didn't need replacement; The sound ebbed and flowed into newer territory, becoming more robust in albums like Deep River and Against the Dying of the Light and settling into the more recent Cantus sound in albums like That Eternal Day and Song of a Czech.  In recent years, there was overlap between the ensembles with auditionees, members, gigs, and even some repertoire, but there still, stiil had not been a meeting.  Until now.
 
On one of our longest tours to date, we received a text from one of our former members Blake Morgan, now a tenor in Chanticleer, asking if we wanted comps to the Chanticleer show at Ferguson Center for the Performing Arts in Newport News, VA.  He knew both ensembles were on tour, and knew that we'd both be in the area at the same time.  Cantus had an education outreach that day in the middle of a long drive between Durham, NC and Norfolk, VA, but the timing seemed right.  We raced to the venue and showed up just in time to hear Nico Muhly's new commission, "Over The Moon."  We loved hearing Chanticleer's signature sound in person, together, for the first time, and we enjoyed seeing our colleague Blake alongside so many of our friends-from-afar for so many years: Cortez Mitchell, Kory Reid, the indelible Eric Alatorre, Adam Ward, and so many others.  At the end of the concert, Brian Hinman began an introduction to their encore, Shanendoah, with a shoutout to Cantus.  We were so happy to be included as part of their evening, and we didn't want it to stop there.
 
Rumors of a bar attached to Chanticleer's hotel circulated through the 21 singers, and we trickled over to the spot.  It seemed vacant but still open, the wait staff happy to see us and have something to do on a Tuesday evening.  With burgers, salads, and drinks in hand, no two members of the same ensemble were sitting next to one another, all of us realizing we didn't have to explain anything about our careers, our full-time salaries and benefits, or our musicmaking: These were the few people in the world who finally knew very well what it was all about.  After some time, a couple of us started singing Barbershop tags (yet another common ground between the ensembles) and it occurred to us... If this was such an overdue meeting, we should make the most of it.  Everyone was on board with the one song that, of course, immediately came to mind: Franz Biebl's timeless Ave Maria.
 
Beers in hand, bartenders and wait staff watching, we began the chant together, the sound of male voices drifting through the wooden rafters.  Having had no rehearsals with the other ensemble, the cues and tuning were rough, but as we sang, something amazing happened.  We evolved.  The counterpoint intermingling and new timbres and vibrato in our ears, we did what we knew best and adapted to the aural world around us.  The contour of the musical lines gave each all of us more information with which we could blend better, though it was hard to sing consistently noble latin vowels through our beaming grins.  By the last three Amens, we had found a common interpretative ground, already hearing a unique voice in the combination of Chanticleer and Cantus.  Canticleer.  Chantus.
 
It was indicative of a transformation in our ensembles' relationship.  Born through completely different circumstances, often in friendly competition for the same gigs and vocalists, these twenty years still proved fruitful, allowing the two ensembles to simmer with excitement at the chance to meet and, as fate would have it, sing together in a bar.  We realized that the spirit of collaboration was very much alive, and that it can manifest itself in many ways, in many random locations, in the best of times.
 
 
 
For more information on this wonderfully fun random event, please visit our facebook pages ("Chanticleer" and "Cantussings") and our websites (chanticleer.org and cantussings.org).
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Konevets Quartet, St.Petersburg, Russia_concert in Concord CA Igor Dmitrievhttp://www.choralnet.org/view/483197%am, %06 %b %2016 %10:%Feb:%th 10FebGMT+0000http://www.choralnet.org/view/483197Concert in St.Michael & All Angels Church at 7 pm
Special guest Marina Tolstova
In program Famous Russian church music, Folk songs & romances
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Konevets Quartet, St.Petersburg, Russia_New Christmas CD Igor Dmitrievhttp://www.choralnet.org/view/483196%am, %06 %b %2016 %09:%Feb:%th 9FebGMT+0000http://www.choralnet.org/view/483196Christmas Catols of different countries included Russian, Ukainian, German, French, Finnish and English
konevets4@yahoo.com
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ICEP Spotlight - Dr. Timothy Westerhaus & Dr. Kee-Tae Kong T.J. Harperhttp://www.choralnet.org/view/483160%pm, %05 %b %2016 %14:%Feb:%th 14FebGMT+0000http://www.choralnet.org/view/483160It is my pleasure to introduce 2016 ICEP Conducting Fellows, Dr. Timothy Westerhaus, Director of Choral Activities at Gonzaga University, and Dr. Kee-Tae Kong, Conductor of the Joyel Choir and Joyel Master's Ensemble. Please help me congratulate these two outstanding representatives of our international exchange program and welcome them to our division conferences this spring.
 
Dr. Timothy Westerhaus
 
Dr. Timothy Westerhaus is an active conductor, educator, tenor, and pianist, and he seeks to combine musical scholarship, technical excellence, and expressive artistry in performance. He has conducted collegiate and professional ensembles in the United States and Europe; his teaching activities span from universities to national music organizations; and his solo appearances as tenor and keyboardist encompass music from the Baroque to modern eras. As a conductor, Dr. Westerhaus is the director of choirs and vocal studies at Gonzaga University in Spokane, Washington. In October 2014, he was appointed music director of the Cathedral of St. John the Evangelist and directs the St. John’s Music Series. He has served as assistant chorus master of the Oregon Bach Festival, and he conducted a variety of choral ensembles at Boston University from 2005 to 2010. He has founded professional ensembles, including the Boston-based chamber orchestra and choir Bridge Ensemble and the Incendo Music Ensemble, a chamber orchestra in Spokane. He has led tours in Austria, Germany, Colombia, and the United States. Dr. Westerhaus received his bachelors degree from the University of Saint Thomas, and he received his masters and doctoral degrees from Boston University.
 
Dr. Kee-Tae Kong
 
Dr. Kee-Tae Kong currently holds positions as the conductor of the Joyel choir and Joyel Master's Ensemble, the CBS Daegu Joyel Worship Orchestra, the KBS Women's Chorus, the Daegu Father's Chorus, the Daegu Teacher's Chorus and is the General Secretary for the Korea Federation for Choral Music. His past appointments include conductor and music director of the Korean Choir of Greater Kansas City, the University of Missouri-Kansas City Conductor's Ensemble and the University of Missouri-Kansas City University Ensemble. Dr. Kong received his bachelors degree in Composition and Choral Conducting from Keimyung University, his masters degree in Choral Conducting from University of Missouri-Kansas City, and his DMA in Choral Conducting from Arizona State University. Dr. Kong is the 2016 ICEP Conducting Fellow from South Korea and his residency will be centered in the Southwest Division. For more information regarding his time in the US, please contact the ACDA Southwest Division Liaison, Dr. Jim Davidson at: jdavidson005@drury.edu.
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Short piece(s) for modest community chorus and orchestra Peter Rubardthttp://www.choralnet.org/view/483194%am, %06 %b %2016 %00:%Feb:%th 0FebGMT+0000http://www.choralnet.org/view/483194
Greetings -
I'm a visitor here, from orchestra land, and would greatly appreciate your guidance.  I'm looking for a piece (or two),  10-20 minutes, for SATB chorus and orchestra.  The chorus numbers about 50, an enthusiastic community chorus of quite modest ability.  They will probably be happiest in English, and we're looking for something fun and "singable."  While this is not for a Pops concert, it would be just fine (maybe even desirable)  if it tilted a little in the pops direction.  "Frostiana" would probably be about the right level of difficulty (but the director didn't warm to it).
 
Thanks in advance for any thoughts you can offer.
 
Peter Rubardt
Pensacola Symphony, Music Director
Meridian Symphony, Music Director
Gulf Coast Symphony, Music Director
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Handbell Choir Director Eric Olsenhttp://www.choralnet.org/view/483170%pm, %05 %b %2016 %17:%Feb:%th 17FebGMT+0000http://www.choralnet.org/view/483170Union Congregational United Church of Christ, 176 Cooper Ave., Montclair, NJ  07043, ph. 973/744-7424, ext. 214; fax 973/744-1364; Part-time handbell choir director (adults and youth) for 500 member suburban church, 12 miles west of New York City, with history of fine music, congregation with eclectic musical interests, strong worship/pastoral team, and beautiful and acoustically sound sanctuary.  5 octaves of Schulmerich handbells, 3 octaves of chimes.  Seeking a musically talented and enthusiastic person who works well with youth and adults to build a strong handbell program.  Director of Music, Youth and Children’s Choir Director are in place.   The Handbell Choir and Director collaborate with all of the choirs in our music program.  Approximately 5 to 7 hours per week, one concert every other year (up to 10 hours per week for concert preparation).  Position is available September 1, 2016.  Send letter of interest, resume, and names of 3 references to Music Director Eric Olsen at the church address or email: eolsen@unioncong.org.
 
 
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Looking for Baroque Music Appropriate for a Sing Along John Carterhttp://www.choralnet.org/view/483181%pm, %05 %b %2016 %20:%Feb:%th 20FebGMT+0000http://www.choralnet.org/view/483181I am interested in your ideas on Baroque music that is appropriate for a Baroque Music Sing Along as part of our Community's Annual Bach Festival.  We  are looking for music that is fairly familiar to our readers and "not too difficult".  We did all Bach music last year, including Jesu Meine Freude, some Chorales, some accessible Choruses from various Choral works and some Swingle Singers arrangements.  We are not interested in Messiah.  This year we are expanding the choices to Bach and Others.  Thoughts, so far, have been Vivaldi Gloria and Bach Cantata #4.  Again, we are looking at "not too difficult"- if there is such a thing in the Baroque repertoire. ]]>SATB with two violins Bob Tocheffhttp://www.choralnet.org/view/483179%pm, %05 %b %2016 %20:%Feb:%th 20FebGMT+0000http://www.choralnet.org/view/483179I unexpectedly find myself with two extraordinary violinists in my University SATB concert choir. Years ago i used Elgar's THE SNOW for my SSA choir for two violins and piano.I do not see an SATB voicing for that piece.  Does anyone have any ideas for an SATB piece with two violins and probably piano. If the work also calls for cello, I do have a cellist as well, but my violinists are stellar. Sacred is my opreference, but I would like to know of secular works as well. I suppose a piece could be scored for more than just two violins, but if someone had success using onlytwo violins that would be good to know.
thank you
Bob
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Join Key of She, A new Women's Ensemble in San Diego Kerri De Rosierhttp://www.choralnet.org/view/483180%pm, %05 %b %2016 %20:%Feb:%th 20FebGMT+0000http://www.choralnet.org/view/483180Key of She is a brand new Women’s Ensemble forming in San Diego. The group, the newest Artist-in-Residence at Recreational Music Center, plans to perform A Cappella, Classical, Folk, Big Band standards – an eclectic mix of music we love.
We are looking for:
  • Experienced female choral singers with music reading skills, good  intonation, and the ability to hold their own part.
  • Women who are seriously committed to choral singing—and to having serious fun in a collegial atmosphere.
  • Developing a strong ensemble sound with 20-30 members.
We are holding a reading session/placement auditions on:
Wednesday, February 24 at 7:30 p.m. at Recreational Music Center (address below).
To sign up for the reading session/placement audition, please e-mail kerriderosier@gmail.com, who will send you an application form.
 
We look forward to meeting you! During the placement auditions, we will look for range, vocal tonality, ability to blend, and sight-reading skills.
 
Key of She is a not-for-profit venture in collaboration with Recreational Music Center. The choir will be supported by dues to pay for expenses including music, insurance and a performance accompanist. Kerri, Pamila and Pat are volunteers and forming this group for the love of singing! Rehearsals will be on Wednesdays at 7:30 at RMC starting March 2.
 
For more information, contact Kerri De Rosier at (619) 226-4896 or e-mail kerriderosier@gmail.com
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Schiller Institute New York Chorus seeking bases and baritones Michelle Fuchshttp://www.choralnet.org/view/483177%pm, %05 %b %2016 %20:%Feb:%th 20FebGMT+0000http://www.choralnet.org/view/483177Come sing with us! The Schiller Institute Community Chorus is bringing unique New Yorkers together around beautiful classical ideas, with a focus on Bach, Handel, Mozart, African American spirituals, and American Patriotic songs.

The standard is high--you must really have the intent to create beautiful music! We rehearse weekly with our crew of all ages and backgrounds, often combining such a wide diversity of singers as young war veterans who have never sung before, experienced choristers and experienced listeners who haven't yet learned to do it themselves. Public performances from time-to-time. Walk-ins welcome. 

No auditions. Rehearsals are Thursdays 6:30-8:00pm in the Lincoln Center area. Amateurs and professionals alike are welcome! All rehearsals and concerts are done at the Verdi scientific tuning of A=432 Hz. All voice types welcome-- bases and baritones will be especially appreciated.

This spring and summer we will focus on Parts 2-3 Handel's Messiah (the 'Easter' Sections), Verdi's 4 Sacred Songs, and will begin preparing Mozart's requiem for the 15th anniversary of September 11, 2001.

Helga Zepp-LaRouche, wife of statesman and economist Lyndon LaRouche, founded the Schiller Institute over 30 years ago to fight for the beauty of mankind. Get to know the Schiller Institute: https://www.facebook.com/schillerchorusnyc
 
For more information contact Margaret at 646-509-5451 or email margbg@hotmail.com
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Assistant Artistic Director and staff accompanist William Southerlandhttp://www.choralnet.org/view/483176%pm, %05 %b %2016 %20:%Feb:%th 20FebGMT+0000http://www.choralnet.org/view/483176The Triad Pride Men's Chorus is seeking a part-time Assistant Artistic Director.  This position will begin July 1, 2016.
Responsibilities include:
  • Accompanying weekly TPMC rehearsals, regularly scheduled on Tuesday evenings from August through June from 7:30-9:30.
  • Accompanying the chorus at three winter and three spring concerts, and the associated technical/dress rehearsals
  • Accompanying the chorus at community outreach concerts, such as pride parades and events.
  • Accompanying extra rehearsals as needed
  • Directing the chorus in sectional rehearsals and as substitute when the Artistic Director is unavailable
  • Working with a committee to choose repertoire performance elements at meetings on the fourth Thursday of each month 7-9:30pm
  • Working with the Artistic Director to create rehearsal tracks for the singers
  • Serving as a visible representative of the chorus to the community at local events, at GALA workshops and conferences, and in press and media activities
  • Other musical and accompanying duties as assigned.  There are no administrative duties.
Requirements:
  1. A Bachelor of Music degree with a focus in piano performance, or equivalent piano performance experience
  2. Ability to perform piano accompaniments in a wide range of styles and difficulty levels
  3. Ability to sight-read and perform open-staff choral parts for rehearsal
The ideal candidate will also have:
  • Prior experience accompanying a choir, vocal ensemble or music theater program with beginner to intermediate performers
  • Conducting skills for leading sectional rehearsals or acting as conductor when the Artistic Director is absent 
  • A strong background in varied choral repetoire: classical choir works, broadway hits, pop tunes, etc.
  • An interest and willingness to direct a small vocal ensemble from select members of the large chorus
 
This position works collaboratively with the Artistic Director and directly reports to the Chairman of the Board of Directors. Pay commensurate with experience, salary ranges from $3,500-5,500 annually.
 
Please send a cover letter, resume or CV, and three (3) references to William Southerland, Artistic Director, at ad@triadpridemenschorus.org.  In addition, links to media representative of performance experience are helpful and suggested (Youtube videos, audio recordings, etc.).

The Triad Pride Men’s Chorus performs choral music to entertain, enlighten, and enrich while promoting equality and social justice for all people regardless of sexual orientation or gender-identity, fostering pride, understanding and acceptance. The goal of the Triad Pride Men's Chorus is to provide a safe, nurturing environment for all and to reach out through our music to evoke human compassion and understanding.The Triade Pride Men's Chorus is a member of The Gay and Lesbian Association of Choruses (GALA) which is an international association of LGBT choruses, including almost 10,000 vocalists in over 100 associated choruses around the world.
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SheSings Festival - presented by the Women's A Cappella Association (WACA) Megan Perduehttp://www.choralnet.org/view/483190%pm, %05 %b %2016 %21:%Feb:%th 21FebGMT+0000http://www.choralnet.org/view/483190
On March 11-13 of 2016, the Women's A Cappella Association (WACA) will host the fourth annual SheSings Festival, in Berkeley, CA.  Saturday and Sunday workshops, as well as the SheSings Showcase will be held at the historic Freight and Salvage! Attendees are invited to rock out at the Kick-Off Party on Friday, March 11th at Ohmega Salvage -- live performances, food and drink will be provided.
 
Check out the magic of SheSings at this video link here.
 
For those looking to attend, full festival passes and individual concert and workshop day tickets can be purchased through the Freight and Salvage website, and groups of 3 or more receive $10 off their festival passes! WACA members also receive a discount on festival passes, and if you're not a WACA member yet, you can become one now! 
 
There are opportunities for groups to perform throughout the day on Saturday and Sunday, as well as private masterclasses with our esteemed instructors - first come, first served! More info info and sign up here.
 
We look forward to offering more than ever for this year's attendees. The SheSings Showcase features headliners Women of the World, as well as VXN, Divisi, True Life Trio and Vocal Rush. Saturday and Sunday are chock full of inspiring and interactive workshops, covering topics including full body singing, performance, arranging, vocal percussion, leadership and songwriting! We will also be offering a Youth Track on Saturday for students ages 8-12. 
 
Whether you are a professional singer, an educator, a composer/arranger, or a shower singer, SheSings has something for you! Come ready to sing, learn, share and connect. 
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Roads less traveled - choir tours beyond Europe Michael Clohesyhttp://www.choralnet.org/view/483187%pm, %05 %b %2016 %21:%Feb:%th 21FebGMT+0000http://www.choralnet.org/view/483187KIconcerts: More Destinations, More Festivals

KIconcerts: More Destinations

MORE touring options beyond Europe - launching Iceland, Cuba, Vietnam in addition to Australia, NZ, China, Argentina, Peru and India.

Iceland – a touch of Northern Europe 5 hours from the E Coast
Cuba – a land in transition – experience the distinctive culture
Vietnam – with special resonance for US performance tours
Australia – a land Down Under 
New Zealand – land of the Long White Cloud
China – past and future – mystique and culture 
Argentina – South American/European fusion 
Peru – Machu Picchu – seeing is believing

India – passion, color, sounds, movement – serenity in the bustle

These unique destinations are each rich in history, culture, and performance opportunities. They are safe, comfortable and found on roads less traveled!

KIconcerts: More Festivals

KI launches a range of affiliated music festival events around the world (competitions and non-competitive options) to complement our brilliant roster of stars including Leck, Dilworth, Stroope, Buchanan, Hella Johnson.

For instance:

  • Golden Voices of Montserrat – Spain, March
  • Padua International Music Meeting – Italy, Summer
  • Harrogate International Festival – England, July
  • Summa Cum Laude International Youth Music Festival – Austria, July
  • International Choral Festival of Preveza – Greece, July
  • Stirling Bridge International Youth Arts Festival – Scotland, July

Full list of over 20 found here
 

Destinations | Festivals | Contact KIconcerts | Facebook

 

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Full time, Tenure Track Choral/Vocal Position in California John Carterhttp://www.choralnet.org/view/483167%pm, %05 %b %2016 %16:%Feb:%th 16FebGMT+0000http://www.choralnet.org/view/483167The Yosemite Community College District is advertising a full time, tenure track position at Modesto Junior College.  See link below.
https://yosemite.peopleadmin.com/postings/1973
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Video competition for male choirs Alwin Michael Schronenhttp://www.choralnet.org/view/483152%pm, %05 %b %2016 %13:%Feb:%th 13FebGMT+0000http://www.choralnet.org/view/483152WIN A COMPOSITION
International Video-Competition for Male Choirs
www.wac-contest.eu

After the great success of the WAC 2015 for women's choirs the „AS Musikverlag (Tholey/Saar GERMANY)“ and the Composer Alwin Michael Schronen organize once again this extraordinary competition in 2016:

The international Video-Competition – in this year 2016 for MALE CHOIRS.

In the international Video Competition 2016 for MALE CHOIRS you can win a very special prize: a new a cappella composition of Alwin Michael Schronen dedicated to the winner and specifically tailored to the choir.
 
There is also an Audience Award.

How it works: A MALE CHOIR sings a given choral work of SCHRONEN. There are three difficulty levels, each with a choral work in a low, medium and in a high difficulty level. The choir must record the choral work on video and upload it to YouTube.

The composer and the 10-member high-profile international jury (USA, Japan, Netherlands, Germany) determine the winners among all the videos.
The members of the jury:
  • Prof. Matthias Beckert – Germany
  • Dr. Tim Koch – USA
  • Chunlung Lin - Taiwan
  • Hans-Joachim Lustig - Germany
  • Tristan Meister – Germany
  • Dion Ritten - Netherlands
  • Composer Alwin Michael Schronen - Germany
  • Mathias Staut - Germany
  • Prof. Jan Schumacher - Germany
  • Martin Winkler - Germany
In addition to the three jury awards for the three levels of difficulty there is also an „Audience Award“ - therefore the videos on YouTube: The choir whose performance contribution receives the most "Likes (thumbs up)" on YouTube wins a voucher of 500 euros from AS Musikverlag.

WAC 2016: Closing Date for applications: June 30, 2016
WAC 2016: Entrance Deadline for the videos: September 30, 2016

All details and informations on the competition, the composer and the jury can be found at:

www.wac-contest.eu
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Locating Groups Jason Kertsonhttp://www.choralnet.org/view/483149%am, %05 %b %2016 %10:%Feb:%th 10FebGMT+0000http://www.choralnet.org/view/483149
Hello all!
 
Does anyone know of any platforms with which to seek choral groups in my general vicinity? 
 
Any help is appreciated!
 
~Jason
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Singers wanted Sumner Jenkinshttp://www.choralnet.org/view/483165%pm, %05 %b %2016 %15:%Feb:%th 15FebGMT+0000http://www.choralnet.org/view/483165St. John's Episcopal Church, Washington, CT, is currently searching for singers for the St. John's Choir. The choir is the parish choir for the church and sings every Sunday for the 10am Mass as well as holy days. Rehearsals are Thursday evenings, 7-830pm.
 
Washington, CT is located in the Litchfield Hills of Western Connecticut, about 10 miles NE of New Milford, CT. St. John's is in it's second building, designed by the renowned architect Erick Rossiter in 1917. The St. John's Choir is a talented ensemble singing literature spanning the corpus of choral literature. The choir is anchored by four paid section leaders, though we are searching at this time for a tenor section leader.
 
For more information, or to schedule an interview/audition, please contact Sumner Jenkins, Organist/Choirmaster, St. John's Episcopal Church, music@stjohnswashington.org or 860-868-2527.
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Tenor Section Leader needed Sumner Jenkinshttp://www.choralnet.org/view/483164%pm, %05 %b %2016 %15:%Feb:%th 15FebGMT+0000http://www.choralnet.org/view/483164
St. John's Episcopal Church is searching for one tenor section leader for the St. John's Choir, the choir of the parish. Rehearsals are Thursday evening, 7-830pm; call on Sunday is 9am for a 10am Mass, usually ending by 11am.
 
St. John's Church is located in the Litchfield Hills of Connecticut, about 10 miles NE of New Milford. St. John's Choir sings for every Sunday morning liturgy, Holy Days, and occasional Evensongs from September thorugh May. The repertoire is classically based and spans all compositional periods.
 
For more information, or to schedule an audition, please contact Sumner Jenkins, Organist/Choirmaster, 860-868-2527 or music@stjohnswashington.org
 
Positions available immediately
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If I Were a Swan -Borrow Request Nina Colehttp://www.choralnet.org/view/483162%pm, %05 %b %2016 %14:%Feb:%th 14FebGMT+0000http://www.choralnet.org/view/483162Item: If I Were a Swan
Composer/Arranger/Edition: Kevin Puts
Starting: March 1st
For: April 25th
Copies: 30
Willing to rent: Yes
 
Any copies would be greatly appreciated! 
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Choir Risers Rodger McGinnishttp://www.choralnet.org/view/483133%pm, %04 %b %2016 %21:%Feb:%th 21FebGMT+0000http://www.choralnet.org/view/483133Item: NA
Composer/Arranger/Edition: Fuller Street Productions
Starting: NA
For: 3 day rental cycle
Copies: NA
Willing to rent: Yes
 
4 step Choir Risers for rent.  Contact Fuller Street 877-637-8733 for more informations 
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TENORS, BASSES, AND ACCOMPANIST Tiffany Warrenhttp://www.choralnet.org/view/483128%pm, %04 %b %2016 %19:%Feb:%th 19FebGMT+0000http://www.choralnet.org/view/483128Looking to add a few more tenors and basses to our group.
*Professional Singers
*Understanding of early music
*Available on select Mondays for rehearsal
*Lives near Manhattan Beach
Concerts are paid, rehearsals are not.

ACCOMPANIST (playing continuo on Organ is a plus but not required)
*Trained
*Understanding of early music
Paid rehearsals and performances

Please contact us at theseraphimsings(a)gmail.com

Thank you!
The Seraphim Vocal Ensemble

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Lyric Soprano, Paid Edward Palmerhttp://www.choralnet.org/view/483125%pm, %04 %b %2016 %18:%Feb:%th 18FebGMT+0000http://www.choralnet.org/view/483125Soprano to partner with pianist for paid light music engagements.
May also sing in fine ensemble with former Robert Shaw professional.
A church position also available.
Good to excellent reading of music required as well as refinable musicianship.
Submit resume or call Dr. Edward Palmer - 561 659 3641
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Church Music Director Opportunity Ellen Dozethttp://www.choralnet.org/view/483112%pm, %04 %b %2016 %16:%Feb:%th 16FebGMT+0000http://www.choralnet.org/view/483112The United Church of Christ in North Hampton, New Hampshire, seeks an enthusiastic and gifted individual to serve as Music Director.  The ideal candidate will be skilled in choral conducting, organ, keyboard and accompanying in a liturgical church setting; and comfortable with a blend of traditional and contemporary choral and sacred music.  We seek a person who respects our traditions; who recognizes music as being vital to the worship experience; who wishes to join a collaborative and flexible work environment; and who brings a sensitive, spiritual and faithful presence to their musicianship.  We are willing to consider hiring a separate accompanist for an exceptional choral conductor.
This part-time position would require
¨ 10 - 12 hours/week
¨ planning & executing music for Sunday morning worship
¨ leading weekly choir rehearsal
¨ planning & executing music for occasional special services  (e.g. Christmas Eve, Holy Week, Easter) 
¨ attendance at a monthly staff meeting
UCC, North Hampton owns a three-octave set of tone chimes, an extensive music library and the following keyboard Instruments:
                   38 stop three manual Renaissance Quantum Allen -Q300 C organ
A.M. Hume grand piano
Kawaii studio upright piano
Korg Concert Digital C-155
Kawaii Digital ES6
Yamaha Clavinova
The start date for this position is September, 2016. A full job description and salary range is available at www.uccnorthhampton.org on the home page.  Interested applicants should submit a current resume by March 31, 2016 to:
UCC, North Hampton
Attn:  Administrative Assistant
295 Atlantic Avenue
North Hampton, NH 03862
or to:  officemanager@uccnorthhampton.com
 
 
 
 
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Stormy Weather - A musical look at water Kathryn Thickstunhttp://www.choralnet.org/view/483120%pm, %04 %b %2016 %17:%Feb:%th 17FebGMT+0000http://www.choralnet.org/view/483120El Nino has arrived!  This Sunday, February 7, at 4pm, Pacific Women's Chorus sings great music about water in all its forms.  Pieces by Brahms, Mozart, Schumann, Elgar, Szymko, Arlen, Antognini and others.  St. George Serbian Orthodox Church, 3025 Denver St., San Diego, 92106.  $15; Students, seniors, military $10; 12 and under free. ]]>San Juan Canta Concurso y Festival Internacional de Coros Ian Gillhttp://www.choralnet.org/view/483118%pm, %04 %b %2016 %17:%Feb:%th 17FebGMT+0000http://www.choralnet.org/view/483118Experience the San Juan Canta Concurso y Festival Internacional de Coros this August 11-16 in Argentina.  For more information visit http://sanjuancanta.com.ar/.  You can also follow them on Facebook by searching SAN JUAN CANTA Concurso y Festival Internacional de Coros.
 
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C. Orff, Carmina Burana with the Moravian Philharmonic Orchestra, choirs and soloists Elena Kalinovskahttp://www.choralnet.org/view/483104%pm, %04 %b %2016 %15:%Feb:%th 15FebGMT+0000http://www.choralnet.org/view/483104
7-day Сonducting Masterclass with a full professional symphony orchestra - the Moravian Philharmonic Orchestra, Academic Choir Zerotín, the choir and soloists of the Moravian Theatre Olomouc.
The masterclass will be lead by Director of the Orchestra Faculty at the Prague Conservatory - Maestro Miriam Němcová and Professor of the Music Academy of Art in Prague, Guest Professor at the University of Fine Arts in Zürich and Artistic Director & Principal Conductor of the Orchestra Theatre J.K.Tyl in Plzen - Norbert Baxa.
The masterclass includes orchestral rehearsals, rehearsals with the choir and soloists, individual lessons with pianists, a dress rehearsal and the final concert.
The conducting masterclass will take place in Reduta Hall, Olomouc, Czech Republic.
Mandatory program:
C. Orff, Carmina Burana
J. Brahms Symphony No 1, in C minor;
A. Dvořák - Symphony No 9, in E minor;
Additional music works:
J. Brahms - Hungarian Dances No.1, 4, 5, 6;
A. Dvořák - Slavonic Dances No.1,7,8,15;
Application deadline: March 1st, 2016.
No age limit.
Email: conductingmasterclasses.eu@gmail.com
http://conductingmasterclasses.eu/conducting_courses_miriam_nemcova.php
 
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Dividing middle school chorus sections by sex James Ludwighttp://www.choralnet.org/view/483105%pm, %04 %b %2016 %15:%Feb:%th 15FebGMT+0000http://www.choralnet.org/view/483105I am collecting thoughts and opinions from choral directors regarding the advantages or disadvantages of scheduling middle school choirs by sex rather than as mixed ensembles. If you teach in a school that has chorus sections divided in this way, or have opinions on the subject, please consider completing this survey:
 
http://goo.gl/forms/DcFH2GpNZw
 
I will be preparing a report on the results if there is enough interest. 
 
 
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Westchester (NY) Choral Society Tenor and Baritone paid position Frank Nemhauserhttp://www.choralnet.org/view/483098%pm, %04 %b %2016 %14:%Feb:%th 14FebGMT+0000http://www.choralnet.org/view/483098Westchester Choral Society is looking for 2 tenors and 1 baritone ringer.  Must have excellent sight reading skills and must be able to blend with volunteer singers.   Rehearsals are Tuesdays from 7:00 - 9:30pm in White Plains, NY  Concert is Saturday afternoon June 4, 2016    $75 per rehearsal, $125 for the concert.     Contact Frank Nemhauser   fnemhauser@gmail.com ]]>BROADWAY AT 92Y CHORUS Concert Mary Feinsingerhttp://www.choralnet.org/view/483103%pm, %04 %b %2016 %15:%Feb:%th 15FebGMT+0000http://www.choralnet.org/view/483103  
BROADWAY AT 92Y CHORUS  Concert
Sunday, Feb 7,  2 PM
 
Join us for a musical performance celebrating some of Broadway's best-loved tunes. Featuring numbers from Chicago, Guys and Dolls, Cabaret and more!
 
Kaufmann Concert Hall
92nd Street Y
1395 Lexington Avenue (at 92nd Street)
New York City
 
Free!
Reserve tickets at 92Y.org/music
or call 212.415.5500
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14th International festival of choral art “The Singing World” Elena Bizinahttp://www.choralnet.org/view/483085%am, %04 %b %2016 %11:%Feb:%th 11FebGMT+0000http://www.choralnet.org/view/483085
Dear friends!
This annual music event International festival of choral art “The Singing World” welcomes the choirs and ensembles from around the world (without limit of age) to perform the best pieces of choral singing, to share professional experience and to sing together to the thankful audience.
The Festival is held by the Committee for Culture, St. Petersburg City Administration, and “Inter Aspect” Centre of International Cooperation, with support of the State Cappella of St. Petersburg. 
You are also welcome to make your choice as to take part in the International Choral Competition “The Singing World”.
For any further information please do not hesitate to contact us!
singingworld@mail.ru
www.singingworld.spb.ru
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Roma Music Festival 2017 Gregor Laskowskihttp://www.choralnet.org/view/483082%am, %04 %b %2016 %10:%Feb:%th 10FebGMT+0000http://www.choralnet.org/view/483082
6th International choir and orchestra festival in Rome (Italy)
 
08.03. - 12.03.2017
 
ROME – a multifaced myth
Names such as “Eternal City” or “Centre of the World” are not too modest. However, the Italian metropolis boasts them, and emphasizes its significance in the world history. During a short stay it is simply impossible to visit all attractions of the town whose history dates 3000 years back. Among the most important ones there are: the Vatican with St. Peter’s Basilica and St. Peter’s Square, the Spanish Steps, the Catacombs, the Collosseum, the Roman Forum or Trastevere – the commercial district of Rome. You may enrich the cultural variety of this exceptional city by participating in concerts held in churches and concert halls during the Roma Music Festival.
https://www.mrf-musicfestivals.com/international-choir-orchestra-festival-in-rome-italy.phtml
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NAFPLIO-ARTIVA 3rd INTERNATIONAL CHORAL FESTIVAL -Competition & Festival THEODOSIS ANTONIADIShttp://www.choralnet.org/view/483076%am, %04 %b %2016 %07:%Feb:%th 7FebGMT+0000http://www.choralnet.org/view/483076
For more information please contact ARTIVA, Nafplio Peloponnese, GREECE
Tel +302752400488,+306936774018, E.mail info@artiva.gr
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NAFPLIO-ARTIVA 2nd YOUTH MUSIC FESTIVAL THEODOSIS ANTONIADIShttp://www.choralnet.org/view/483071%am, %04 %b %2016 %07:%Feb:%th 7FebGMT+0000http://www.choralnet.org/view/483071
For more information please contact ARTIVA, Nafplio Peloponnese, GREECE
Tel +302752400488,+306936774018, E.mail info@artiva.gr
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Conduct Professional Choir and Orchestra at the 2016 Conducting Choral Masterpieces Workshop Charles Gambettahttp://www.choralnet.org/view/483069%am, %04 %b %2016 %04:%Feb:%th 4FebGMT+0000http://www.choralnet.org/view/483069

The International Institute for Conductors will accept up to 17 conductors for 13 days of conducting study and performance in Bacau, Romania with master teachers Will Kesling, Director or Choral Studies at the University of Florida; Robert Gutter, Music Director Emeritus, Springfield Symphony (MA) and Philharmonia of Greensboro (NC); and Charles Gambetta, creator of the Embodied Conducting™ method.

 

The workshop repertoire includes the Verdi Requiem, Beethoven’s Mass in C major, Op. 86 and Haydn’s Lord Nelson Mass. Participating conductors each receive over 210 minutes of podium time including instructional sessions with piano sextet and vocal quartet, full chorus with piano sextet, full orchestra alone and orchestra with full chorus. The faculty will also present classes in vocal techniques for conductors, score study and Charles Gambetta’s Embodied Conducting™ method; and all conductors will perform selections from the workshop repertoire on two of 4 public concerts.

 

This program was created to provide choral and orchestral conductors the extraordinary opportunity work with a professional orchestra and choir as they acquire and master the crucial skills and techniques for conducting choral works with orchestral accompaniment. It is also an excellent program for conductors interested in professional development opportunities or for those preparing for auditions.

 

The fee, US $3,395, includes hotel (double occupancy room with breakfast) for 13 nights. Applications are accepted until the program is full, but those submitted by March 31, 2015 receive priority consideration. Find complete details including faculty bios, host orchestra and choir, video highlights from 2015, accommodations, schedule, alumni endorsements and online application portal at www.rconductors.com or contact Charles Gambetta at rconductors@triad.rr.com or 336.643.8730. Be sure to check out our ad in the March, 2016 issue of The Choral Journal.

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Choral Chameleon's 2016 Summer Institute - New for Composers - Dedicated TTBB Session Nicole Belmonthttp://www.choralnet.org/view/483061%pm, %03 %b %2016 %23:%Feb:%rd 23FebGMT+0000http://www.choralnet.org/view/483061
Choral Chameleon, 2015 winner of the Chorus America/ASCAP Award for Adventurous Programming, is thrilled to welcome applicants to the 6th Summer Institute for composers and conductors in Brooklyn, NY.  
 
Recognizing the demand for new writing for male voices, this year we are adding an additional week to our program for composers wishing to focus on their TTBB choral writing.  Choral Chameleon's men in our lab choir will be joined by singers from The Empire City Men's Chorus, who will bring the perspective of performing regularly within an all-male context.
 
The Choral Chameleon Institute is designed to immerse emerging composers and conductors of choral music in the intricacies of the choral idiom in a nurturing environment surrounded by respected professionals.
 
It gives students an opportunity to explore and experiment with writing and conducting techniques in a ‘best-case scenario’. Generous lab and podium time is given to all participants to ensure maximum practical and hands-on experience.
 
A spirit of innovation, married with a traditional perspective on matters of musicianship, work in tandem to provide our students with skills that can enable unlimited thinking.
  • 8-Day intensive workshop for emerging composers and conductors culminating in a public concert
  • Faculty of world-class composers and conductors with exceptionally high teacher/pupil ratio (only 3 conductors, 10 composers)
  • Work with highly-skilled and academically-fluent professional singers on repertoire & compositions
  • Masterclasses from experts in both practical and inspirational topics
  • Generous lab choir and podium time
  • Individualized attention from clinicians, singers & peers
  • Public concert of premieres and podium time for composers and conductors
  • Open to applicants from a diverse range of music backgrounds and study/career stages
  • Recordings from workshop sessions & performance
More information and application forms can be found at http://www.choralchameleon.com/institute
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Choral Chameleon’s 2016 Summer Institute for COMPOSERS and CONDUCTORS in NYC - SATB Session Nicole Belmonthttp://www.choralnet.org/view/483052%pm, %03 %b %2016 %21:%Feb:%rd 21FebGMT+0000http://www.choralnet.org/view/483052 
 
Choral Chameleon, 2015 winner of the Chorus America/ASCAP Award for Adventurous Programming, is thrilled to welcome applicants to the 6th Summer Institute for composers and conductors in Brooklyn, NY.
 
(See separate notice: there is also a new second week this year for composers only, June 27-July 5, with a focus on TTBB)
 
The Choral Chameleon Institute is designed to immerse emerging composers and conductors of choral music in the intricacies of the choral idiom in a nurturing environment surrounded by respected professionals.
 
It gives students an opportunity to explore and experiment with writing and conducting techniques in a ‘best-case scenario’. Generous lab and podium time is given to all participants to ensure maximum practical and hands-on experience.
 
A spirit of innovation, married with a traditional perspective on matters of musicianship, work in tandem to provide our students with skills that can enable unlimited thinking.
  • 8-Day intensive workshop for emerging composers and conductors culminating in a public concert
  • Faculty of world-class composers and conductors with exceptionally high teacher/pupil ratio (only 3 conductors, 10 composers)
  • Work with highly-skilled and academically-fluent professional singers on repertoire & compositions
  • Masterclasses from experts in both practical and inspirational topics
  • Generous lab choir and podium time
  • Individualized attention from clinicians, singers & peers
  • Public concert of premieres and podium time for composers and conductors
  • Open to applicants from a diverse range of music backgrounds and study/career stages
  • Recordings from workshop sessions & performance
Confirmed faculty to date for 2016:
Vance George, Matthew Oltman, Jeffrey Parola, Vince Peterson
 
More information and application forms can be found at http://www.choralchameleon.com/institute
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Festival of Contemporary Music for All Mick Kahnhttp://www.choralnet.org/view/483059%pm, %03 %b %2016 %22:%Feb:%rd 22FebGMT+0000http://www.choralnet.org/view/483059
The Festival of Contemporary Music for All is a partnership between CoMA, professional ensembles and a range of new music organisations to celebrate CoMA’s ground breaking Open Score repertoire and launch a new online portal to promote it worldwide. It will happen between 27 February and 6 March in six regions across the UK with opportunities to participate in workshops, performances and discussions and hear a wide range of excellent contemporary music.
In London the Festival will be on Friday 4 and Saturday 5 March 2016 at Kings Place. On the Saturday there is a full programme of workshops, performances and a conference. Singers are encouraged to participate in a large scale performance of Stephen Montague’s Dark Sun (a large scale, moving work about Hiroshima) with rehearsals in the morning and late afternoon. There will be voice workshops led by Sarah Leonard, James Weeks, Jane Manning, Judith Weir, Janet Oates, Lore Lixenberg and others. Booking is now open on the Kings Place www.kingsplace.co.uk/coma and full details of the workshops on the CoMA website at www.coma.org/festival.
 
There are also singing opportunities at the Birmingham, Edinburgh and Manchester events and opportunities for instrumentalists and audiences in all regions. See www.coma.org/festvial for details.
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Need 40 copies Seems Like Old Times SATB arr Puerling Nancy Basilehttp://www.choralnet.org/view/483043%pm, %03 %b %2016 %19:%Feb:%rd 19FebGMT+0000http://www.choralnet.org/view/483043Item: Seems Like Old Times
Composer/Arranger/Edition: Hal Leonard / arr Puerling
Starting: ASAP
For: Until end of May
Copies: 40
Willing to rent: Yes
 
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Prayer of Francis of Assisi Tom Councilhttp://www.choralnet.org/view/483045%pm, %03 %b %2016 %20:%Feb:%rd 20FebGMT+0000http://www.choralnet.org/view/483045Here is a new recording of my setting of the wonderful words of Francis of Assisi,
Recorded last Sunday by the choir of St. Stephen UMC, Mesquite, Texas
Follow the score at Alliance Music:  http://www.alliancemusic.com/search.cfm?&type=composer&vFirstName=Tom&vLastName=Council
Also, scored  for TTBB.
Tom Council
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In Need of Free Choir Robes for a Youth Performance Nomora Hood-Mayshttp://www.choralnet.org/view/483037%pm, %03 %b %2016 %19:%Feb:%rd 19FebGMT+0000http://www.choralnet.org/view/483037I am in a terrible need for choir robes for a performance at the end of the month and any donations of robes would be appreciated. We are paying homage to some of the choirs that came before us at my church and we are in need of old robes to do this. Thank you !! ]]>Organist/Choirmaster Ben Leonidhttp://www.choralnet.org/view/483035%pm, %03 %b %2016 %18:%Feb:%rd 18FebGMT+0000http://www.choralnet.org/view/483035
Job Description for Organist and Choirmaster
for Christ Episcopal Church, Seattle
 
Christ Church is looking for a skilled musician to join our staff.
 
The Church Environment: Our beloved organist/choir director’s last service was Christmas Eve, 2015.  We have an interim organist through Easter 2016, and are hoping to have someone in the position by Easter 2.   Christ Church is an inclusive and progressive community that has a long history of fine music. Currently our music is a mix of traditional Episcopal hymnody, occasional use of supplemental Episcopal hymnals (especially Wonder, Love, and Praise), and classical music selected for the choir.  We supplement on occasion with musicians from the congregation and instrumentalists on festive days.  We are hoping for a musician who collaborates with the Rector joyfully, communicates clearly, and who is glad to work independently to shape a music program that reflects the tone of the season and the values of the church.
 
Required Skills: Preference will be given to those with degrees in music and experience in the church. We are looking for someone who is: comfortable in a collegial working environment, enthusiastic about empowering congregational song, able to easily work with and recruit choir members of all abilities, eager to utilize excellent music from a broad range of timelines and cultures, can encourage musicians from the congregation to be involved, and can manage skillfully the planning and administrative duties of selecting and acquiring music. 
 
Expectations:
1.  Plan, practice, provide, and perform instrumental music, primarily organ and piano, for the 10am service of the church on Sunday mornings.  Also for two Christmas Eve services, Ash Wednesday, and evening services on Ascension, Transfiguration, Maundy Thursday, Good Friday, and Easter Vigil. 
2.  Oversee the selection of solos, duets, musical instruments, and vocal and instrumental ensembles for all worship services.
3.  Have responsibility for the leadership of the church choir.
4.  Rehearse the choir each Sunday morning before the church service and one Thursday evening practice each week during the church program year, which runs from the first Sunday after Labor Day through Trinity Sunday.  During the summer months, especially encourage individual musicians to use their talents for worship.
7.  Plan and submit an annual music budget to the Vestry.
8. Maintain the music library in an orderly fashion and maintain a suitable number of hymnals for the congregation and choir. Expenses will be paid by the church in accordance with the annual budget.
9.  Purchase music, music supplies, and hire instrumental and vocal soloists and ensembles, as needed.  Obtain authorization to use copyrighted materials including duplication of such materials if needed.  Expenses will be paid by the church in accordance with the annual budget.
10.  Supervise the maintenance, storage, and cleaning of choir robes and choir folders, or delegate this responsibility to volunteers. 
11.  Arrange to have the church organ and piano tuned annually.  Keep the Rector apprised of organ and piano integrity, as well as repairs that need to be scheduled.  Expenses will be paid by the church in accordance with the annual budget.
12.  As the primary musician for the church, the organist and choirmaster will have priority use of church facilities and musical instruments for practice, rehearsals, concerts, recitals, and private lessons.  Rooms will be scheduled so as not to conflict with scheduled groups of the church or organizations previously given permission to use the church facilities. 
13.  Work collegially with the Rector and parish administrator to have the selected music overseen in a timely manner, and have it ready for publication in the Sunday bulletin. 
14.  Plan and submit a music budget request annually. 
 
The Church will:
1.  Pay a salary commensurate with education, experience, and performance, as we are able in relationship to our current budget.  The position is 18 hours per week.
2.  Pay to have the church organ and piano tuned once per year.
3.  Provide 4 week paid vacation for the O/C that will accumulate at the rate of one week per quarter of service, not to exceed four weeks annually.  The O/C will assist the church in finding substitute musicians for vacation period.  The church will pay for the substitute musicians for the vacation period. Allow the O/C to take the Sundays after Christmas and Easter off, without those Sundays counting toward vacation time.
4.  Provide an annual written review of the O/C’s performance for the preceding twelve month-period.  Any issues affecting the performance of the O/C identified in the annual performance review, or at any time during the term of this agreement, will be addressed by the rector and O/C by discussing the issues in a timely manner and by taking the necessary actions to resolve the underlying issues or problems, as mutually agreed upon the priest and the O/C. 
5.  Match voluntary pension contributions from the O/C’s salary (O/C may contribute up to 5% of salary, and the church will match up to 4%). 
6. Provide Cost of Living increases in years that the Diocese of Olympia approves such increases for its clergy. 
 
 
Resumes and CV’s may be sent to:
The Rev. Shelly Fayette
Christ Episcopal Church
4548 Brooklyn Ave NE
Seattle, WA 98105
 
Or e-mailed to revshellyfayette@gmail.com.
 
Deadline for applications is February 15.  Applicants will be notified if they will continue with interviews by February 29.  Interviews will take place in early March. 
 
Questions may also be submitted to the above e-mail address. 
 
Thank you for your consideration. 
 
 
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Additional titles added to used-choral-music.com liquidation sale Tom Tropphttp://www.choralnet.org/view/483027%pm, %03 %b %2016 %17:%Feb:%rd 17FebGMT+0000http://www.choralnet.org/view/483027
A few new titles have been added to the clearance list on used-choral-music.com. All titles previously listed stay on the 10-cent-per-copy clearance list until they are gone.
This week’s new titles:
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Choral Workshop Philip Cavehttp://www.choralnet.org/view/483030%pm, %03 %b %2016 %17:%Feb:%rd 17FebGMT+0000http://www.choralnet.org/view/483030
Dear Singers,
 
We are excited to tell you about this summer’s Chorworks Summer School. This will be our 11th annual summer workshop, comprising music by the Bach family: Johann Sebastian and his forebears. We will explore the Bach Family Tree and sample the enormous musical riches of the extraordinary clan! Not surprisingly, there are quite a few Johanns in the picture:
 
Johann Bach (1604-1673)
Johann Christoph Bach (1642-1703)
Johann Michael Bach (1648-1694)
Johann Ludwig Bach (1677-1731)
Johann Sebastian Bach (1685-1750)
 
Our faculty this year includes some familiar faces as we welcome back Sally Dunkley from the UK, and soprano Rosa Lamoreaux who will be well-known to many in the DC area. We are delighted to welcome baritone Brian Ming Chu, joining us this year for the first time. Further information about the faculty can be found on our website, http://www.chorworks.com.
 
Based in the Music Department at George Washington University in Washington, DC, we offer our regular schedule of rehearsals, seminars, voice lessons and performances from Tuesday 28 June through to Saturday 2 July. On Monday 27 June, we offer an extra day of note-learning for those wishing to become more familiar with the music. To accommodate those with day-time commitments, we will be offering an evening track, with different music.
 
We hope that you will be interested in joining us, and that you will consider bringing some friends with you to share the fun and great music. Please will you forward the details to other singers? Chorworks is keen to attract participants in all voices – especially tenors and basses. We have reduced our tuition costs this year to encourage both new and returning singers, and we are also offering “bring a friend” discounts: bring a new singer with you and both of you will receive discounted tuition! Please see our website for further details, or email us at chorworks@gmail.com.
 
The Bachs Await! 
 
With best wishes from all of us at Chorworks,
 
Philip Cave
Director, Chorworks
 
Sandy Becker
Administrator, Chorworks
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"Weird" music recommendations for High School Treble Choir Andy Davishttp://www.choralnet.org/view/483014%pm, %03 %b %2016 %14:%Feb:%rd 14FebGMT+0000http://www.choralnet.org/view/483014I have a group of High School Girls who is pretty decent, and we recently worked on some of "Suite de Lorca" by Rautavaara, and they (surprisingly to their director, anyway) really enjoyed/responded well to the real weirdness of it.     It was at the top end of our difficulty level, that's for sure, but I was wondering if anyone else had ideas of 'weird' music that could be done at a High School Level.  
 
To be clear, I'm not thinking 'cute' or 'snaps sound like the rain' kind of stuff.   That's fine.  I mean what our audience of parents and friends would think is either 'ugly' or 'weird' or maybe, on a good day 'thought-provoking' or 'interesting'.    Maybe even one day, 'cool'.    
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Giveaway of the S-Cubed Middle School Sight Singing Program for Beginners Dale Duncanhttp://www.choralnet.org/view/483004%am, %03 %b %2016 %10:%Feb:%rd 10FebGMT+0000http://www.choralnet.org/view/483004

I am hosting first giveaway of 2016 of the S-Cubed Middle School Sight Singing Program for Beginners on my blog.

 

Find out what people are saying about the program:  

http://inthemiddlewithmrd1.blogspot.com/p/reviews-of-s-cubed.html

Click this link to enter the giveaway:  

http://inthemiddlewithmrd1.blogspot.com/2016/02/complete-s-cubed-middle-school-sight.html

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Francis Pott/Amore Langueo in St. Louis (MO) Philip Barneshttp://www.choralnet.org/view/483016%pm, %03 %b %2016 %14:%Feb:%rd 14FebGMT+0000http://www.choralnet.org/view/483016
An exceedingly rare opportunity to hear a live performance of Francis Pott’s Amore Langueo will be provided by the Saint Louis Chamber Chorus on, appropriately, Valentine’s Day. This modern masterpiece, described by noted choral conductor Jeremy Summerly as “one of the great moments in English choral music from any period,” calls for double SATB choir, complemented by SATB semi-chorus, and is sung entirely a cappella. Pott’s intricate polyphony, woven over 16 minutes of continuous singing, creates an ecstatic tapestry of sound like no other. It will be a delight and privilege to present Amore Langueo in the presence of the composer, who will fly here from his home in England.

Complementing this masterwork is a new commission (That I Did Always Love) from Australian composer, Clare Maclean, Romances and Ballads by Robert Schumann, Jean Sibelius, and Sven Lekberg, four rarely heard folksongs from Northern England arranged by Holst’s good friend, William Gillies Whittaker, and a new edition of Lassus’s Pronuba Iuno.
 
This concert will filmed by PBS for its Arts In America program. However, nothing beats hearing this music in person, so for more information and tickets to this 3 pm concert, presented at the historic Second Presbyterian Church in St. Louis’s Central West End, go online to www.chamberchorus.org
 
Philip Barnes
St. Louis (MO)
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J.S. BACH - The Six Motets Jerry Ulrichhttp://www.choralnet.org/view/483012%pm, %03 %b %2016 %13:%Feb:%rd 13FebGMT+0000http://www.choralnet.org/view/483012The Georgia Tech Chamber Choir presents SIX BACH MOTETS on Sunday, March 6 at 7.00 PM in the sanctuary of Druid Hills Presbyterian Church, 1026 Ponce de Leon Avenue, NE, Atlanta GA 30306 [http://www.druidhillspresbyterian.org/] The performance will be at A=415 with continuo. Don't miss this rare opportunity to hear 'musically-gifted engineers' perform these choral masterworks from The Original Musical Engineer... [More information about the GT choirs: http://www.music.gatech.edu/vocalensembles] ]]>1st INTERNATIONAL BALTIC SEA CHOIR COMPETITION J?nis Ozolshttp://www.choralnet.org/view/483002%am, %03 %b %2016 %07:%Feb:%rd 7FebGMT+0000http://www.choralnet.org/view/483002

 Dear Choirs and Singers, 

You are warmly invited to the 1st International Baltic Sea Choir Competition taking place in the country that sings – Latvia. 

The competition is hosted by the city of Jurmala - the biggest resort city in Baltic States and will take place at the recently renewed historical Small Hall of the Dzintari Concert Hall that is one of the most popular concert venues in Latvia and highly suited for vocal music. 

We are looking for 15 high level male, female and mixed amateur choirs (16-49 singers) to participate in the 1st International Baltic Sea Choir Competition. 

All choirs will perform at the Opening concert and two competition categories - Compulsory and Free programme, and the best performers will be selected for the final Grand Prix by an international jury. 

With great honour we inform that the compulsory piece will be composed by the worldwide acknowledged Latvian composer Rihards Dubra, who is also often taking part in juries of international choir competitions across the world. 

The winning choirs will be awarded: 

1st Prize and the Grand Prix EUR 3500 

2nd Prize – EUR 2000 

3rd Prize – EUR 1000 

Special prize for the Best Conductor – EUR 500 

Special prize for the best performance of the compulsory work – EUR 250 

APPLICATIONS OPEN TILL 31 MARCH, 2016! 

More information: 

http://www.balticchoir.com

Contact us: 

info@balticchoir.com

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World premiere of Olli Kortekangas's Migrations by the Minnesota Orchestra and YL male voice choir Henna Salmelahttp://www.choralnet.org/view/482999%am, %03 %b %2016 %07:%Feb:%rd 7FebGMT+0000http://www.choralnet.org/view/482999Olli Kortekangas’s Migrations for male choir, soloist and orchestra will receive its first performance on 4 February 2016, in Minneapolis, coupled with Sibelius’s Kullervo and Finlandia. Furher performances are scheduled for 5 and 6 February. A commission from the Minnesota Orchestra and Osmo Vänskä, Migrations will be recorded by BIS Records together with Sibelius’s works. The choir will be YL Male Voice Choir from Finland and the vocal solists are Lilli Paasikivi and Tommi Hakala. Kortekangas's Migrations celebrates the 150th anniversary of the Finnish migration to North America. The text is by Sheila Packa, and it tells tales of migration through themes of identity, transformation and hope. ]]>Choral Potpourri: Missing Elaine Marie Grass Amentahttp://www.choralnet.org/view/482549%pm, %26 %b %2016 %23:%Jan:%th 23JanGMT+0000http://www.choralnet.org/view/482549
“Sweet is the memory of distant friends! Like the mellow rays of the departing sun, it falls tenderly, yet sadly, on the heart.” Washington Irving
 
Ten years ago, I founded the community chamber choir I direct. Developing into a solid core of singers, we have experienced much together. We have been through all sorts of life events; marriages, births (of children and grandchildren), retirements, illnesses and deaths of parents and spouses. But it wasn’t until February of 2015 we experienced the death of one of our singers, alto Elaine S.
 
Elaine was special for many reasons.  She was a Genius and an Odd Duck. She played the ukulele. To say she was a “character” is too mild a way of putting it; she was a kooky character!
 
When she called our choir phone to set up an audition, I didn’t think it could possibly be her. She stated her name—Elaine S. (I had grown up with a family with this unique long ethnic name)—and wanted to know if I was THAT Marie Grass. Returning her call, I told her I was Marie Grass Amenta now and she said, “well, la-de-da”…it was that Elaine! She had been a classmate of one of my sisters, from grade school through high school, and I had been a classmate of one of hers. Elaine and I had sung together in high school; mixed chorus, Madrigals and musicals. She had studied voice with my opera singer Mom when she was in college. In our phone conversation, she thanked me for graduating so she could finally get the parts I had previously (she had been my understudy for more than one role) and we set up an audition.
 
Elaine had one of those creamy, contralto voices that just get better with age.  Her voice was wonderful but her musicianship had slipped… but I couldn’t turn her away.  She agreed to be coached by our accompanist, Ben, who is also my son.  When Ben asked what he should call her, she told him to call her “Crazy Aunt Elaine” and since she knew his Actual Aunts, she assured him she was every bit as crazy! When Elaine auditioned, she shared with me she was a two time breast cancer survivor. I told her Mom was a two time cancer survivor as well.
 
She attended her first rehearsal, and I dragged out an old yearbook to show everyone our high school chorus picture.  Thank goodness we were wearing robes! From that moment on, Elaine fit in. The altos loved her and the rest of the group found her funny and quirky.  If she had any musical problems, she asked Ben for help or the altos would have impromptu sectionals before or after rehearsal. Elaine was Greek, had sung for many years in Orthodox Church choirs and would joke about Kyries being Greek so finally she felt comfortable with something.
 
After she sang her first concert, Mom and Elaine held hands during the reception and compared chemo war stories. It was so touching. Unfortunately, Mom’s cancer reoccurred and she was again on the Chemo Train, as those two called it. Mom lost her battle that summer and when I called Elaine, she wept. She wasn’t feeling well enough to attend Mom’s wake or funeral even with us offering to take her. I should have known something was up.
 
Rehearsals started in fall and Elaine looked like (her word) “crap.” She told me her cancer had reoccurred and had a drain in her lungs so her breath control was “nada.” If I didn’t want her to sing for that concert, she would understand. Of course I wanted her! She missed only one rehearsal due to a treatment leaving her “high as a kite.”
 
After the concert, we had two break-out gigs and she wasn’t able to sing. She left a message on my cell phone, “Now don’t have a cow Marie, but they say it’s no use. I’m done for. How can that be?” Days later I got a call from one of her friends.
 
As I put folders together for this spring, I think of Elaine and what an honor it was having her sing with us. I miss her!
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Day Hours of Darkness Kerry Burtishttp://www.choralnet.org/view/482992%am, %03 %b %2016 %03:%Feb:%rd 3FebGMT+0000http://www.choralnet.org/view/482992Dear Friends,
 
I'm looking for the electronic recording that accompanies this piece--please respond privately, if you have it or know where I can get it --thanks!
 
Kerry Burtis
Salem, Oregon
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Help finding undergraduate voice program for “Dream Act” tenor Alice Cavanaughhttp://www.choralnet.org/view/482990%am, %03 %b %2016 %03:%Feb:%rd 3FebGMT+0000http://www.choralnet.org/view/482990Dear Colleagues,
 
 I am advising a promising young tenor who is looking for an undergraduate program in voice performance. I need your assistance in identifying colleges/universities that could support him. He is an undocumented immigrant with “deferred action status” and has no parents living here in the U.S. to financial support him. Since he is not eligible for federal financial aid, he is attempting to pay for community college out of pocket (which here in NY is about $3,000 a semester). Despite working full-time, it has been difficult for him to pay for his own education and he has been singing in my choirs as a community volunteer in the interim. While he is in the process of applying for permanent residency, this could take years. He is already 20 and these are prime years for him to be building his skills. After much discussion, it seems the best route for him would be to seek out a 4-year college/university that might offer a hefty scholarship rather than waiting (for who knows how long) until he is eligible for federal aid. If you think your institution could support a student like him, please let me know. He is just as deserving of a college education as all our other students. 
 
 Many thanks, 
Alice Cavanaugh
Suffolk County Community College, NY  ]]>
Princeton Festival Conducting Master Class Gregory Geehernhttp://www.choralnet.org/view/482983%pm, %02 %b %2016 %21:%Feb:%nd 21FebGMT+0000http://www.choralnet.org/view/482983

This 8-day professional conducting master class is open to conductors and auditors by application. The master class offers select conductors the opportunity to develop their gesture, learn useful rehearsal techniques, study and perform examples of Baroque repertoire, undertake performance-practice tutorials, and lead rehearsals with the Festival chamber chorus and Baroque orchestra.

Conductors and auditors will participate in daily master class sessions with Dr. Jan Harrington and each conductor will conduct the Festival chorus and Baroque orchestra. The master class will culminate in a public performance on June 25th, led by the participant conductors.

Enrollment is limited to 8 conductors, with no limit for auditors. Auditors attend all sessions, including the master classes and seminars, but will not conduct the Festival chorus. Auditors may request a private conducting session with the clinician for an additional fee of $75, payable to “The Princeton Festival,” during the course of the master class.

Master class goals for conductors —

  • Enhance practical conducting skills during daily master classes.
  • Daily seminars on a variety of topics related to choral & orchestral conducting.
  • Conduct the Festival chamber chorus twice daily.
  • Conduct the Festival chorus and Baroque orchestra in a public performance at the end of the master class.
  • Video and audio recording of your performance.
  • Have fun making great music, make new friends.
 
    ]]>Seeking a copy of Paul Christiansen Kyrie James Mouwhttp://www.choralnet.org/view/482982%pm, %02 %b %2016 %20:%Feb:%nd 20FebGMT+0000http://www.choralnet.org/view/482982This piece seems to be long out of print. Hoping someone has a copy. ]]>Seeking Repertoire Resources for Narrative Lectionary Michael Dellhttp://www.choralnet.org/view/482974%pm, %02 %b %2016 %17:%Feb:%nd 17FebGMT+0000http://www.choralnet.org/view/482974We are excited to welcome our new Pastor this week.  He uses the Narrative Lectionary, from Luther Seminary, as his guide in planning worship.  I have several helpful resources for the Revised Common Lectionary, but none in particular for this relatively newer Narrative Lectionary.  I'm interested in any guides (online or hard copy) in which  lists of hymns, anthems, and/or contemporary "Praise songs" are referenced as being especially appropriate for a given passage of scripture.  Many thanks for your suggestions! ]]>Elegant Women's Evening Bolero Jackets and Shrugs Bobbi Casthttp://www.choralnet.org/view/482979%pm, %02 %b %2016 %18:%Feb:%nd 18FebGMT+0000http://www.choralnet.org/view/482979WOMEN'S ELEGANT BOLERO JACKETS AND SHRUGS
    Wide variety of regular and plus size evening bolero jackets and shrugs.
    Many beautiful styles to choose from in fabrics such as:
    • Chiffon
    • Lace
    • Satin
    • Taffeta
    Bolerojacketsandshrugs.com is a secure website, in business since 2011.
    Most credit cards and paypal accepted.
    Very Fast shipping within the US.
     
    Perfect for special events and special occassions at great affordable prices.
     
     
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    Behind-the-Scenes Video: Recording Session with the Washington Master Chorale Christian Brownhttp://www.choralnet.org/view/482978%pm, %02 %b %2016 %18:%Feb:%nd 18FebGMT+0000http://www.choralnet.org/view/482978Ever wondered what a recording session with a professional chorus looks like?  Take a peek behind the curtain with the Washington Master Chorale: 
    https://youtu.be/uQGiF6sAo3w
     
     
     
    Want to make a recording too?  Please send me an email - I can produce the recording and place you on a label.  Enjoy!
    ]]>Bel Canto Open Rehearsal Auditions 2/23 Lauren Esteshttp://www.choralnet.org/view/482966%pm, %02 %b %2016 %16:%Feb:%nd 16FebGMT+0000http://www.choralnet.org/view/482966
    Love to sing? Audition for Bel Canto Vocal Ensemble!

    Bel Canto Vocal Ensemble is an auditioned mixed voice chamber choir that sings a wide variety of repertoire ranging in character from the silly to the sublime. Based in Madison, Virginia, members of the group are drawn from the surrounding counties.

    Audition information
    Who: Singers with all voice types! We are looking for 1 soprano, 1 tenor, and 1 bass. Altos are also encouraged to audition as we have some flexible voice parts in the group already.
    When: Tuesday, February 23, 2016, 7:00 p.m. - 9:00 p.m.
    Where: Piedmont Episcopal Church, 214 Church St., Madison, VA 22947

    Auditionees will rehearse with the current members of Bel Canto and meet with the director one-on-one after rehearsal. Auditions consist of pitch-matching, a range check, and a few exercises.

    Visit http://belcantovocalensem.wix.com/belcanto for more information.
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    Tenor section leader Dan Clarkhttp://www.choralnet.org/view/482959%pm, %02 %b %2016 %15:%Feb:%nd 15FebGMT+0000http://www.choralnet.org/view/482959Warminster Presbyterian Church is seeking a tenor for section leader.  Call is $60.  Choir rehersal is Thurs., 7:30-9:00 PM and Sunday is 9:00 AM warm-up and worship 9:30-10:30AM.  Classical training perferred.  Agreement will end with services on Sunday, March 27th., Easter.  Contact Rev. Clark 215-675-0801(office) or 818-468-8127(cell) for auditon.   ]]>Southern Maine Choral Music Academy Nicolas Alberto Dosmanhttp://www.choralnet.org/view/482960%pm, %02 %b %2016 %15:%Feb:%nd 15FebGMT+0000http://www.choralnet.org/view/482960University of Southern Maine, School of Music
    Southern Maine Choral Music Academy
    Monday, July 18 to Saturday, July 23, 2016 - NEW!

    For incoming 7th graders to outgoing 12th graders
    Cost: $495
    Directed by Dr. Nicolás Alberto Dosman
    This exciting yet demanding, six-day residential program gives grades 7-12 choral musicians the opportunity for musical development through intensive group and individualized instruction provided by qualified staff and professional musicians. All academy members will participate in concert choir, voice class, sectionals, and small ensembles daily. Students may also audition for the chamber choir. Academy members will enjoy free concerts performed by professional musicians and nonmusical recreational activities.
    For more information please click here: https://usm.maine.edu/music/summercamps
     
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    The Crossing - Reprise 2 Kevin Krasinskihttp://www.choralnet.org/view/482958%pm, %02 %b %2016 %15:%Feb:%nd 15FebGMT+0000http://www.choralnet.org/view/482958

    Spend Valentine’s Day reflecting with The Crossing as we sing works about our love for one another, love for our planet, and our wish for a more loving culture. As in Reprise 1, we return to signature pieces in the music of Ted Hearne and David Lang, we revisit now-classic works written for us by Philadelphia composers Kile Smith and David Shapiro, and reprise one of our most memorable premieres, Gabriel Jackson’s stunning, thoughtful, angry, sharp, and beautiful Rigwreck.

    Pre-concert talk with Donald at 3pm in Burleigh Cruikshank Memorial Chapel.

    Get tickets here! ]]>
    Punctuation guide to Dvořák's Love Songs Francis Chantreehttp://www.choralnet.org/view/482949%am, %02 %b %2016 %11:%Feb:%nd 11FebGMT+0000http://www.choralnet.org/view/482949We are singing Dvořák's Love Songs (Písně milostné Op. 83) but we don't know Czech. Has anybody got a phonetic transcription of the lyrics? Thank you. ]]>"Dominus Regnavit" by Jean-Joseph de Mondonville Jeffrey Larkinhttp://www.choralnet.org/view/482945%am, %02 %b %2016 %06:%Feb:%nd 6FebGMT+0000http://www.choralnet.org/view/482945Choral community,
     
    Is anyone familiar with the work of Jean-Joseph de Mondonville? I am attempting to find the scores to multiple of his Grand Motets, specifically "Dominus Regnavit." If anyone has any information regarding the whereabouts of obscure French Baroque music such as this, I would be eternally grateful!
     
    Warmly,
     
    Jeffrey
     
    ------------------------------------------------------
    Jeffrey Larkin
     
    DMA Student - Choral Conducting
    University of Washington
     
    Steel Lake Presbyterian Church
    Director of Music
     
    Salem Children’s Chorus
    Founder and Artistic Director
     
    University of Washington
    Men’s Glee, Assistant Director
     
    ]]>
    What's on Great Sacred Music, Sunday, January 31, 2016 Robert Kennedyhttp://www.choralnet.org/view/482954%pm, %02 %b %2016 %13:%Feb:%nd 13FebGMT+0000http://www.choralnet.org/view/482954
    My playlists are on Spotify for you to enjoy: GSM - January 31, 2016
    Don't forget that we have more choral and organ music programmed
    on Sunday evenings beginning at 10 p.m. eastern.
     
    Rob
    Rob Kennedy
    Great Sacred Music
    The Classical Station
    http://theclassicalstation.org
    To subscribe to my weekly playlist emailing:  send
    your email address to sacred@theclassicalstation.org
    ------------------------------------------------
     
    08:02:00
    Giovanni Pierluigi da Palestrina: Canite tuba
    Voices of Ascension, Dennis Keene
     
    Franz Schubert: Tantum ergo in E flat, D. 962
    Gachinger Kantorei Stuttgart; Bach Collegium Stuttgart, Helmuth Rilling
    Sibylla Rubens, soprano; Irene Friedli, alto;
    Christoph Genz, tenor; Thomas Mehnert, bass
     
    Sergei Rachmaninoff: Bogoroditse Devo
    Atlanta Symphony Orchestra Chorus, Robert Shaw
     
    The Voices of Ascension is a professional choral ensemble which was founded
    by conductor Dennis Keene in 1990 and is based in New York. Schubert left us almost
    as many sacred choral works as he did songs. "Bogoroditse Devo" translates as "Rejoice,
    O Virgin Mother of God" and is part of Rachmaninoff's All-Night Vigil, Op. 37
     
    08:15:45
    John Tomkins: Cantate Domino
    Quire Cleveland, Ross W. Duffin
     
    Claudio Monteverdi: Christe, adoramus te
    The Sixteen, Harry Christophers
     
    George Frideric Handel: Hallelujah, your voices raise ~ Occasional Oratorio
    Howard University Choir; Handel Festival Orchestra of Washington, Stephen Simon
     
    Quire Cleveland is a professional choral ensemble directed by Ross Duffin. The choir
    was founded in 2008. The Sixteen have over 100 recordings to their credit. Harry
    Christophers founded the group in 1979. Handel wrote An Occasional Oratorio in early
    1746. The libretto uses texts by John Milton and Edmund Spenser.
     
    08:28:15
    Pietro Mascagni: Regina coeli (Easter Hymn) ~ Cavalleria rusticana
    Mormon Tabernacle Choir; Utah Symphony Orchestra, Julius Rudel
    Kiri te Kanawa, soprano
     
    Christopher Gibbons: Not unto us, O Lord
    Academy and Choir of Ancient Music, Richard Egarr
    Alastair Ross, organ
     
    Sir Charles Villiers Stanford: Magnificat in A, Op. 12
    Worcester Cathedral Choir, Donald Hunt
    Paul Trepte, organ
     
    The musical forces which appear in this morning's performance of Mascagni's
    Easter Hymn are as rich and lush as the music itself. Richard Eggar has been
    Director of the Academy of Ancient Music since 2006. Dr. Donald Hunt was
    Organist and Director of Music at Worcester Cathedral from 1975-1996.
     
    08:46:45
    Sir Hubert Parry: I was glad when they said unto me
    Choir of St. Paul's Cathedral, London, John Scott
     
    Cesar Franck: Prelude, Fugue and Variation, Op. 18
    Gaston Litaize, organ
    1878 Fermis/1923 Gonzalez et Ephrem/1957 Müller/1993 Dargassies organ
    in Eglise Saint Francois Xavier
     
    English composer Sir Hubert Parry's setting of Psalm 122: 1-3, 6-7 was written
    for the Coronation of King Edward VII in 1902 and subsequently revised for the
    Coronation of King George V in 1911. French organist Gaston Litaize was the titular
    organist of Eglise Saint Francois Xavier in Paris from 1975-1991.
     
    09:04:30
    J.S. Bach: Cantata 81, "Jesus schlaft, was soll ich hoffen"
    Bach Collegium Japan, Masaaki Suzuki
    Robin Blaze, countertenor; James Gilchrist, tenor;
    Peter Kooy, bass-baritone
     
    The German translates as "Jesus sleeps, what hope is there for me?" Bach set the Gospel
    text of Matthew 8: 23-27 which describes Jesus quieting the storm. The music can only be
    described as theatrically appropriate. 
     
    09:22:27
    Sir George Dyson: Hierusalem
    St. Michael's Singers; Royal Philharmonic Orchestra, Jonathan Rennert
    Valery Hill, soprano; Thomas Trotter, organ
     
    English composer Sir George Dyson (1883-1964) was Director of the Royal College of Music.
    After his retirement he began to write music again. You will hear influences of Vaughan Williams
    and Delius as well as Richard Strauss in this beautiful piece of music which he composed in 1956.
     
    09:42:33
    Havergal Brian: Te Deum Laudamus~Symphony No. 1 "Gothic"
    Slovak Philharmonic Orchestra, Ondrej Lenard
     
    Havergal Brian's inspiration for his Te Deum Laudamus which comprises Part II of his Gothic Symphony
    as a grand Gothic cathedral and its music. The occasion of English composer Havergal Brian's birthday
    got me digging around in the music library several months ago. His Symphony 1 "Gothic" intrigued me
    as it is largely a choral setting of the ancient hymn of praise Te Deum Laudamus. Mahlerian in scope
    Havergal's creation requires four choirs, four off-stage brass bands as well as one of the largest orchestras
    ever specified in an orchestral work. 
    ]]>
    UPDATE rob elliotthttp://www.choralnet.org/view/482951%pm, %02 %b %2016 %12:%Feb:%nd 12FebGMT+0000http://www.choralnet.org/view/482951Hi There!
     
    Just to let you know that our wesbtie and facebook pages have been amended slightly.
    Please now use www.cimcf.uk , although you will still be able to get to us via the old addresses.
     
    Lots of choirs are signing up - would love to see you next year, too!
     
    Cornwall International Male Choral Festival and Competition 2017.
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    Win a free Christmas carol commission! Timothy Takachhttp://www.choralnet.org/view/482943%am, %02 %b %2016 %03:%Feb:%nd 3FebGMT+0000http://www.choralnet.org/view/482943This month, Graphite is offering a chance to win a free commissioned Christmas carol by co-founder Timothy C. Takach.
    To enter your name in the sweepstakes, click here.
    Be sure to enter by March 1, 2016. And the more friends you get to enter, the better your chances are at winning!

    ]]>
    Songs from Shylock's Venice with Ensemble Lucidarium Lisa Safierhttp://www.choralnet.org/view/482939%pm, %01 %b %2016 %23:%Feb:%st 23FebGMT+0000http://www.choralnet.org/view/482939
    Experience the sounds and sights of Shylock's world as one of Italy's premiere Early Music ensembles brings to life 16th-century Venice through this lively multimedia concert, presented in commemoration of the 500th anniversary of the establishment of Venice's Jewish ghetto. 
     
    At the Museum of Jewish Heritage, 36 Battery Place in Lower Manhattan
    Tickets: $25, $20 MJH Members and Students
    Purchase tickets at www.mjhnyc.org or 646.437.4202
    ]]>
    Dinerstein's "Day Darken" from "Frogs" - Borrow, Rent, or Purchase Lauren Esteshttp://www.choralnet.org/view/482935%pm, %01 %b %2016 %23:%Feb:%st 23FebGMT+0000http://www.choralnet.org/view/482935Item: Day Darken (No. 1 from "Frogs")
    Composer/Arranger/Edition: Norman Dinerstein
    Starting: now through July 2016
    For: 6 months
    Copies: 20
    Willing to rent: Yes
     
    I'd love for my choir (Bel Canto Vocal Ensemble) to perform this piece for our camping/woods-themed concerts, taking place in June 2016. Please contact me if you have this in your library! Thanks!
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    Karl Jenkin's Armed Man Choristers Needed Daniel Schwartzhttp://www.choralnet.org/view/482930%pm, %01 %b %2016 %23:%Feb:%st 23FebGMT+0000http://www.choralnet.org/view/482930
    Join us, the Philadelphia Voices of Pride, as we celebrate our 10th anniversary season by performing Karl Jenkins’ concert-length work, The Armed Man (A Mass for Peace). We will be joining forces with the groundbreaking, Prometheus Chamber Orchestra, at the stunning Philadelphia Episcopal Cathedral to present a much-needed Mass for Peace.  
     
    The Philadelphia Voices of Pride is the only self-affirming LGBTQ (and Ally), mixed-voice chorus in Philadelphia, which has performed at various functions, including Speaking Out for Equality at the National Constitution Center, the It Gets Better Tour presented at the Kimmel Center, and have opened for the Philadelphia Phillies twice. We have been featured in well-known publications such as GPhilly, The Philadelphia Inquirer, and the Philadelphia Gay News.
     
    Details:
    Rehearsals Tuesday evenings, beginning March 8th.
    Concert May 21, 2016 at 8pm
    To join this concert, contact membership@pvop.org for more details
    Visit us online at www.PVOP.org
    Sound Clip (The Armed Man): https://youtu.be/ezFNIyyGT2o
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    Director of Worship and Music Diane McCauleyhttp://www.choralnet.org/view/482928%pm, %01 %b %2016 %22:%Feb:%st 22FebGMT+0000http://www.choralnet.org/view/482928
    Director of Worship and Music
    Lutheran Church of the Resurrection, a vibrant congregation in Granite Bay, is seeking a part time (25-30 hours per week) Director of Worship and Music.  The Director of Worship and Music will create a vision for dynamic worship and music programming at Resurrection and will display a deep personal faith and understanding of the meaning, use and place of music in various styles of Christian worship.
     
     Duties include, but are not limited to:
    • Conduct choir(s),  and ensembles and lead traditional worship on organ or piano, as skills apply
    • Schedule and direct rehearsals for choir(s), soloists, instrumentalists and ensembles providing supervision and leadership as required
    • Maintain Music library and coordinate care and maintenance of musical instruments
     
    Minimum Qualifications:
    • Demonstrated knowledge of Lutheran theology, liturgical practice and use of music in worship
    • One to Five years of experience and competency directing adult choirs
     Salary range:  $18,000 to $25,000.  Additional compensation commensurate with exceptional organ skills. 
     
     To apply:  Email cover letter and resume to diane@lcrchurch.org with Music in the subject line.
     
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    Grad Conducting Recital: Schubert Mass No. 4 in C Major Michael Ervinhttp://www.choralnet.org/view/482933%pm, %01 %b %2016 %23:%Feb:%st 23FebGMT+0000http://www.choralnet.org/view/482933Michael Ervin, Graduate Conducting Recital
    Student of Dr. Eric Stark and Dr. John Perkins, Butler University
     
    Saturday, February 6 at 6pm- Northminster Presbyterian Church
    1660 Kessler Blvd East Dr, Indianapolis, IN 46220
     
    Program:
    Selig Sind die Toten, SWV 391, No. 23  from Geistliche Chormusik               Heinrich Schütz (1585-1672)
     
     
    Mass No. 4 in C Major, D. 452                                                                  Franz Schubert (1797-1828)
     
    Talk on  “Bellum insigne fuit coelo”                                                           Dr. Nicholas Johnson
     
    Bellum insigne fuit coelo                                                                          Carolus Luython (1557-1620)
                                                                                                                 Transcribed by Michael Ervin
     
    "Warum" from Vier Quartette, Op. 92                                                        Johannes Brahms (1833-1897)
     
    Ubi Caritas                                                                                              Guy Forbes (© 2007)
     
    Toryanse (Traditional Japanese Folk Song)                                                 arr. by Miho Sasaki (b. 1978)
    *World Premiere
     
    Dörven Dalai (Traditional Mongolian Folk Song)                                           arr. by Yongrub (b. 1937)
     
    Yishakeni                                                                                                Debra Scroggins (© 2015)
    ]]>
    The Third Belarus Open Festival-Contest of National Music “REKHA” (Рэха) April 21-23, 2016 Galina Kazimirovskayahttp://www.choralnet.org/view/482931%pm, %01 %b %2016 %23:%Feb:%st 23FebGMT+0000http://www.choralnet.org/view/482931
    The organiser of the Festival is the Creative Centre «Belartsound» of the public association Belarusian Musicians Union.
    The main goal of the Festival is to promote national music.
              Festival Objectives:
    to introduce creative achievements of music and dance groups, solo artists;
    • to evaluate the proficiency of the national music composers and performers.
    The Festival will be held in Minsk, Belarus, on April 21 - 23, 2016.
    The Festival Plan with detailed timetable and places of performing will be provided after the completion of receiving application forms from participants. The deadline is March 1, 2016.
    ]]>
    Choir robes for sale Duncan Andrewhttp://www.choralnet.org/view/482920%pm, %01 %b %2016 %20:%Feb:%st 20FebGMT+0000http://www.choralnet.org/view/482920

    Hi everyone - we have a nice set of used (but in good shape) blue choir robes for sale. Manufactured by "Regency" out of Jacksonville, FL. There are 136 total: 72 small; 35 medium; 29 large. These robes were originally intended for a youth choir of middle and high school students. About 10 of the robes will need some zipper repairs done. If you are interested, you will need to pick them up from our church or be willing to pay for the shipping in addition to the cost of the robes. This set would easily cost around $2,500 new. Asking $500 but willing to negotiate! Contact Andrew Duncan at 865-804-4721.

     

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    Haydn and Franck : 2 versions of the 7 last words of Christ on the Cross chantal roidothttp://www.choralnet.org/view/482914%pm, %01 %b %2016 %20:%Feb:%st 20FebGMT+0000http://www.choralnet.org/view/482914The Choeur de la Trinite (Paris), his director Till Aly and the Helios orchestra offer to compare the versions from Joseph Haydn (1732-1809) and Cesar Franck (1822-1890) for choir, orchestra and soloists of the Seven last words of Christ on the Cross.
    Soloists:
    Kristina Vahrenkamp, soprano
    Sacha Hatala, alto
    Yanis Benabdallah, tenor
    Christophe Gautier, baryton
    Eglise de la Trinite, Paris (France)
    Friday 11 March and Saturday 12 March : 8.45 pm
    ]]>
    Music Director Rachel Fisherhttp://www.choralnet.org/view/482906%pm, %01 %b %2016 %19:%Feb:%st 19FebGMT+0000http://www.choralnet.org/view/482906
    Aldersgate Church (235 Park St in North Reading, MA) is a growing, active congregation of about 65 on Sunday mornings, of which about 30% are children and youth.  Please visit our website www.aldersgateumcnr.org to see more about the church, including the links to video of music on Music tab; or the Facebook page “Aldersgate North Reading” to get a picture of our community.  Entire worship service videos are available on a search at youtube for Aldersgate North Reading MA. 
     
    Position to begin March 1st, 2016.
     
    Ideal candidate will:
    • Be a Christian with an active faith life
    • Have excellent keyboard abilities – very strong music reading skills or very strong improvisational skills
    • Be well-versed in contemporary Christian music (Chris Tomlin, Hillsong) as well as the old standard hymns
    • Act as Worship Team leader, working well with existing Praise Band members
    • Have the ability to identify and invite new musicians and vocalists of all ages into the music program
    • Have good musical instincts to help with the flow of the worship service
    • Cast vision for the musical program at the church and lead musicians to accomplish it
    • Respond to email, text or phone in a timely manner
    • Live within a 30 minute commute of the church (preferred)
     
    Responsibilities include:
    • Week night 1 – 1.5 hour rehearsal with Praise Band and/or those presenting special music
    • Sunday morning presence from 9:30 to noon (July and August hours 9:00 to 11:30)
    • Choose in advance songs for congregational singing each week from existing base of songs and adding new songs  with the Worship Committee and Pastor
    • Create a program for Christmas Eve and Easter worship services
    • Communicate weekly with musicians about music for the coming week
    • Provide any needed music for rehearsals from existing songbooks, music library or obtaining music from other sources
     
    Compensation:
    • $7,000 to $8,000 annual salary with the opportunity for increases based on the development of the music program
    • 2 Sundays vacation plus 2 personal Sundays per year
     
    Contact Marilyn Huttunen with your resume including 2 professional references at mhuttunen@verizon.net   If available, include links to online videos of your work.
    ]]>
    HOT OFF THE PRESSES: New 18th Century Edition for SATB Choirs Martin Bannerhttp://www.choralnet.org/view/482907%pm, %01 %b %2016 %19:%Feb:%st 19FebGMT+0000http://www.choralnet.org/view/482907I am proud to announce the publication of my newest modern performing edition, Johann Michael Haydn's "NE TIMEAS MARIA", for SATB choir with keyboard accompaniment (optional trumpets, strings and continuo), published by Carl Fischer (CM9463). This edition is based upon the autograph score located in the Bavarian State Library in Munich, Germany. ]]>The "new" Julia Child? Matthew Erpeldinghttp://www.choralnet.org/view/482908%pm, %01 %b %2016 %19:%Feb:%st 19FebGMT+0000http://www.choralnet.org/view/482908I can't believe I've gotten so old as to ask this question, but I could use a little help.
     
    Today, I once again had my students do the "Julia Child" voice, and they looked at me like an alien.  Of course, when I asked if they knew who Julia Child was, it prompted more blank stares.  I've also done Mrs. Doubtfire and Snaggle-puss, but both of these are becoming a bit dated as well.
     
    I was curious if there was a newer, more "fresh" analog to Julia Child that might get a bit more traction with millenials.  Thanks!
    ]]>
    Arizona ACDA's 2015-16 Winter Issue of Antiphon is Here! Thomas Lerewhttp://www.choralnet.org/view/482904%pm, %01 %b %2016 %19:%Feb:%st 19FebGMT+0000http://www.choralnet.org/view/482904AzACDA is proud to release the Winter 2015-16 issue of its member publication ANTIPHON!
     
    View this informative issue through our publisher issuu or on the AzACDA website.
     
    • An Introduction to the 2016 AzACDA Summer Conference Headliners
    • Go For It! – Starting Your Own Show Choir Program (Jordan Keith)
    • Why Every Conductor Should Teach Music Appreciation (Daniel David Black)
    • A Podium Perspectives conversation with Greg Amerind, National ACDA Repertoire and Standards Chair for Vocal Jazz
    • Choral Music Reviews for Children & Community Youth Choirs, Music in Worship, Senior High School Choirs, and Two-Year College Choirs
    • Announcing AzACDA’s 2016 Junior & Senior High School Festivals
    • News & Announcements of What’s Happening in Arizona Choral Music
     
    Please CHECK IT OUT and then SHARE IT with your colleagues, your students, and your friends!
     
    Published three times each year, ANTIPHON is the official publication of the Arizona Chapter of the American Choral Directors Association (AzACDA). ANTIPHON seeks to communicate with AzACDA members and to heighten interest in joining AzACDA by non-members; to promote workshops, festivals, and other programs of AzACDA; to present educational articles for members and non-members; and to create a sense of community among choral directors and lovers of choral music throughout Arizona.

    If you would like to contribute content, share news or announcements of choral happenings in your part of the state, advertise in future issues of ANTIPHON, or simply provide feedback, please contact the editor, Thomas Lerew, at antiphon@azacda.org.
    ]]>
    Paid Tenor Choral Scholar Position Alan Wellmanhttp://www.choralnet.org/view/482895%pm, %01 %b %2016 %17:%Feb:%st 17FebGMT+0000http://www.choralnet.org/view/482895The First Presbyterian Church of Arlington Heights, IL has an opening for a paid tenor choral scholar.
    Rehearsals are Thursday evenings from 6:30-9 pm.
    Two services on Sunday, 9:30 and 11 am, plus occasional services throughout the year.
     
    First Pres has a long musical heritage and a strong music program boasting four adult choral ensembles, two major choral concerts a year, and additional opportunities for solo and small groups throughout the church year. 
     
    Singers are expected to be strong sight-readers, have a healthy, free tone, and of a collegiate or graduate level vocal performance quality.
     
    For more information, please email Alan Wellman, associate director of music--adult choirs, at alanwellman@fpcah.org
     
    ]]>
    "The voice of wealth" International Festival-contest Natalia Kazlovahttp://www.choralnet.org/view/482570%pm, %27 %b %2016 %14:%Jan:%th 14JanGMT+0000http://www.choralnet.org/view/482570

    Event description

    International Choir Festival-Competition for those who love the sound of voice.

    Four dates to choose from!

    April 29, 2016 - May 4, 2016

    September 23, 2016 - September 28, 2016 

    April 28, 2017-May 3, 2017

    September 22, 2017-September 27, 2017

    The Festival-competition “The voice of wealth” is one of the largest and brightest cultural events in Europe. Every year the Festival takes place on the beautiful coast of Costa Brava where thousands of participants from around the world show to humanity their uniqueness, originality of performance and talent – simply, their Vocal art.

    The Festival is held to promote the art of choral singing and to get to know the European public with creativity and mastery of choirs around the world. The purpose of this competition is to connect with each other, to exchange choral singing experiences of different cultures and styles, to expand the repertoire of choral groups, to create new creative contacts and to make new friends.

    Objectives of the festival:
    • Creating a creative atmosphere for professional networking of participants of the festival, exchange of experiences and repertoire
    • Joint performances of professional and amateur choral collectives from around the world
    • Creating a networking atmosphere between participants of the festival and the audience to create future contacts in the field of choral singing
    • Discovery of new names and talents in the field of choral singing
    • Involvement of music producers and managers to organize follow-concert activity of participants
    Participants of the Festival:
    • Choral collectives and ensembles from around the world can take part in the festival
    • Choirs can be mixed, men’s, woman’s or children (the number of participants is not limited)
    • Vocal ensembles from 3 people can take part in the Festival
    • Professional and amateur collectives may participate
    • Collectives of different age categories may participate in the festival 
    Categories
    • Children’s choirs (6 – 14 years)
    • Youth choirs (15 till 25 years)
    • Women choirs (26 years and more)
    • Men choirs (26 years and more)
    • Mixed choirs
    • Vocal ensembles
    Nominations
    • Academic singing
    • Church (spiritual) singing
    • Folklore singing
    • Pop
    • Jazz
    • Gospel music and others
    Conditions of participation:
    • Participants should present two performances of different character with the total duration of 10 minutes
    • It is possible to perform with musical accompaniment or a cappella
    • Performances should meet generally accepted standards of stage culture 
    • Participants should bring their own musical instruments and bear all costs associated with their transportation
    Prizes and awards of the festival

    All participants of the competition are awarded with international diplomas.

    The participants of the competition are given the following title:

    • Grand Prix possessor
    • 1st degree winner
    • 2nd degree winner
    • 3rd degree winner
    • Award winner
    • Participant of the competition

    Winners of the competition are awarded with corresponding certificates, confirming the title.

    All participants will be awarded with diplomas of international standard.

    Leaders and supporters of the participants will be awarded official Thank you letters from the Festival Organising Committee.

    Sponsors have the right to set up additional prizes and awards independently from the rewarding jury.

    According to the results of the competition, the winners of the Grand Prix will be defined (from all nominations).

    The score rating system means that regardless of the number of participants in any category, each of them will be evaluated by the jury on the quality of his performance, without comparing one with the other participants.

    In the absence of worthy contenders for the Grand Prix or other prizes, those will simply not not be awarded.

    Since it is a score evaluation system, according to the results of the competition day, prizes may be duplicated.

    The jury’s decision is final and can not be changed.

    Festival jury

    The organizational committee of the competition chooses the members of the international jury.

    The jury rates the performances of the competition by voting secretly on a scale of one to ten.

    The main evaluation criteria judges on the executive level and skill.

    The estimation will be made by following criteria:
    • Technical skills: Intonation, rhythmics, phrasing, build, ensemble, execution accuracy of the musical text and pronunciation
    • Artistic skills: Tempo, dynamics, text interpretation, emotion, expressiveness, stylistic fidelity and quality sounding of the chorus
    • Programm presentation: Selection of repertoir, complexity of execution, general impression for collective and appearance (suits)

    The decisions of the jury are final.

    PRELIMINARY PROGRAM
    • DAY 1 – Arrival in Barcelona. Transfer to Costa Brava, where the Festival will be conducted. Accommodation in hotel, relax and depending on the arrival time, meeting with festival organisers, getting to know the festival program and presentation of the excursion program.
    • DAY 2 – Breakfast. Visit of bazaar of the town. Rehearsal. In the evening – Festival opening.
    • DAY 3 – – Breakfast. Excursion to beautiful and historical capital of Catalonia – Barcelona (for additional payment). Dinner.
    • DAY 4 – Breakfast. Excursion to the sacred Monastery Montserrat (a unique natural reserve, the most important
      religious center of Catalonia – for additional payment)
    • DAY 5 – – Breakfast. Rehearsal. Gala Concert in famous catholic church(High arches of the temple centuries adjusted proportions by themselves provide the perfect sound of the vote. As the audience and the performers themselves derive great pleasure from the splendid acoustics, embedded in the architecture of the building itself.). Dinner
    • DAY 6 – Breakfast. Departure (Room Check-out till 10am). Transfer to airport.

    The program can be changed.

    All excursions on request and for an additional payment.

    COSTS

    Participation in competition/accomodation:

    • Accommodation in 3/4 room – 195€/person – (7 day stay – 265€/person)
    • Accommodation in double room – 220€/person – (7 day stay – 280€/person)
    • Accommodation in single room – 255€/person – (7 day stay – 310€/person)

    Groups of 25 persons: One group leader free of charge!

    Additional payment for participants:
    • Solists: 50€
    • Duets, small groups (3-5 people): 20€/person
    • Participation in additional category – 10€/person
    All participants and guests will be provided with:
    • Stay in a 3 stars hotel in double-, triple- or quarter rooms. The hotel is located 60 km from Barcelona Airport and 35 km from Girona Airport. It is located in the city centre, 800 meters from a beach
    • 3x food service per day (Drinks can be ordered for an additional payment).
    • Prizes and gifts
    • International Diplomas
    • Diplomas and gifts from the city
    • An official invitation
    • Groups of 25 persons: One group leader free of charge!
    • Opportunity to visit the best places in Costa Brava (a big spectrum of excursions is offered for an additional payment)

    Attention: The price doesn’t include tourist tax!
    The tourist tax has to be paid to the hotel at the checkin. The price is 0,50€/ person/ night. This is only for people who are 17 years old and older.

    Additional payments
    • Visa
    • Medical insurance
    • Transport charges
    • Transfer Barcelona/ Girona Airport – hotel – Barcelona/ Girona Airport. If you wish, we can arrange a transfer for an additional payment. Participants arriving separately should pay separately
    For an additional payment, excursions can be organized:
    • 4 hours on a sailing catamaran ‘Sensation’ (includes food and drinks + swimming in a wild bay)
    • Excursion to Barcelona + musical fountains
    • Excursion to the Montserrat monastery
    • Knights tournament at the 18th century medieval castle
    • Show Flamenco ‘Noche Espanyola’
    • Theme park ‘Port Aventura’
    • Excursion to Girona and famous Dali Museum
    ]]>
    Centennial Singers is seeking a permanent Conductor and Music Director Jesse Hastyhttp://www.choralnet.org/view/482878%am, %01 %b %2016 %05:%Feb:%st 5FebGMT+0000http://www.choralnet.org/view/482878
    Centennial Singers is a non auditioned community chorus in Warminster, Pennsylvania, USA. We sing an eclectic mix of show tunes, pop music, and more serious works. We perform two main concerts each year, one in December and one in June. We usually perform four mini concerts around each of these dates.  Our weekly rehearsals are on Tuesday nights for three months before our main concerts. 
     
    We are searching for a permanent conductor to head our professional staff, which includes our paid accompanist and occasional paid instrumentalists. The director's duties include but are not limited to: choosing our musical selections from our large music library, directing the purchase of new music, conducting weekly rehearsals, conducting performances, and accomplishing any other creative requirements as may from time to time arise.
     
    Please contact, send resume to, Jesse Hasty, president of Centennial Singers, 215-518-7820, ApplSpar@aol.com
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    Stop Sucking at Things: Unchoir Your Choir Kirsten Shetlerhttp://www.choralnet.org/view/482879%am, %01 %b %2016 %05:%Feb:%st 5FebGMT+0000http://www.choralnet.org/view/482879New blogpost this week!  Check it out - we would love to hear your thoughts. ]]>A Call to Innovation - ACDA Restructures and Calls for Leadership Tim Sharphttp://www.choralnet.org/view/482871%am, %01 %b %2016 %02:%Feb:%st 2FebGMT+0000http://www.choralnet.org/view/482871It is official! As of today, February 1, 2016, the American Choral Directors has changed the way it will do its work as we move forward. By an approval rate of 98%, the membership of ACDA has determined we will do our work of "inspiring excellence in choral music through education, performance, composition, and advocacy" through seven new or restructured Standing Committees. These Standing Committees replace the former Constitutionally established Standing Committees, and signal a new grassroots approach to accomplishing our mission and the purposes of the Association.
     
    These new Standing Committees are the following:
     
    International Activities--This Standing Committee oversees international programs (e.g., ICEP, National Youth Choir, communication with ACDA International Chapters to be developed in the future, and present and future international collaborations), and develops international programs and collaborations that advance ACDA's mission.
     
    Research and Publications--This Standing Committee oversees all research and publication activities (e.g. Choral Journal, ChorTeach, IJRCS, Monographs, Herford Award, Publications Awards), and develops research projects and publications that advance ACDA's mission.
     
    Composition Initiatives--This Standing Committee oversees activities dealing with ACDA choral composition commissions and awards (e.g. Brock Commissions, Honor Choir Commissions, Consortium Commissions), and develops choral composition criteria, educational programs, and projects that advance ACDA's mission.
     
    Advocacy and Collaboration--This Standing Committee oversees programs and activities related to collaborations with other organizations, and programs and activities related to choral music advocacy.
     
    Education and Communication--This Standing Committee oversees ACDA's professional and social networking site to advance the educational programs and offerings of the association (e.g. ChoralNet and ACDA.org), and oversees and develops programs that assist in the education of the membership and the communication of these resources (e.g. ACDA Mentoring Program, Musica Database).
     
    Diversity Initiatives--This Standing Committee oversees programs and activities that serve a greater population of choral singers and conductors than those served through the other Standing Committees (e.g. Outreach and collaborative projects directed toward under-served populations, programs developed for under-served urban and rural settings, programs directed toward inclusion offerings, programs that speak to the diversity found in society in general).          
     
    Repertoire and Resources  (This Chair is a Nationally elected position)--This Standing Committee provides support, vision and resources for every major area of choral work. Committee members (National R&R Chairs) play an important role in serving their respective choral genres and promote excellence in literature and performance standards.
     
    As we move forward, we now seek leaders for these Standing Committees. This is a call for leadership, and a call for innovation. If you are interested in being considered for one of the above committee chairs, the following application process has been established. All Standing Committee Chairs will be appointed in the coming months, and Standing Committee Chairs will assist in the staffing of each committee (with the exception of the Repertoire and Resources Committee, which will follow a different staffing process during this transitional period.)
     
    National Standing Committee Chair Application
     
    1.  Letter of application including a vision statement and resume submitted to Mary Hopper, ACDA President (by March 15)  mary.hopper@wheaton.edu
    2.  Review of applicants by the Executive Committee (March 15-April 1)
    3.  Appointments made (April 1)
    4.  Chairs will attend the National Leadership Conference June 3-4, 2016
     
    National Chairs of Standing Committees are appointed for a four-year term by the ACDA Executive Committee. A National Committee Chair may be reappointed once, for a maximum of eight years. The National President or National Standing Committee Chair may recommend removal of a National Standing Committee member from office to the Executive Committee for action.
     
    Criteria For National Standing Committee Chair And Committee Members
     
    The National Standing Committee Chair should have extensive experience and expertise in the focus area along with a vision for advancing the goals of the focus area.  The applicant should have successful leadership and strong communication skills. The applicant must be willing to work to fulfill the mission of ACDA in a positive and professional manner.
     
    Each National Standing Committee shall consist of three to five members, including the Chair. Each National Standing Committee will liaison with the ACDA Executive Director, a National Staff Member, and a member of the ACDA Executive Committee, who will serve in an ex-officio capacity. 
     
    Committee members shall be recommended to the Executive Committee and Executive Director by the National Chair to serve as project managers in each focus area.  These individuals should have experience and expertise in the Standing Committee focus area and must be willing to work to fulfill the mission of ACDA in a positive and professional manner.  Standing Committee member recommendations shall be approved and appointed by majority vote of the Executive Committee. Standing Committee Chairs may appoint sub-committees to execute more complex projects. Committee members serve four-year appointed terms that may be reappointed once for a total of eight years or until the project is completed.
     
    I hope many of our members will consider joining the leadership team as we renew our efforts of inspiring choral excellence and innovation through this new approach to our work.
     
    ]]>
    Finding Music Off the Beaten Path Kirk Averitthttp://www.choralnet.org/view/482861%pm, %31 %b %2016 %22:%Jan:%st 22JanGMT+0000http://www.choralnet.org/view/482861When planning music for an upcoming concert, I usually begin by browsing sites like JWPepper, Santa Barbara Music Publishing, and Boosey & Hawkes. These sites are great because they have hundreds of titles to choose from and sample. However, I am always looking for something new and of good quality that is "off the beaten path."
     
    I am hoping to start a conversation and compile a list of publishing companies and self-publishing composers that offer music not available through major publishing sites.
     
    I am aware of companies like Graphite Publishing and Good Child Music, and self-publishing composers such as Timothy Takach, Moira Smiley and Jake Runestad. What other publishing companies or composer are you aware of that fit this bill?
     
    Thanks for your help!
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    What makes a "good" choir song? Rachel Marshhttp://www.choralnet.org/view/482855%pm, %31 %b %2016 %21:%Jan:%st 21JanGMT+0000http://www.choralnet.org/view/482855Hello! I will be doing a lesson with my kids this week on what makes a song good for the choir setting versus a rock band or solo pop artist. We just finished a concert and I will be picking music for the next one soon. I want the kids to understand why not ALL of their favorite songs are good for choir and why some can work wonderfully as a choral arrangement. I was hoping you all might have some good insight that I may not have thought of on the topic. What makes a pop song work for a choir? What kind of song is much harder to do well for the typical (middle school) choir? What makes a good choir song in general? Thanks for your help!
     
    --Rachel
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    Valentine's Day Sing-Along Diane Holcombhttp://www.choralnet.org/view/482852%pm, %31 %b %2016 %20:%Jan:%st 20JanGMT+0000http://www.choralnet.org/view/482852For a creative way to say “I love you” on Valentine’s Day, treat your sweetheart, friend or family member to the gift of song at Schola Cantorum’s Valentine’s Day Sing, or just come with good friends, on Sunday, February 14 at 3:00 PM at the Los Altos United Methodist Church. Singles are encouraged to join in this giant love-song fest as well. Words for the most romantic songs of all time will be projected on a screen so anyone can follow along easily. Tickets are $15, and may be purchased online at www.scholacantorum.org, by calling 650-254-1700, or at the door prior to the event.
     
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    ALTO - TENOR - BASS paid section leaders, Newark, NJ Deborah Kinghttp://www.choralnet.org/view/482851%pm, %31 %b %2016 %20:%Jan:%st 20JanGMT+0000http://www.choralnet.org/view/482851The Episcopal Cathedral of Trinity and St. Philips, in downtown Newark, NJ, seeks ongoing section leaders for its newly-forming Cathedral Choir.  Must have strong reading skills, good intonation and clear tone.  For full specs:  https://drive.google.com/file/d/0Bxk-4Q1Ftp2HS0t3V01MZzl3X1k/view?usp=sharing
     
    Dr. Deborah Simpkin King, Director of Arts Ministries
    cathedral@DeborahSKing.com             
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    Opera Chorus Program in Italy, July 4-17 Darryl Edwardshttp://www.choralnet.org/view/482843%pm, %31 %b %2016 %17:%Jan:%st 17JanGMT+0000http://www.choralnet.org/view/482843The Centre for Opera Studies in Italy (COSI) Opera Chorus Program in Sulmona, Italy: Puccini’s La Rondine with the COSI Festival Orchestra, and favourite Italian opera choruses in the COSI Opera Gala. Glorious opera chorus music!  Leslie Dala (Vancouver Opera) conductor, and James Marvel, stage director (Juilliard Opera Centre, U.Tennessee Knoxville, and a Classical Singer Magazine's "Stage Director of the Year"). A complete Italian experience, with Italian language and cooking classes, music and staging rehearsals, and special topics sessions with Dr. Darryl Edwards, University of Toronto. Online application requires no audition. http://www.co-si.com/programs/opera-chorus/. Contact: Tania Puglielli - cosi.program.manager@gmail.com ]]>Request to Borrow/Rent Leonard Ennshttp://www.choralnet.org/view/482841%pm, %31 %b %2016 %15:%Jan:%st 15JanGMT+0000http://www.choralnet.org/view/482841Item: Lux Aeterna
    Composer/Arranger/Edition: Ligeti
    Starting: March 16
    For: to May 30 (10 weeks)
    Copies: 20
    Willing to rent: Yes
     
    For the DaCapo Chamber Choir, Waterloo ON Canada
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    to borrow redon nicolehttp://www.choralnet.org/view/482840%pm, %31 %b %2016 %15:%Jan:%st 15JanGMT+0000http://www.choralnet.org/view/482840Item: the tyger
    Composer/Arranger/Edition: TAVENER
    Starting: ?
    For: ?
    Copies: 1
    Willing to rent: No
     
    ]]>
    Verde Mar de Navegar Kerry Burtishttp://www.choralnet.org/view/482824%am, %31 %b %2016 %06:%Jan:%st 6JanGMT+0000http://www.choralnet.org/view/482824Dear Friends,
     
    I need your help in tracking down this piece and where I can purchase it. The copy I have has "Duda" as the"Autor" and "Capida" as the "Arreglo." The copyright information says: "2003 Ediciones Schola Cantorum de Caracas."  It's a fun piece and I would love to purchase it for my choir--thanks!
     
    Kerry Burtis
    Salem, Oregon
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    Staff Singers, St. James Cathedral, Chicago Brandon Dumashttp://www.choralnet.org/view/482826%am, %31 %b %2016 %06:%Jan:%st 6JanGMT+0000http://www.choralnet.org/view/482826
    The Saint James Cathedral Choir has Staff Singer positions vacancies for the remainder of the 2015–16 choral season and beyond. At this time, we are interested in hearing auditions for each section, including male countertenors for the alto section. We would also love to hear from experienced singers who may be interested in participating in our unique choral program on a volunteer basis.  
     
    The Cathedral Choir is a semi-professional ensemble comprised of around 30 dedicated amateur and professional singers who come from both the Cathedral parish and the wider Chicagoland area. Our singers––staff and volunteer alike––seek and are nourished by both the experience of working collaboratively towards excellence in ensemble in the execution of a vast repertory of sacred choral music, and by the interpersonal and social engagement which such an experience fosters and engenders.
     
    In a typical week, the choir rehearses from 6:30 to 8:30 p.m. on Thursday evenings, and arrives on Sunday mornings at 10:00 for a 10:10 warm-up preceding the 11 a.m. Choral Eucharist, which is the principal service of the Cathedral each week. This liturgy is offered every Sunday of the year, although at 10:00 a.m. June through August, with the choir meeting only on Sunday mornings at 9:00 to rehearse.
    There are many services and performances in addition to the two weekly calls of the typical schedule (Choral Evensong at 4:00 p.m. every first Sunday of the month, Holy Week liturgies, a concert in April with the Choir of Royal Holloway, University of London, and more), all of which contribute to an extremely dynamic choral experience. 
     
    The ideal candidate for a Staff Singer position at Saint James has (or is working towards) a formal music/vocal degree or other certification which has equipped them with reliable aural, sight-reading, performance practice, and music theory/analysis skills. S/he has vast choral experience, a dynamic, versatile voice and possesses both the technique to control/suppress vibrato and other vocal colorations, and the intuition to know when it is necessary to do so, all without the need for constant direction. S/he is as motivated to accomplish the best possible result in a choral setting as in solo work, and is as conversant in the stylistic singing of Josquin as Bach, Mendelssohn, Howells, Pärt, and Cage (to name but a few). 
     
    Saint James Cathedral is prominently located just one block off the Magnificent Mile in Downtown Chicago, easily accessible by all public transportation. Participation in the choir is open to all, regardless of religious affiliation. To schedule an audition, please contact the Interim Director of Music by email at bdumas@saintjamescathedral.org.
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    Composition Spotlight -Firelight Jack Senzighttp://www.choralnet.org/view/482842%pm, %31 %b %2016 %16:%Jan:%st 16JanGMT+0000http://www.choralnet.org/view/482842
     
     
    COMPOSITION SPOTLIGHT ~ by Jack Senzig
     
    (The Composition Showcase is a unique resource for conductors.   Choral composers are allowed to share only a few of their best works.  Each week we offer you the best of the best on a silver platter.   The Silver Platter Award winners are works that your choirs will love to sing and your audiences will love to hear)
     
    Silver Platter Award Winner:
    Firelight by Braeden Ayres SATB a cappella (Click here for PDF and here for AUDIO)
     
    Level: High School or Higher
    Uses: General Concert
    Program Themes:  Songs Without Words, Vocal Effects
    This Piece Would Program Well With:  Vocalise  Rachmaninoff arr.  Prokhorov available from JWPepper and SheetMusicPlus
     
    Singing on vocables is a great way to get your singers thinking about the different ways music can be expressive.  Vocal musicians sometimes get in a rut of depending on lyrics to drive every emotion.  Firelight by Braeden Ayres can help expand understanding of expression for your audience and singers alike. 
     
     
    Firelight is available from the composer at http://www.braedenayres.com/contact/
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    Choir Director Edwin Sellhttp://www.choralnet.org/view/482822%am, %31 %b %2016 %04:%Jan:%st 4JanGMT+0000http://www.choralnet.org/view/482822
    POSITION TO BE FILLED: Choir Director
     
    St. Andrew’s Episcopal Church
    1231 E. Chapman Avenue
    Fullerton, CA  92831
     
    St. Andrew’s Episcopal Church is a thriving parish active in community social justice and outreach ministries. We are a church community which is open, inclusive and progressive.  We are surrounded by local colleges and universities and located in the city of Fullerton.  We look forward to a new director who is interested in developing the voice of our music program to reflect the vibrancy of our Gospel witness in Fullerton. Please visit our website at www.saintandrewsfullerton.org  and St. Andrew's Facebook Page prior to application.
     
    The parish has a long tradition of quality music. Our music library includes music from chant to contemporary music in the Anglican tradition. The parish uses the 1982 Hymnal of the Episcopal Church, but has been exploring other hymn resources.
     
    The Choir Director works closely with the Rector in shaping the musical environment throughout the year. S/he will 1) conduct a choir of fifteen or more volunteers (no paid section leaders), 2) choose/prepare an offertory anthem and a communion music for Sunday Eucharist services, 3) choose hymns for Sunday services and 4) plan a summer soloist program, made up of choir members, when the choir is on recess. The director will also rehearse the choir and prepare them for one special musical event each year. This is a part-time position.
     
    The current choir schedule from September through mid-June is one evening rehearsal (Wednesday 7:30 – 9:30pm), one Sunday morning rehearsal (9:15 – 9:45am), one Sunday service (10:00 to 11:15am).
     
    In addition to Sunday services, the Choir sings at:
    • Thanksgiving Day (9am)
    • Christmas Eve (2 services) (4pm, 10pm)
    • Ash Wednesday (7 pm)
    • Maundy Thursday (7 pm)
    • Easter Sunday (2 services) (7am, 10am)
    Working with the Choir Director, the Parish Organist (separate position) chooses the Preludes and Postludes.  The organ is a three manual Rodgers computer Model 905 organ with one rank of pipes plus sequencer and sound module purchased in 1999.  In addition to the organ there is a Yamaha Grand Piano in the chancel.
     
    Application Procedure:
     
    Applications due March 1, 2016, for immediate hire.
     
    Interested candidates should submit resume and any video samples or links via email to:
     
    Ed Sell, Choir Director Search Committee Chair
    Home: 714-491-9130
    Cell: 714-658-2807
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    Director of Music Linda Prideauxhttp://www.choralnet.org/view/482820%am, %31 %b %2016 %03:%Jan:%st 3JanGMT+0000http://www.choralnet.org/view/482820
    Job Title: Director of Music, Part-time
    Scottsdale Congregational United Church of Christ is a progressive church which draws its worship music from many different traditions, and which seeks to convey worship themes in non-traditional ways. We are Open and Affirming, believing that all are made in God’s image regardless of race, gender, sexual orientation, age, physical or mental ability, nationality, or economic class. (See more at scottsdalecongregational.com.)
     
    At SCUCC over the past decade we have experienced uplifting, spiritually energizing music provided by professional and very talented amateur musicians in both traditional and non-traditional genres. We seek the same now: music that makes us feel, that connects us to each other, that causes us to want to sing or move, that pushes us to act or react. We want a variety of music, both traditional and modern. We want to be affected by our music.
     
    Responsibilities:
    1. Oversee the musical aspects of Sunday morning worship:
    • Communicate regularly with worship planners (attending worship planning meetings as necessary) to determine the music needs of the service: genre, style, presentation.
    • Choose music and hire musicians (within budget) to meet above needs, using knowledge of congregational resources as well as community resources (instruments, individual musicians and groups). Ensure that music selections with lyrics use inclusive language or are edited to be inclusive.
    • Coordinate with tech team in order to have needed equipment.
    • Schedule Sanctuary Choir and Jubilate Bell Choir - as they are ready - into services.
    • Provide for a song leader (or BE the song leader - see skills below) to be the vocal lead for music that the congregation will sing.
    • Attend the Sunday morning service and coordinate/participate in the musical aspects as appropriate.
    2. Direct the Sanctuary and Handbell Choirs:
    • Select and purchase music appropriate to group abilities.
    • Recruit members, with the help of current members.
    • Direct weekly rehearsals.
    • Plan performances in conjunction with worship music plans.
    • Coordinate and work with volunteers willing to assume leadership roles.
    • Arrange for an accompanist for the sanctuary choir for Sundays when they perform.
    3. Manage music budget
     
    4. Maintain records: performance calendar, history, music library
     
    Skills and Character:
    1. Be an experienced musician. We are particularly looking for combinations of:
    • Choir director
    • Song leader -- strong singing voice in variety of styles/genres
    • Pianist (but not simultaneously leading songs or directing choir)
    • Skill with one or more other instruments
    Have experience and talent in several musical genres such as: jazz, classical, soul, rhythm and blues, gospel, rock and roll
    Understand the requirements for congregational singing: (key, melody, best vocal range)
    Have the ability to sight-read and improvise
    One or more of these abilities is a plus:
    • composing, arranging
    • bell choir director experience
    2. Use creativity and insight in choosing music and the musicians for any service.
    • Have knowledge of a variety of music, both liturgical and non-liturgical
    • Be willing to vary music selections in order to honor valued traditions and current culture
    • Be willing to broaden knowledge in less familiar music genres
    • Able to give importance to spirituality even if scheduling music that may not seem "churchy"
    3. Communication and problem-solving skills are needed to liaison between the worship planners, musicians and tech team, and to work with both amateurs and professionals.
    4. Organizational skills are needed to keep track of music, musicians, schedules and a budget.
    5. Possess a fun-loving spirit and sense of humor, and be flexible.
    6. Be professional and have a desire for excellence at all times.
     
    Salary: $10,000 - $12,000
    Inquiries:
                Submit Resume (to include three references) to:
                SCUCC
                4425 N. Granite Reef Rd.
                Scottsdale, AZ  85251
                (480) 946-2900
                (Inclusion of recordings, links, and/or websites is encouraged.)
    Open until filled
    Posted 1/28/16
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    A Concert for Peace Edward Horkanhttp://www.choralnet.org/view/482817%pm, %30 %b %2016 %22:%Jan:%th 22JanGMT+0000http://www.choralnet.org/view/482817
    Dear all, 
    I am delighted to let you know of a Fantastic Concert for Peace, in the refurbished Knock Basilica, Co. Mayo, Ireland, to be held on the 14th.May, two weeks prior to our Mayo International Choral Festival 25th to 29th May,
    The Mayo International Choral Festival Presents A Concert For Peace Commemorating the 1916 Easter Rising and World War One featuring Sir KarlJenkins’ international choral sensation The Armed Man: A Mass for Peace Hollywood movie Composer Patrick Cassidy’s Elegy Suite for 1916 The RTÉ Concert Orchestra Conductor: David Brophy Mezzo Soprano: Anne Marie Gibbons Tenor: Owen Gilhooly Ballina Chamber Choir, Cór Mhaigh Eo and Dún Laoghaire Choral Society Saturday 14th May 2016 at 8pm Knock Basilica Doors open 6.45pm, Concert 8pm Tickets (all reserved seating): €25 and €15 (restricted viewing) A feast for the senses awaits.
    The Mayo International Choral Festival is proud to present this inaugural concert at the newly refurbished Knock Basilica, to commemorate the 1916 Easter Rising and World War One. Composed to mark the millennium in 2000, performed over 1000 times in more than 20 different countries with over 15 gold and platinum awards, composer Sir Karl Jenkins’ The Armed Man: A Mass for Peace is a powerful and compelling phenomenon in contemporary music which brings the audience on an inspirational journey from the disharmony of conflict to a final message of hope and peace. It is a dramatically engaging work, vividly setting to music extracts from the Christian Eucharist, and using influences and inspirations from all over the world, including poems by Kipling and Tennyson.
    In addition, the orchestra will perform an elegy suite for 1916 by the distinguished composer Patrick Cassidy, recent recipient of the ‘Creative Talent Award 2015’, at the Richard Harris International Film Festival, together with some of his most acclaimed pieces including the Hannibal Aria, Vide Cor Meum. Born in Mayo, Patrick Cassidy came to prominence with the release of The Children of Lir, the first major symphonic work written in the Irish language, and Famine Remembrance which was commissioned to commemorate the 150th anniversary of the Great Hunger in Ireland. Currently, Patrick resides in Los Angeles where, in addition to his concert work and compositions, he scores and collaborates on film and documentary projects including Hannibal, Veronica Guerin, Confessions of a Burning Man, Salem’s Lot, King Arthur, Che Guevara, Ashes and Snow, Kingdom of Heaven, The Front Line, L'Aviatore, The Irishman and Calvary.
    Mayo born and based, Mezzo Soprano Anne Marie Gibbons appears regularly with both the RTÉ Concert Orchestra and the RTÉ National Symphony Orchestra. She is a former English National Opera company principal and made her acclaimed Royal Opera PRESS RELEASE [Type text] House Covent Garden debut earlier this year. Her many international credits include performances in Paris, Adelaide, Lausanne and London.
    Limerick born, Tenor Owen Gilhooly’s career has taken him from the Royal Opera House, Covent Garden to Tokyo’s Symphony Hall, singing a diverse operatic and concert repertoire from Bach to Weir. He has appeared regularly with leading orchestras including at the BBC Proms with the BBC Symphony Orchestra, as well as at Royal Opera House singing Fauré Requiem for the Royal Ballet. Widely regarded as the leading Irish Conductor of today,
    David Brophy’s career has seen him perform worldwide, and he enjoys a close relationship with both the RTÉ Concert Orchestra and the RTÉ National Symphony Orchestra in addition to frequent appearances as guest Conductor with the Ulster Orchestra. David will be familiar to TV viewers, having fronted both the RTÉ1 award-winning series Instrumental and the High Hopes Choir for Tyrone Productions and RTÉ1 TV.
    The RTÉ Concert Orchestra has been introducing orchestral music to new audiences since 1948 and was recently voted World’s Favourite Orchestra in an international poll (Bachtrack.com, 2015). Having shared stages with legends like Pavarotti and Lang Lang, the RTÉ CO has also collaborated with top Irish acts like Altan, Sharon Shannon, Declan O’Rourke and Imelda May. A wide range of film credits includes Brian Byrne’s score to Albert Nobbs (including a song nominated for a Golden Globe), music for Patrick Cassidy’s score to Calvary, Andy O’Callaghan’s score to Mrs Brown’s Boys: D’Movie and Stephen Rennicks’ score to Room. The RTÉ CO has featured as the ‘house orchestra’ on The Late Late Show. Members of the Ballina Chamber Choir,
    Cór Mhaigh Eo and Dún Laoghaire Choral Society will come together to form a 120- strong choir to collobrate on this project. The concert will be produced in association with the The Western Development Commission. Tickets (all reserved seating): €25 and €15 (restricted viewing) For more information visit www.mayochoral.com or facebook/mayochoral Tickets Online www.mayochoral.com
     
    Best Regards 
    Edward Horkan, Festival Chairman.
     
     
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    Music Associate Jane ONeillhttp://www.choralnet.org/view/482810%pm, %30 %b %2016 %18:%Jan:%th 18JanGMT+0000http://www.choralnet.org/view/482810

    First UMC of Delmar is seeking an experienced accompanist with conducting skills to join our well established music program as a part-time music associate ( 15 hrs/wk). Candidates must be available for Thursday evening rehearsal and Sunday morning worship September through the first week of June.  The position includes weekly rehearsals with the adult choir, directing the hand bell choir and periodic rehearsals with other choirs. Salary is negotiable depending on qualifications.  There is a generous vacation schedule, opportunities for professional growth and private teaching. The position is currently open. Interested candidates should send a resume to Jane O'Neill at jane@sourcerx.com

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    Church Choir seeking all voices for Kodaly's Missa Brevis (volunteers, no audition necessary) Linda Pricehttp://www.choralnet.org/view/482805%pm, %30 %b %2016 %17:%Jan:%th 17JanGMT+0000http://www.choralnet.org/view/482805
    CALLING ALL SINGERS!
    JOIN US TO PRESENT
    ZOLTAN KODALY’S MISSA BREVIS
     
    FIRST PRESBYTERIAN CHURCH SAN ANSELMO
    CHANCEL CHOIR
    ~~~~~~~~~~~~~
    UNDER THE DIRECTION OF
    DANIEL CANOSA
    Music Director, FPCSA Chancel Choir, Marin Baroque, Echo Chamber Orchestra, & Apollo Symphony Orchestra
     
    FPCSA Choir has recently returned from singing at Carnegie Hall! 
     
    Concert dates: SATURDAY JUNE 4th & SUNDAY JUNE 5th
    No fee to participate! No music to purchase. Thursday evening rehearsals, 8:30-9:30 pm. Saturday workshops TBD.
    First rehearsal February 18.
     
    For more information, contact Linda Price at the link above.
    ]]>
    Kodaly's Missa Brevis CALLING ALL SINGERS in SF Bay Area Linda Pricehttp://www.choralnet.org/view/482804%pm, %30 %b %2016 %17:%Jan:%th 17JanGMT+0000http://www.choralnet.org/view/482804
    1940s postcard from Hungarian part of Erdély (Transylvania, Romania)
     
    CALLING ALL SINGERS!
    JOIN US TO PRESENT
    ZOLTAN KODALY’S MISSA BREVIS
     
    FIRST PRESBYTERIAN CHURCH SAN ANSELMO
    CHANCEL CHOIR
    ~~~~~~~~~~~~~
    UNDER THE DIRECTION OF
    DANIEL CANOSA
    Music Director, FPCSA Chancel Choir, Marin Baroque, Echo Chamber Orchestra, & Apollo Symphony Orchestra
     
    Concert dates: SATURDAY JUNE 4th & SUNDAY JUNE 5th
    No fee to participate! No music to purchase. Thursday evening rehearsals, 8:30-9:30 pm. Saturday workshops TBD.
    First rehearsal February 18.
     
    For more information, contact Linda Price at the link above.
     
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    Arrangements of Christmas repertoire for SATB choir in pop style Anthony Antolinihttp://www.choralnet.org/view/482774%pm, %29 %b %2016 %21:%Jan:%th 21JanGMT+0000http://www.choralnet.org/view/482774I'd welcome suggestions of arrangements for SATB community chorus of Christmas pieces in popular or accessible jazz styles. The ensemble is not a jazz choir but wants to perform works in a pop style for a change. Accompaniment: piano and string bass or piano and violin. Not audience sing-along. No large instrumental combos. Thanks!
    Anthony Antolini
    Artistic Director
    Down East Singers
    Rockport, Maine
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    Composers' Choir seeking all voice parts Daniel Shawhttp://www.choralnet.org/view/482782%am, %30 %b %2016 %00:%Jan:%th 0JanGMT+0000http://www.choralnet.org/view/482782The Composers' Choir is a pro choir, usually about 12-16 people, which records music by living composers. We work on a gig by gig basis and pay fluctuates to some extent depending on the gig because some gigs have more hours than others. A typical gig is one 5 hour rehearsal and one 5 hour recording session. All singers are paid the same. In most circumstances we get travel money for big drives or Metro North Tickets for people in NYC. 
     
    Sop's need top be straight tone. We're not toally a straioght-tone choir, but you can get the idea if you listen to us at our site.
     
    Live auditions are best but sending a recording can sometimes do the trick.
     
    Please send me a note and we can talk. You can contact me through the site or email composerschoir@gmail.com
     
    Live auditions can be scheduled by appointment, and I'll likely be doing them rolling through the next several months. That said, ideally I'd like as many auditions as possible to happen before February 15.
     
    Thanks,
    Dan
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    Accompanist; Composers's Choir (Recordings gig by gig) Daniel Shawhttp://www.choralnet.org/view/482781%am, %30 %b %2016 %00:%Jan:%th 0JanGMT+0000http://www.choralnet.org/view/482781Hello. This Choir records music for living composers and operates on a gig by gig basis. This note here is to see if you would like to be an accopanist for some of our gigs. Pay is $50 hour; gigs are usually 10 hours spread over two days. The schedule is unpredictable - we deal with that on a gig by gig basis. The gig is often a five hour rehearsal and a five hour recording session; often 5:30-10:30 or anytime in the weekends. Still could be anything though.
     
    Sometimes we need organ, so if you play that is a plus, but sometime it is exclusivly piano, or a cappella pieces where your part would be part playing in rehearsal and as needed in the recording session. Pay is per hour and doesn't change if you are directly in the recording or not. We already have some accompanists (so if you are one please do not worry) and I'm writing to see if there are a few more that might be interested in talking. This is in part because I anticipate more gigs this year, and we need several accompanists to work around the scheduling. Please write me if you have questions. 
     
    The best way to figure us out is the website. You can find contact info for me there.
     
    Thanks,
    Dan Shaw
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    Fauré Requiem: Treble Chorus of New England and South Shore Children's Chorus Kirsten Shetlerhttp://www.choralnet.org/view/482794%pm, %30 %b %2016 %14:%Jan:%th 14JanGMT+0000http://www.choralnet.org/view/482794Come see the Treble Chorus of New England in collaboration with the South Shore Children's Chorus and Braintree High School Guys Group perform the Fauré Requiem with the beautiful organ in the Methuen Music Hall on Saturday Evening, May 14th.  40 young singers will bring this choral standard to life - it will be an evening to remember!  Each group will also perform their own set of choral music. 
     
    Come join us!  
     
    Methuen Music Hall
    129 Broadway, Methuen, MA
    7:00 pm
    Tickets: $15/adults, $10/students and seniors
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    ICEP Spotlight - Patrick Quigley & Hye Kyoung Yoon T.J. Harperhttp://www.choralnet.org/view/482787%am, %30 %b %2016 %03:%Jan:%th 3JanGMT+0000http://www.choralnet.org/view/482787I am delighted to introduce 2016 ACDA ICEP Conducting Fellows Mr. Patrick Quigley and Ms. Hye Kyoung Yoon. For more information regarding the ACDA International Conductors Exchange Program please refer to the most recent Choral Journal article (February 2016), Choral Connections with the Republic of Korea (Land of the Morning Calm) or join us on Facebook.
     
    Patrick Quigley
    Mr. Quigley was nominated for two 2012 GRAMMY® awards for his work with Seraphic Fire: Best Choral Performance for Brahms: Ein Deutsches Requiem, and Best Small Ensemble Performance for A Seraphic Fire Christmas. Under his direction, Seraphic Fire has released eleven recordings on the Seraphic Fire Media label, with two additional recordings forthcoming this year. In the past three years, Seraphic Fire has had albums enter the top ten on both the Billboard and iTunes classical charts—including the ensemble’s 2010 release of Monteverdi’s Vespers of the Blessed Virgin (1610), which reached the number one position on the iTunes classical music charts. Quigley is the recipient of the 2004 Robert Shaw Conducting Fellowship, given annually by the National Endowment for the Arts and Chorus America to one conductor between the ages of 25 and 40 who demonstrates the potential for a significant professional career. Patrick received his M.Mus. in conducting from the Yale School of Music, his B.A. in musicology from the University of Notre Dame, and is a graduate of the Indiana University Center on Philanthropy’s Fundraising School.
     
    Hye Kyoung Yoon
    Hye Kyoung Yoon is the conductor of the Agathos Chamber Singers, the CTS TV Gangseo Children's Choir, and the Seoul Ladies Singers. Her past appointments include engagements with the Asia Pacific International School, the FEBC Hak Won Yoon Chorale, and the Incheon Women's Seminary. Ms. Yoon is currently pursuing completing the DMA in Choral Conducting at Hansei University in Gunpo, Korea. Her Master's degree is in Organ Performance from Hanyang University in Seoul, Korea and her Bachelor's degree is in Piano Performance from Seoul National University. During her time in the United States, Ms. Yoon will be a guest of the ACDA Northwest Division. For more information regarding her ICEP residency please contact the ACDA ICEP Western Division Liaison, Dr. Timothy Westerhaus at westerhaus@gonzaga.edu.
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    Executive Director of Cantare Con Vivo David Moraleshttp://www.choralnet.org/view/482765%pm, %29 %b %2016 %20:%Jan:%th 20JanGMT+0000http://www.choralnet.org/view/482765
    Executive Director of Cantare Con Vivo
     
    “Cantare Con Vivo seeks to foster a diverse community of compassion and understanding across generational, cultural and economic boundaries through the beauty and power of choral music.”
     
    Founded in 1987, Cantare Con Vivo (To Sing with Life) is a non-profit 501(c)(3) music organization in Oakland, CA. In 1999, Cantare reorganized forming adult and children’s wings: Cantare Chorale, Chamber Ensemble, and Music Education & Outreach Program for underserved public school children in Oakland. We are an inter-generational choral music organization that directly engages participants from age 5 to 80 in the East Bay. Cantare’s vision is to inspire people to live in harmony, treating one another with dignity.
     
    Cantare’s 100-voice symphonic Chorale and 24-voice Chamber Ensemble offer 7 different concert programs annually that are affordable and accessible. They have performed over 140 different concert programs, presenting over 1,500 compositions, including numerous major choral/orchestral works. Cantare’s adult choirs perform for over 3,500 adults and children each year.
     
    Cantare launched its robust Children's Choirs program in 1999, in response to the decline of music education in Oakland public schools. In 2014, our children’s program received Chorus America’s prestigious Education and Community Engagement Award. Through quality music education and meaningful musical experiences, students learn that we accomplish great things when we work alongside others, setting high standards and being responsible for achieving them. Supported by an experienced team of music educators, students develop self-esteem, discipline, respect, and healthy social behavior–essential tools for living successful and productive lives. Today, we engage over 2,900 underserved Oakland elementary children weekly in 68 classrooms. We also offer 8 after-school elementary choirs and 2 youth choirs targeting middle and high school age students. Students participate free-of-charge in all our children’s programs.
     
    Cantare Con Vivo seeks a dynamic, experienced Executive Director to guide the company into their next growth and development stage.  The Executive Director reports to the Board of Directors and is responsible for the organization’s consistent achievement of its mission and financial objectives. This is a full time, exempt role.
     
    Essential function of this role includes:
     
    • Provide leadership, management and oversight to advance fundraising, planning, strategies and tools to ensure increased contributions, particularly in the area of institutional giving
    • Supports an inclusive annual strategic planning process and assures that planning decisions are used in setting program/program goals
    • Promotes an organizational culture that fosters passion for the mission, cooperation, open and frequent communication, teamwork and a common organizational vision.
    •  Prepares for the anticipated growth of the organization; develops and implements appropriate human resource policies and procedures (along with the HR committee) including training, career development, hiring and firing, succession planning and performance management of all staff. 
    • Assists with the expansion and development of the Board of Directors
     
    Fiscal Management:
    • Collaborate with the Artistic Director, Board of Directors and Children’s Program Directors in the development and implementation of short and long range organizational and financial plans
    • Responsible for reviewing and maintaining sound financial practices
    • Work with the staff, board treasurer and budget committee in preparing the budget; see that the organization operates within its guidelines
    • Maintain official records and documents; comply with federal, state and local regulations
     
    Fundraising/Marketing:
    • Provide strategic guidance and input for events and tasks performed by the Development Committee
    • Develop the strategy for building and nurturing all levels of the individual donor base
    • In coordination with staff and the marketing committee, develop and implement an overall marketing program
     
    Qualifications:
    • Bachelor’s degree required and advanced degree preferred
    • Minimum of 5 years executive management experience with increasing levels of responsibility in fundraising, grant writing, marketing, corporate sponsorships and interaction with influential boards and funders (institutional as well as individual) in a non-profit setting
    • Demonstrated success in fundraising
    • Exceptional analytical ability and demonstrated experience with fiscal management
    • Proficient with all Microsoft systems
    • Excellent verbal and written communication skills
    • An understanding of institutional image building and fund development with a proven capacity to plan, set goals and follow through to move initiatives forward
    • A participatory leadership style with the ability to organize and motivate people to achieve results                 
     
    We offer a competitive compensation package including health benefits, PTO, and a wonderful/dynamic work environment.  Base salary is commensurate with experience.  For consideration, please provide a resume including a cover letter to Cantare’s HR Board Chair via email at info@cantareconvivo.org. We will be accepting applications through February 19, 2016. Cantare is proud to be an equal opportunity employer.
    ]]>
    singing together against war madness Ruth Flikschuhhttp://www.choralnet.org/view/482759%pm, %29 %b %2016 %19:%Jan:%th 19JanGMT+0000http://www.choralnet.org/view/482759
    Dear fellow peace choristers,                             Brussels, January, 29th 2016

    We Have a Dream.  And we Have a Proposal that we would like to present to you.  But first let us present ourselves, we are the singers of the Brussels Brecht-Eisler Choir (Brussels, Belgium, see www.bbek.be).

    What if we could raise our voices and sing loud and clear together against war madness ?  Small and large vocal groups, choirs and music ensembles, all united In one artistic project.    "Say No”, that’s how it’s called.  No, to war, no to arms, no to the poking between countries and between people !  WE DO NOT participate and we want to ‘be heard' …

    The Belgian composer Dick van der Harst wrote a new composition to a poem by Elvis Peeters.  It’s a new universal song : 'Say No'. You will find it on our special website www.sayno.be.  It is written for four-part SATB choir, but you are free to replace some voices by musical instruments, or you can add an instrumental accompaniment to the score.  You might want to adapt the lyrics and maybe sing some lines in another language. In short, you can get to work freely and finetune the score to your needs.  Don't miss our promo clip further down below this message or try youtube at https://www.youtube.com/embed/bCyFCT3gNMc.

    The idea is that you make a recording of your version of the song, brought by your choir.  That doesn’t need to be a professional recording.  Just a simple camera, or even your smartphone will do.

    Then you send the recording to us and visual artist and videomaker Jan Vromman will make out of all these shootings a video installation.  This installation will be disseminated through the world wide web and will be presented in the autumn of 2016 in Brussels.  Your own recordings plus the video installation will be posted on our website www.sayno.be.

    We hope in this way to create a global bond between people singing for a world without war.  Who knows what else can emerge from this ?

    This invitation goes out to a whole range of choirs, ensembles and vocal groups in Europe and abroad.

    Hopefully you can join us !

    For more details on ​​the project and a cute little promotional video, www.sayno.be

    For the Brussels Brecht-Eisler Choir
    Ruth Flikschuh
     
     
     
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    update MOZART REQUIEM 9/11/2016 NYC 15th Anniversary choral commemoration Carrie Williamshttp://www.choralnet.org/view/482757%pm, %29 %b %2016 %19:%Jan:%th 19JanGMT+0000http://www.choralnet.org/view/482757
    As part of the American choral community, I wanted to extend a special invitation to individual singers & ensembles to join their voices in song commemorating the 15th Anniversary of 9/11 in New York City. This special choral commemoration performance will take place September 11th, 2016  in the immigration hall on Ellis Island featuring the Mozart Requiem conducted by Judith Clurman (from the Juilliard Choral program) & accompanied by the Orchestra of St. Luke's. In addition to the Mozart Requiem, Ryan Nowlin (who was staff arranger & is Assistant Conductor for "The President's Own") is composing 3 additional special commemoration pieces for this historic event.
     
    Please contact Carrie via email at cwilliams@ctscentral.net regarding your interest in joining us as an individual singer or with your choral ensemble for more specific participation details.
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    Chicago Bar Association Choral Director Rebecca Burlinghamhttp://www.choralnet.org/view/482750%pm, %29 %b %2016 %16:%Jan:%th 16JanGMT+0000http://www.choralnet.org/view/482750
    Wanted: Experienced choral conductor / director for the Chicago Bar Association Chorus, an amateur mixed adult chorus (approximately 80 members) which rehearses on Wednesday evenings in the Chicago loop. The successful candidate will be a special person with the blend of personality, skills and commitment needed to build on the tradition achieved by our outgoing conductor, who is retiring after 10 years of dedicated service. Chorus repertoire has ranged from classical choral works to American folk and patriotic songs and the best of Broadway. The chorus performs regularly with the Chicago Bar Association Symphony Orchestra, conducted by David Katz.  The ability to work collaboratively with Maestro Katz is a key requirement. Please submit resumes, CV’s or credentials including a DVD of performance and rehearsal excerpts, or links to those materials online. (If links are password protected, supply the necessary information so that selections—including rehearsal footage—are readily accessible to the judging panel.) Highlight in your cover letter details about the excerpts: ensemble name, repertoire recorded and/or rehearsed, and when the recording was made. Audio-only audition materials are not accepted. Send to Rebecca Burlingham at rebeccaburlingham@att.net, 450 West Briar Place #10-H, Chicago, IL 60657, by March 1, 2016.  Three finalists will be announced in May 2016.  Each will be engaged to rehearse and perform one of the Chorus’ three concerts during the 2016-2017 season. The successful candidate will be announced in May 2017.
     
    For more information about the CBA Chorus, visit its website at www.chicagobar.org/chorus.

    To view the CBA Chorus and Orchestra in performance, please follow this link to an excerpt from “Carmina Burana,” performed with the Naperville Chorus and Young Naperville Singers, recorded at Symphony Center, Chicago: https://www.youtube.com/watch?v=3m8uNxc7xjo
     
    To view the CBA Chorus in performance without orchestra, please follow this link to https://www.youtube.com/watch?v=0-YtqsmJaS8, at 12:00.
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    Disney Spectacular Instrumental Parts Ayumi Nakamaehttp://www.choralnet.org/view/482742%pm, %29 %b %2016 %14:%Jan:%th 14JanGMT+0000http://www.choralnet.org/view/482742Item: Instrumental parts
    Composer/Arranger/Edition: Arrnged by Mac Huff/Hal Leonard
    Starting: Immediately
    For: 4 months
    Copies: 1
    Willing to rent: Yes
     
    This item is out of print. Here is the product information at Hal Leonard site.
     
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    David Lang "again" Mauro Marchettihttp://www.choralnet.org/view/482736%pm, %29 %b %2016 %14:%Jan:%th 14JanGMT+0000http://www.choralnet.org/view/482736Hello!
    I'm choir conductor from Rome, Italy. I'm looking for music score "again" for SATB by David Lang.
    Someone can send PDF score? Because the distribution only sells at least 10 copies and the cost of shipping from America is very high.
    I thank everyone who responds to my message
    Mauro Marchetti
    www.mauromarchetti.com
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    Pro Bass/Baritone for Episcopal Church in Ardsley, NY Katherine Wolfhttp://www.choralnet.org/view/482734%pm, %29 %b %2016 %12:%Jan:%th 12JanGMT+0000http://www.choralnet.org/view/482734
    St. Barnabas Episcopal Church in Ardsley, NY, is looking for a Bass/Baritone for a small choir in very friendly Episcopal church.  One rehearsal and service at 8:45 and 10:00 AM, respectively. on Sunday, plus additional services at Christmas and Holy Week/Easter.  We seek someone who has strong sight reading and vocal skills and is responsible in learning parts and attendance. Ardsley is 20 miles from Manhattan, an easy drive or trip on Metro North.
    Compensation is $100/week which includes rehearsal and service. (Special services extra).
    Contact: Larry Wolf, Minister of Music, at larrywolf95@gmail.com or 914-450-8467.
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    Renaissance Music Workshop and concert Meghan Robertsonhttp://www.choralnet.org/view/482722%am, %29 %b %2016 %05:%Jan:%th 5JanGMT+0000http://www.choralnet.org/view/482722Explore Renaissance vocal music with the talented Elizabeth MacIsaac, and evening concert by Piffaro! February 20-21 2016.  Hosted by Ancient Music Society of Victoria. For more information:  http://www.ancientmusicvictoria.com/piffaro-workshop-and-concert ]]>Seasons of Joy Kathleen Keenan-Takagihttp://www.choralnet.org/view/482702%pm, %28 %b %2016 %21:%Jan:%th 21JanGMT+0000http://www.choralnet.org/view/482702Orchard Park Chorale Spring concert, Seasons of Joy will feature the Gospel Mass by Robert Ray, selections from Haydn's
    oratorio Creation and seasonal selections including "De Colores" and "Rutter's "For the Beauty of the Earth". The Vocal Symphony of the Buffalo Acadmey for the Visual and Performing Arts, BAVPA, under the leadership of Karen E. Saxon, will perform with us. The concert will be presented on Saturday May 14th at 2 PM at 402 Clinton Street, Buffalo, NY 14204 and Sunday, May 15th at 7 PM at Orchard Park Presbyterian Church, 4369 S. Buffalo St. Orchard Park, NY 14127.
    more information is available from artistic director Kathleen Keenan-Takagi or at the orchardparkchorale.org website.
     
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    "Mayday Carol" borrow or rent Kathleen Keenan-Takagihttp://www.choralnet.org/view/482699%pm, %28 %b %2016 %20:%Jan:%th 20JanGMT+0000http://www.choralnet.org/view/482699Item: Mayday Carol SATB
    Composer/Arranger/Edition: arr. Deems Taylor
    Starting: ASAP rehearsal started on January 25th
    For: until June 1st
    Copies: up to 75
    Willing to rent: Yes
     
    Orchard Park Chorale is a community chorus is Western New York.
    Our concerts are May 14th and 15th. We are combining with a select SATB choir from Buffalo Acadamy of Visual and Perfroming Arts.
    Thanks,
    Kathleen Keenan-Takagi
    keentakagi@aol.com
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    Bass and. Tenor. Section leaders Donna Michelhttp://www.choralnet.org/view/482693%pm, %28 %b %2016 %19:%Jan:%th 19JanGMT+0000http://www.choralnet.org/view/482693We will pay estimated $420 a month for normal schedule.

    Email Dr. Tony Davis at. Tmatdavis(a)yahoo

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    Writing understandings and essential questions Cori Adamshttp://www.choralnet.org/view/482701%pm, %28 %b %2016 %20:%Jan:%th 20JanGMT+0000http://www.choralnet.org/view/482701Hi! I have been working for the past nine years as a choral teacher in many different long term substitute positions. I finally got my full time position this year! The problem is I'm being observed in my 6th Grade Choir Class and need to write out a specific lesson plan complete with enduring understandings and essential questions.  I have a firm grasp on what I want them to know, I just can't put it in succinct words.  Can you help?
     
    Here are my objectives:
    • SWBAT identify the correct Solfege syllables from written music.
    • SWBAT perform in two-part harmony.
    • SWBAT locate and describe musical markings and symbols in a new piece of music
    ]]>
    The Tallis Scholars Leigh Haydenhttp://www.choralnet.org/view/482687%pm, %28 %b %2016 %17:%Jan:%th 17JanGMT+0000http://www.choralnet.org/view/482687The University of Notre Dame DeBartolo Performing Arts Center Presenting Series presents the Tallis Scholars in concert on Sunday, April 3 at 2:00 p.m. The Tallis Scholars has become widely renowned for their ability to create a purity and clarity of sound that best serves the Renaissance repertoire, allowing every detail of the musical lines to be heard. The resulting beauty is unmatched on choral music by Byrd, Taverner, Davy and Ferrabosco. Tickets are $15 youth/student, $42 regular. Or call the Ticket Office Mon–Fri, noon–6 p.m. at (574) 631.2800. ]]>The Nick Edwards Composition Prize 2016 Rosamund Hatfieldhttp://www.choralnet.org/view/482681%pm, %28 %b %2016 %17:%Jan:%th 17JanGMT+0000http://www.choralnet.org/view/482681The Nick Edwards Composition Prize 2016

    The Music Makers of London, in association with the Voices of London Festival, is delighted to announce a composition competition, to be adjudicated by Judith Bingham, Stephen Jackson and Patrick Russill.

    Competition Rules

    Brief: A short a cappella work for SATB choir, suitable for an amateur chamber choir.
    Occasional divisis are acceptable.
    Duration: 3 - 5 minutes
    Text: Composers may choose their own text, which may be sacred or secular in content, on the theme of ‘in celebration of life’. This must be non copyright and in the public domain.
    Performance: Wednesday 6 July 2016 7.30pm at St James’s Sussex Gardens, London, W2 3UD.
    Presented by the Music Makers of London, conducted by Hilary Campbell, as part of the Voices of London Festival 2016.
     
    Deadline: Friday 1 April 2016. Entries received after this date will not be considered.
    Adjudicators: Judith Bingham, Stephen Jackson and Patrick Russill

    Anyone, regardless of age or nationality, may enter, other than those persons affiliated with the competition. Members of the Music Makers of London and their close relatives, and persons connected to the competition and their close relatives, are not eligible to enter.
     
    Prizes
    1st Prize: £500
    2nd Prize: £200

    All shortlisted composers will receive a complimentary pair of tickets to the concert.
     
    Submission
    Candidates should submit two bound, double-sided hard copies of the score, computer typeset (handwritten copies are not acceptable).
    The score must include a piano reduction for rehearsal purposes.
    Candidates should also submit a CV and/or biography, and include contact details.
     
    Entries should be sent to: The Music Makers of London, 50C Valleyfield Road, London, SW16 2HR
    An electronic copy (in PDF format) of the score and a midi file should also be e-mailed to:secretary@musicmakersoflondon.org.uk
     
    Selection Process
    A shortlist of up to 6 entrants will be chosen and notified no later than Monday 25 April.
    All shortlisted entrants must attend the concert on Wednesday 6 July, when the pieces will be premiered in front of an audience and a panel of judges. The judges will select and announce the winners at the end of the concert and will award prizes. The judges’ selection of the winners is final and no correspondence will be entered into.
     
    Text Copyright and Permissions
    It is the candidate's own responsibility to ensure that the text they have set is in the public domain and not subject to any copyright conditions. Failure to do so will disqualify the entry concerned.
    Copyright in your composition will remain with you after the premiere and the aforementioned permission is non-exclusive. You can continue to use the material in any way you wish and you can also permit others to use the material.
    All entries, including composers’ details, may be used in publicity campaigns post competition.
    Photographs of winning entries may also be used in publicity campaigns.
    The shortlisted entrants agree to take part in any post-competition publicity if required.

    General Competition Rules
    By submitting your composition, you grant to the Music Makers of London, free of charge, permission to use the material in any way they wish. In order that the Music Makers of London can use your composition you must confirm that your composition is:
    • Your own original work.
    • Has not previously been performed or published.
    • Does not infringe any UK laws.
    • You have the right to give the Music Makers of London permission to use it for the purposes specified above.
    All candidates submitting entries must enclose a signed affirmation that the submitted composition is entirely their own original work and free from plagiarism of the work of others. This affirmation should also state that the text set in the submission is in the public domain and copyright free. The
    candidates themselves are liable if either of these assertions turns out to be untrue. The Music Makers of London reserves the right to alter the competition rules due to unforeseen circumstances.

    Any competitor under the age of 18 must be accompanied by a parent or guardian.
    The adjudicators' decision is final.

    Entrants will be deemed to have accepted these rules and agree to be bound by them by entering the competition.
     
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    Organist needed part-time Gretchen Luxhttp://www.choralnet.org/view/482692%pm, %28 %b %2016 %18:%Jan:%th 18JanGMT+0000http://www.choralnet.org/view/482692This is a part-time position for a capable organist/accompanist for a Catholic Church in Melbourne Beach, FL.  Needed to play at 9:00 am Mass on Sundays,  More services may be available if you are interested.  Please call Gretchen at 321-745-9407 for information or to apply.  ]]>choir outfits lynn breunhttp://www.choralnet.org/view/482665%pm, %28 %b %2016 %12:%Jan:%th 12JanGMT+0000http://www.choralnet.org/view/482665I was wondering if any choirs have black women outfits that they would like to sell  or just get rid of. Thank you. ]]>Choral Singer's Pledge David Jacobshttp://www.choralnet.org/view/482664%pm, %28 %b %2016 %12:%Jan:%th 12JanGMT+0000http://www.choralnet.org/view/482664As the leader of an unauditioned adult volunteer choir, I strive to encourage my singers to be the best choral singers they can be.
    I'm playing with the idea of creating a "Choral Singer's Pledge" containing things that every singer should do to improve their skills outside of rehearsal.
    Something like:
    "As a choral singer, I pledge:
    - to be the best singer in my square that I can be.
    - to sing daily.
    - to improve on one vocal skill each time I sing.
    - to sing with my best quality in every environment...."
     
    It could include specific basic skills, such as:
    - to make each breath I take a full, relaxed breath.
     
    Or, it could include rehearsal specific items, such as:
    - to take one skill from tonight's rehearsal and improve on it this week.
     
    What are your ideas for the ideal "Choral Singer's Pledge"
     
    Dave Jacobs
    Musical Director, Barbergators Chorus 
     
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    Hine Ma Tov - Clarinet Philip Steinbacherhttp://www.choralnet.org/view/482660%am, %28 %b %2016 %05:%Jan:%th 5JanGMT+0000http://www.choralnet.org/view/482660Aloha,
     
    I'm looking for the clarinet part that accompanies Allan Naplan's arrangement of Hine Ma Tov. The recording of the piece on the JWPepper site includes clarinet, but the part doesn't appear in the octavo and a separate clarinet part isn't available through them. I don't see it on the publisher's site either.
     
    Outside of transcribing it myself...does anyone have any ideas?
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    Sine Nomine choral ensemble seeking tenors Jennifer Charlesonhttp://www.choralnet.org/view/482673%pm, %28 %b %2016 %14:%Jan:%th 14JanGMT+0000http://www.choralnet.org/view/482673Now scheduling tenor auditions for our next performance. Rehearsals begin on February 1, 2016.

    If you are interested in joining our group, we'd love to meet you. Please send an email with your name, contact information, voice part and a description of your choral experience to: info@sinenominechoir.org  Our audition coordinator will contact you with the details.

     

    Our next performance:

    L'Amfiparnaso, May 13 &15, 2016  In a rare theatrical collaboration, Sine Nomine will present a 16th century madrigal comedy in three acts, joined by a troupe of commedia dell'arte actors.

     

    Sine Nomine is an auditioned chamber choir dedicated to performing early music within diverse and innovative concert programs designed to share our passion for choral music with a wide audience.

     

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    German Renaissance Music : Hans Leo Hassler Franck Pellé-Rollandhttp://www.choralnet.org/view/482671%pm, %28 %b %2016 %13:%Jan:%th 13JanGMT+0000http://www.choralnet.org/view/482671
    Le Chant des Oyseaux runs a choral workshop in Arradon (Brittany-France). The workshop is open to experienced singers. 
     
    Dates : July 9, 2016 - July 16, 2016
     
    Repertoire : German Renaissance music. The workshop will focus on pieces by Hans Leo Hassler (1564-1612).
     
    Tutor : Franck Pellé-Rolland, musical director
     
     
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    Third International Competition for a composition of sacred music “Francesco Siciliani” Prize Alberto Batistihttp://www.choralnet.org/view/482661%am, %28 %b %2016 %10:%Jan:%th 10JanGMT+0000http://www.choralnet.org/view/482661
    After the success of the first two editions in 2012 and 2014, when over 350 scores were received from all over the world, the organizers announce for 2016 the Third International Competition for a composition of sacred music “Francesco Siciliani” Prize, promoted jointly by the Fondazione Perugia Musica Classica Onlus, the Sagra Musicale Umbra Festival and the Pontifical Council for Culture, chaired by Cardinal Gianfranco Ravasi. The Competition has as its object a composition on a set text for unaccompanied choir, or for choir with organ accompaniment, for a duration between five (5) and fifteen (15) minutes. The candidate must set in its entirety the text of the Kyrie. The Competition is open to candidates of any nationality, without any age limit. The deadline for receiving scores is fixed for June 1st 2016.
    The international Jury, chaired by Helmuth Rilling, is made up by the composer Arvo Pärt; Gary Graden, Music Director of Stockholm Cathedral and the St Jacob’s Chamber Choir; Piero Caraba, Director of the Conservatorio “Francesco Morlacchi” in Perugia and Artistic Director of the Fondazione “Guido d’Arezzo”; Alberto Batisti, Artistic Director of the Fondazione Perugia Musica Classica Onlus – Sagra Musicale Umbra. Artistic secretary is the composer and music critic Marcello Filotei.
    The final concert will take place on 17th September 2016 in Assisi in the Upper Basilica of San Francesco as part of the 71st Sagra Musicale Umbra. The St Jacob’s Chamber Choir of Stockholm, conducted by Gary Graden, will perform the three works admitted to the Finals, after which the Jury will announce the First Prize. The composer of the winning work will be awarded a Prize of Euro five thousand (€5.000). It is envisaged to award two further Prizes of a symbolic nature, one assigned by the public present at the concert, the other by the music critics.
    Cardinal Gianfranco Ravasi, promoter and supporter of the Competition, will be present at the final concert to award the Prize to the Competition winner.
     
    For the first time, besides the option of dispatch by post, in order to make it easier for applicants to take part in the Competition, we have devised a platform that allows you to upload all the necessary material directly onto the Foundation’s website at the following link ► http://submit.perugiamusicaclassica.com

    By registering and following the instructions, no further dispatch will be necessary. We wish every success to all those who take up the challenge of composing a Kyrie for choir and organ (ad libitum) in this Extraordinary Jubilee of Mercy designated by His Holiness Pope Francis.

    To find out which documents are needed, see the regulations ►
    For further informations:
    Fondazione Perugia Musica Classica Onlus
    Piazza del Circo 6 – 06121 Perugia
    Tel.
    +39. 075. 572 22 71
    direzartistica@perugiamusicaclassica.com
    http://bit.ly/premioSiciliani2016
    www.perugiamusicaclassica.com
    ]]>
    Performances in Nice and Avignon? Meghan Robertsonhttp://www.choralnet.org/view/482658%am, %28 %b %2016 %05:%Jan:%th 5JanGMT+0000http://www.choralnet.org/view/482658Ensemble Laude Women's Choir from Victoria BC will be travelling to France this summer to participate in the Choralies festival in Vaison-la-Romaine.  We will be landing in Nice July 29 and travelling through Avignon.  We would love to collaborate with some choirs from the area to do a couple of concerts!  Check out our website: www.ensemblelaude.org.  Thanks so much! ]]>The Art of the Virtuoso Patricia Smithhttp://www.choralnet.org/view/482657%am, %28 %b %2016 %05:%Jan:%th 5JanGMT+0000http://www.choralnet.org/view/482657Dennis Smith and Friends: The Art of the Virtuoso
    A clarinet recital to benefit Acappellago
     
    Acappellago’s music director Dennis Smith is also an accomplished clarinetist. He has enlisted several colleagues to present a challenging and varied solo and ensemble program. You’ll hear a clarinet duet arrangement of “Polovetsian Dances” by Alexander Borodin, Duo Concertante for Clarinet and Piano by Darius Milhaud, and a fantasia on “La Traviata,” by Giuseppe Verdi, among many others.
     
    A suggested donation of $15 is much appreciated, and will provide invaluable support for our concerts and community service activities.
     
    Saturday, February 20, 2016, 7:00 pm
    Community Congregational Church
    410 S. Cornell Avenue
    Villa Park ]]>
    Acappellago presents "You Name It?!" Patricia Smithhttp://www.choralnet.org/view/482656%am, %28 %b %2016 %04:%Jan:%th 4JanGMT+0000http://www.choralnet.org/view/482656Shakespeare famously asked: What’s in a name? Acappellago's response: A song! This program celebrates people (from Nelly Bly to Danny Boy to Abel & Cain), places (from Penny Lane to Buttermilk Hill), and things (from Gucci accessories to food additives to chemical elements). We’ll premiere three arrangements by our own members, and we’ll feature composers as diverse as the Beatles and Stephen Foster.
     
    Saturday, March 12, 2016, 7:30PM
    Event Hall at Mayslake Peabody Estate
    1717 W. 31st Street, Oak Brook
     
    Sunday, March 13, 2016, 4:00PM
    Congregational Church of Batavia
    21 S. Batavia Ave. Batavia (across from the library)
     
    Acappellago is participating in the nationwide celebration of the 90th birthday of our national choral treasure, Alice Parker. #AliceIs90
     
    Tickets are $17, $15 for seniors & students & are available by visiting: www.acappellago.org.
     
    ]]>
    Zeroing in Your Sound By Chad Steffey, DMA Choral Conducting Student, George Mason University Lisa Billinghamhttp://www.choralnet.org/view/482475%pm, %25 %b %2016 %16:%Jan:%th 16JanGMT+0000http://www.choralnet.org/view/482475
    Zeroing in Your Sound
    By Chad Steffey, DMA Choral Conducting Student, George Mason University
     
    We’ve all said or heard it, probably in your last rehearsal: “Let’s sing with taller vowels” or “please darken your tone.” But what does this really mean, and what do we expect our singers to do? I admit I am guilty of overusing such phrases.
     
    From this recent semester of teaching high school choir, I am thinking more critically about my instruction. How can I get the singers to feel and hear their own sound in such a way they have a clear reference point for adjustment? My solution: Get them to see it. Not with an oscilloscope or measuring instrument, but with a conceptual visual aide. One day in an “a-ha” moment, I drew a four-quadrant grid with an X-Y axis on the whiteboard and we began to plot our sound in terms of comparative weight and tone color. With the students’ help and experimentation, we came up with the Vocal Placement Grid (Figure 1).
     
    We may often present concepts for which young people have no reference point. Lifelong choristers are likely familiar with a “tall vowel” concept as it relates to pharyngeal placement, resonance, raising the soft palette, and a slight modification of pronunciation. For students, and amateurs, all this physiological jabber makes their eyes roll back in their pharynx. They are probably thinking, “Just sing it the way you want and I’ll imitate it.” At some point in their vocal training they will need to grasp these concepts, but on a day-to-day basis, how might we better help our choirs find the sound we are looking for in a given work?
     
    You likely use descriptive words like bright, pure, warm, velvety, pingy, bell-like, open, resonant, etc. Some terms are visual (bright), some are tactile (velvety), and some have audible analogues (bell-like). This certainly helps singers relate, and it also utilizes different sensory experiences that can be referential.
     
    After several weeks of trying to describe/demonstrate how the choir could refine their sound, I stumbled upon a thought – in order to change or modify the way they are singing, they not only needed a target for what it should be, but a reference point for how they were currently singing. Furthermore, we weren’t just developing a singular sound concept (I’ll save discussing “But my choir has a signature sound” for another day), we needed to find an appropriate sound concept for each piece of a repertory that spanned several centuries and languages. Hence, the Vocal Placement Grid (Figure 1).
    The horizontal axis (X) is a spectrum of color that can generally correlates to vowel placement – forward/bright on the far right and back/dark on the far left. I also include the descriptors “ring” and ping” to retain the concept of resonance no matter the placement or color. The vertical axis (Y) refers to the weight of the voice – I am hesitant to use the word “heavy” as the opposite of “light” as to not encourage throat tension.
     
    Figure 1. Vocal Placement Grid
     
     
    Before asking the singers to plot themselves on the grid, we had to establish some parameters for the spectrums. Rather than discerning color and weight at first, singers can usually relate to head voice and chest voice. Even if they don’t, some simple vocalizations make them aware. To do this, concentrate on the upper right and lower left quadrants.
     
    I prefer to start warm-ups with easy and relaxed sounds (staying well above the X axis at a soft dynamic), like gentle humming in the midrange on 5-note descending scales. To get the choir oriented in the grid, I had them make light un-pitched cooing sounds in their head voice, suggesting they imitate baby owls that are just waking up. This sensation would be the extreme upper right of the grid. Now by easing that sound into pitch, with only the head voice and essentially no vibrato, we could plot it as [4:4]. I continued vocalizations, working from the head voice lightness and bringing that sensation down into the tessitura, working toward more flexibility in the voice. Naturally, this adds weight and the singers will continue to fill out their tone. When I felt they were sufficiently warmed up, I had them find [4:4] again as a point of reference, then asked them to imagine and feel what [-4:-4] would be on the complete opposite of the spectrum. Without prompting, they suggested imitating an operatic bass or mezzo-soprano singing some dramatic aria. Bingo! I said, “Ok, now sing that way on the first phrase of ‘My Country Tis of Thee.’” Not surprisingly, they launched into a fortissimo/chesty/full-vibrato rendition that made them giggle after my Bugs Bunny release (Don’t judge me, you’ve all done it!). I had them do it again, but asked them to cover the tone as much as possible; unquestionably, they now knew what [-4:-4] was.
     
    Having established these extreme limits, the choir now had some tangible references for beginning to adjust their sound. To further refine it, I asked them to sing the same “My Country Tis of Thee” phrase, placing it in the middle of each of the four quadrants. Predictably, the lower right quadrant had a nasal quality and the upper left sounded like an elocution exercise for a British accent.
     
    Using the short “My Country Tis of Thee” passage (you can use one of your own choosing) starting in one quadrant, we began to move the sound vertically and horizontally around the grid to get the idea of mixing weight, tone color, and vowel colors with specific coordinates in mind.  Ultimately, we came to a collective (albeit very subjective) agreement on what a neutral [0:0] felt and sounded like. Now each singer could add/subtract weight and color in their voice with nuance and some degree of reference.
     
    Feeling confident about that, it was time to put the grid into practice. For the rest of the rehearsal we sang passages from our upcoming concert program, they would discuss where they thought it sounded, and then assign coordinates. From this, I asked them to exactly replicate the sound so they would consciously sing to their own reference point. Here is where the critical listening and thinking came to life – the singers then discussed whether this was the best sound concept for a passage; they collectively assessed the merits of their tone, vowels, weight, and even blend as appropriate. We then adjusted the coordinates toward a new ideal and continued to refine the process. Having zeroed in our desired sound for a given piece or passage, they marked their scores with a coordinate, confident of the specific vocal sensation that would produce that sound.
     
    As a subjective tool, any specific grid coordinate is only meaningful to the choir in front of you, because they are the ones who chose it. The coordinate represents what they happen to sound like with that collection of voices and with their own reference for replicating such a sound. Even though it is subjective, the Vocal Placement Grid is a tangible way for singers to adjust their sound. Using this tool, they can place abstract concepts into a framework that is likely familiar to them from math and science courses. Most importantly, they can see, feel, and hear how vocal placements compare.
    ]]>
    Jewish Sacred Choral Music Meira Warshauerhttp://www.choralnet.org/view/482654%am, %28 %b %2016 %03:%Jan:%th 3JanGMT+0000http://www.choralnet.org/view/482654Colla Voce Performs Jewish Sacred Choral Music, featuring works by Meira Warshauer and Aharon Harlap, in Columbia, South Carolina
    Meira Warshauer and Colla Voce director Larry Wyatt review scores for new arrangement of her "Shacharit."

    Meira Warshauer and Colla Voce director Larry Wyatt review scores for new arrangement of her “Shacharit.”

    Celebrating Interfaith Harmony Month

    “Like any true work of art, Warshauer’s work casts the familiar in a new light. For Christian and even Jewish composers, the Catholic Mass has served to inspire countless symphonic and choral works…. Very few works inspired by the Jewish liturgy, however, have been accepted into the classical canon. Warshauer’s works deserve to be included in that canon.- Anna Rubin, Tikkun Magazine

    Colla Voce, Columbia’s professional chorus directed by Larry Wyatt, will present a Concert of Sacred Jewish Music Thursday, January 28, at Trinity Cathedral, 1100 Sumter St., Columbia. The 7:30 p.m. concert will feature the US premiere (and first performance outside of Israel) of David and Goliath by acclaimed Israeli composer Aharon Harlap, and the first performance of a new arrangement of ShacharitMeira Warshauer’s interpretation of the Jewish service, newly scored for organ, harp, and percussion, along with its original vocal forces.  The program also includes Warshauer’s  Akhat Sha’alti (One thing I ask), for chorus and percussion.

    Soloists are Serena Hill LaRoche, soprano, Aaron Cates, tenor, Jacob Will, bass, Elena Martinez-Vidal, narrator, with Kenneth Miller, organ, Ann Wilson, piano, and percussionists Cory High, Shane Velson, Alissa Castro, and Bailey Seabury from the University of South Carolina School of Music.

    Dr. Wyatt, Director of Choral Studies at USC, was introduced to Harlap’s music when supervising Israeli doctoral student Tommer Hesseg’s dissertation. Wyatt and Colla Voce toured internationally with Annelies, James Whitbourne’s setting of Anne Frank’s diary. This will be their first all-Hebrew concert.

    Shacharit, originally scored for soloists, chorus and orchestra, received rave reviews in its premiere performances in Columbia, SC, and at Piccolo Spoleto, and with Albany Records’ recording, Streams in the Desert. This new arrangement for organ and percussion en lieu of the orchestra offers wider opportunities for performance.

    The event is supported in part by a grant from the Columbia Jewish Federation and the Consulate General of Israel to the Southeast, and is hosted by Trinity Cathedral. For more information, visit http://www.collavoce.info and http://meirawarshauer.com.

    Tickets are $20 adults ($15 in advance) and $5 students.  Sponsor tickets with VIP seating and listing in the program are $50. Available from the Katie and Irwin Kahn JCC 803-787-2023 and USC Choral Office 803-777-5369 lsmith@mozart.sc.edu, or online here:  http://www.brownpapertickets.com/event/2484233

    ]]>New Publication: A Caribbean Mass Donald Patriquin donald patriquinhttp://www.choralnet.org/view/482646%am, %28 %b %2016 %02:%Jan:%th 2JanGMT+0000http://www.choralnet.org/view/482646
    I am pleased to announce the recent A Tempo publication of A Caribbean Mass written over a three-year period as pro tem organist on the Caribbean island of Carriacou, Grenada. Although written initially for the Anglican “Christ the King” church, it was recently given new life – and movements – in a parish of the United Church of Canada. Included in the Mass setting (in English) are the 3 & 9-fold Kyrie, Gloria, A New Creed, Apostolic Creed, Sanctus & Benedictus and Agnus Dei, along with the Lord’s Prayer, Memorial Acclamation, Great Amen and a number of Amens and Alleluias.
    Accompaniment: Keyboard, with highly optional instruments: steel drum, flute, drum set, guitar.
    While intended for worship, some movements may be suited to the concert hall.
    Kyrie (with steel drum; rehearsal); Sanctus & Benedictus (no steel drum); Lord's Prayer (with steel drum; rehearsal);  Christ has Died, Great Amen;
     
    The choral setting and accompaniment for piano are of easy to medium difficulty. No divided parts or solos.
    Voicing: SATB or Unison. Style: “Classical Caribbean”.
     
    Sample scores are freely available from donaldpatriquin(at)gmail.com  Likewise complete mp3s.
    ]]>
    17th Fort Worden Children's Choir Festival - Dr. Rollo Dilworth, Guest Conductor Stephanie Charbonneauhttp://www.choralnet.org/view/482632%pm, %27 %b %2016 %21:%Jan:%th 21JanGMT+0000http://www.choralnet.org/view/482632
    We are currently accepting choirs for our next three Fort Worden Festivals!
    Founded in 2000, the Fort Worden Children's Choir Festival is designed to provide treble youth choirs with an intense, yet fun-filled two days of music making with one of our nation's leading children's vocal specialists.  We strive for the highest performance standards within a non-competitive atmosphere.  This festival is ideal for young choirs seeking a first-time festival experience and for advanced choirs looking to make it part of a tour weekend to Seattle.  Participants will join other young musicians for rehearsals, recreation and social time while preparing for the festival concert featuring each individual choir in addition to the combined massed choir.  Visit our website for more details and to apply: www.fortwordenfestival.com
     
     
    Upcoming Festivals:
    Fri-Sat, May 27-28, 2016, Dr. Angela Broeker, Guest Conductor
    Fri-Sat, May 26-27, 2017, Elena Sharkova, Guest Conductor
    Fri-Sat, May 25-26, 2018, Dr. Rollo Dilworth, Guest Conductor
    Location: Fort Worden State Park, Port Townsend, WA
     
    Questions?  Call or email Stephanie 360-271-8086 fortwordenfestival@gmail.com
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    Fort Worden Children's Choir Festival - Elena Sharkova, Guest Conductor Stephanie Charbonneauhttp://www.choralnet.org/view/482631%pm, %27 %b %2016 %21:%Jan:%th 21JanGMT+0000http://www.choralnet.org/view/482631
    We are currently accepting choirs for our next three Fort Worden Festivals!
    Founded in 2000, the Fort Worden Children's Choir Festival is designed to provide treble youth choirs with an intense, yet fun-filled two days of music making with one of our nation's leading children's vocal specialists.  We strive for the highest performance standards within a non-competitive atmosphere.  This festival is ideal for young choirs seeking a first-time festival experience and for advanced choirs looking to make it part of a tour weekend to Seattle.  Participants will join other young musicians for rehearsals, recreation and social time while preparing for the festival concert featuring each individual choir in addition to the combined massed choir.  Visit our website for more details and to apply: www.fortwordenfestival.com
     
     
    Upcoming Festivals:
    Fri-Sat, May 27-28, 2016, Dr. Angela Broeker, Guest Conductor
    Fri-Sat, May 26-27, 2017, Elena Sharkova, Guest Conductor
    Fri-Sat, May 25-26, 2018, Dr. Rollo Dilworth, Guest Conductor
    Location: Fort Worden State Park, Port Townsend, WA
     
    Call or email Stephanie with questions - 360-271-8086 fortwordenfestival@gmail.com
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    Fort Worden Children's Choir Festival with Dr. Angela Broeker, Guest Conductor Stephanie Charbonneauhttp://www.choralnet.org/view/482630%pm, %27 %b %2016 %21:%Jan:%th 21JanGMT+0000http://www.choralnet.org/view/482630We are currently accepting choirs for our next three Fort Worden Festivals!
    Founded in 2000, the Fort Worden Children's Choir Festival is designed to provide treble youth choirs with an intense, yet fun-filled two days of music making with one of our nation's leading children's vocal specialists.  We strive for the highest performance standards within a non-competitive atmosphere.  This festival is ideal for young choirs seeking a first-time festival experience and for advanced choirs looking to make it part of a tour weekend to Seattle.  Participants will join other young musicians for rehearsals, recreation and social time while preparing for the festival concert featuring each individual choir in addition to the combined massed choir.  Visit our website for more details and to apply: www.fortwordenfestival.com
     
     
    Upcoming Festivals:
    Fri-Sat, May 27-28, 2016, Dr. Angela Broeker, Guest Conductor
    Fri-Sat, May 26-27, 2017, Elena Sharkova, Guest Conductor
    Fri-Sat, May 25-26, 2018, Dr. Rollo Dilworth, Guest Conductor
    Location: Fort Worden State Park, Port Townsend, WA
    ]]>
    Cantare Con Vivo Presents "Mass in B Minor - J. S. Bach" (Walnut Creek, CA) Janice Leehttp://www.choralnet.org/view/482626%pm, %27 %b %2016 %20:%Jan:%th 20JanGMT+0000http://www.choralnet.org/view/482626
    Cantare Con Vivo Presents
    "Bach's Mass in B Minor" 
    David Morales, Artistic Director 
     
    Soloists:
    Mary Ellen Callaghan, Soprano
    Christine Abraham, Mezzo Soprano
    Gabriel Liboiron-Cohen, Tenor
    Daniel Brakefield, Bass
     
    Without question, Bach’s Mass in B Minor remains one of humankind’s supreme artistic achievements. The first documented complete performance of this great work took place in 1859-109 years after Bach died. The movements were assembled over the last 25 years of Bach’s life, yet the work is very unified, as if he wrote it in one sitting. Bach employs compositional styles that reflect sacred music from both the Renaissance and Baroque periods, with movements notably requiring the chorus to divide into four to eight parts. Each vocal solo movement features a complementary instrumental solo, adding another layer of beauty and colorful richness.
     
    An outstanding quartet of soloists will join both the Chorale and Chamber Ensemble, 110 voices strong, accompanied by full orchestra in presenting this legendary masterpiece. This is not to be missed! 
     
     
    We thank you for being a part of the Cantare Family and hope to see you at the next concert.

    For more information on our program and children's program, visit http://www.cantareconvivo.org/
    Like and Share our Facebook page: https://www.facebook.com/CantareConVivo
     
    Concert Information:
    When: Saturday, March 12, 2016 @ 7:30 p.m.
    Where: Walnut Creek Presbyterian Church, 1801 Lacassie Ave., Walnut Creek
    Tickets: $35 General, $30 Senior, $10 Student, $200 Group of 8
     
    Tickets can be purchased online at http://www.cantareconvivo.org/buy_tickets.php or at the door the day of the event.
     
    If you have any questions, feel free to contact the Cantare office at 510-836-0789 or by email at info@cantareconvivo.org
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    Director of Worship & Music Ministries Susan Peachhttp://www.choralnet.org/view/482629%pm, %27 %b %2016 %21:%Jan:%th 21JanGMT+0000http://www.choralnet.org/view/482629Epworth UMC in Arlington, TX is searching for a part time (approx 8-10 hours weekly) enthusiastic Director of Worship & Music Ministries (DWMM) in charge of all music programs of the Church in cooperation with the Pastor and Worship Committee.  If you'd like to learn more about the position, please send an inquiry to:  susan@peachspecialty.com
     
    Please make inquiry prior to February 1, 2016
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    Echo A Cappella is looking for an Alto, Bass, and Beatboxer! Kyle Garciahttp://www.choralnet.org/view/482624%pm, %27 %b %2016 %20:%Jan:%th 20JanGMT+0000http://www.choralnet.org/view/482624

    BREAKING NEWS:

    We will be holding auditions for a new Alto, Bass, and Beatboxer to join Echo!

    Please send us a video of you singing a verse and chorus of a pop song of your choice, preferably one that shows off your higher belt range (no show tunes, please), low bass notes, or vocal percussion skills. Also, tell us a little about yourself! (i.e. occupation, music experience, and any fun facts or tidbits)

    Send to mailto:echo.acappella@gmail.com, please!

    Videos are due Friday, February 5th at 8:00PM

    Callbacks will be held on Tuesday, February 9th at around 8:00PM*

     

    *If submitting an audition, please make sure you are available for callbacks

    We can't wait to hear you! Good luck!

    http://www.echoacappella.com/

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    Chorus Director -- Milwaukee Symphony Chorus Christina Williamshttp://www.choralnet.org/view/482617%pm, %27 %b %2016 %19:%Jan:%th 19JanGMT+0000http://www.choralnet.org/view/482617

    The Milwaukee Symphony Chorus is an auditioned, volunteer, adult mixed chorus founded in 1976 to fill the Milwaukee Symphony Orchestra's need for a chorus of consistent quality.  The MSO Chorus has grown in artistry and stature over four decades, to establish itself as on of the finest symphony choruses in the country.

    JOB PURPOSE AND REPORTING STRUCTURE:

    The MSO Chorus Director is responsible for the artistic preparation of the Milwaukee Symphony Orchestra Chorus. Under the ultimate direction of the MSO’s Music Director, as well as the Director of Artistic Planning, the MSO Chorus Director provides the best possible preparation and artistic advisement for the MSO staff and Chorus to ensure chorus members and audiences alike share the highest level artistic and production experience.  This is a part-time position.

    ESSENTIAL DUTIES AND RESPONSIBILITIES

    The MSO Chorus Director is expected to be able to be responsible for the following Chorus Direction Duties, as well as additional ones, as assigned:

    • Plan and lead efficient rehearsals to prepare for all orchestral concerts requiring chorus, as well as other concerts that feature the Chorus, to ensure performance week readiness. This includes, without limitation, developing the rehearsal schedule for all choral rehearsals leading up to the Conductor’s Piano Rehearsal, attending and observing all CPRs and orchestra rehearsals for the pertinent piece, and offering comments and suggestions upon request of the conductor.
    • Actively recruit for the Chorus, leading recruitment efforts to ensure sufficient choristers for both small and large chorus repertory, and with a balanced number among all sections of the Chorus.
    • Oversee and conduct Chorus auditions, evaluation of membership, and consultation with members on all artistic issues.
    • Consult with Artistic leadership on choral repertoire and planned activities, and be an advocate for choral repertory, proposing and championing choral works for inclusion in the MSO’s season. Consult with the MSO Orchestra Librarian and Director of Artistic Planning team to determine music needs for each season.
    • If requested, assist in the preparation of youth and children’s choruses that are involved in MSO productions (including but not limited to the MSO’s Teen choral concert).
    • Recommend Chorus assistant(s), section leaders, and any necessary chorister soloists; supervise approved assistant(s) and section leaders, accompanists, and diction coaches. Maintain regular communication with the Chorus Manager and MSO Management, and generally provide leadership to the Chorus, its staff, and its singers.
    • Keep abreast of choral trends and activities locally, nationally, and internationally, sharing this information as appropriate with choristers and the MSO and its stakeholders.
    • Be the face of the Chorus at fundraising and other community engagement events, as requested and available
    • Develop relations in the Milwaukee metropolitan area (e.g. with area choral organizations, schools, and colleges), and play a major role in promoting the Chorus, working to build relationships with MSO staff and musicians, patrons, volunteers and other stakeholders.
    • Participate in interviews, photo sessions, and meetings, and adhere to time deadlines and budgets as required.

    SUPERVISORY RESPONSIBILITIES

    Chorus Assistant(s); Section Managers; Accompanist; Diction Coach.

    QUALIFICATION REQUIREMENTS

    To perform this job successfully, an individual must be able to perform each essential duty satisfactorily. Additional requirements listed below are representative of the knowledge, skill and/or ability required:

    • A master’s degree or equivalent experience in choral conducting, performance, or a related discipline
    • Impeccable musicianship plus strong choral preparation and conducting skills, including thorough knowledge of choral repertory across periods and genres, excellent verbal and written communication skills, and the ability to effectively convey ideas and requirements.
    • A commitment to music education for audiences of all ages.
    • Phonetic fluency in German, Latin, French, Italian, Russian and other standard choral repertory languages is beneficial.
    • Ability to drive and valid driver’s license, and basic computer, email, phone, and office software literacy (e.g. Microsoft Word).
    • The ability to handle confidential and sensitive information.
    • A complete background check is required prior to assuming this role.

     
    For more information, see the full job posting on the Milwaukee Symphony Orchestra website at https://www.mso.org/about_mso/employment#CHODIR ;
     

    Compensation and Benefits:

    This is a contracted, part-time position.

    Application Procedure:

    TO APPLY
    Please send resume to MSO Director of Operations John Roloff at roloffj@mso.org by February 15, 2016The Milwaukee Symphony Orchestra is an equal opportunity employer.

     

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    Artistic Director, Bach Children's Choir (Fresno, CA) Cynthia Salomonsonhttp://www.choralnet.org/view/482615%pm, %27 %b %2016 %18:%Jan:%th 18JanGMT+0000http://www.choralnet.org/view/482615The Bach Children’s Choir, located in the Fresno/Clovis area, is seeking a part time Artistic Director to lead their music program. This non-profit organization currently serves 160 students ranging from Kindergarten through 12th grade. Please click on the link below for a job description or for additional information.
     
     
     
     
     
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    Handel Choir of Baltimore presents Joby Talbot's Path of Miracles Molly Petersonhttp://www.choralnet.org/view/482619%pm, %27 %b %2016 %20:%Jan:%th 20JanGMT+0000http://www.choralnet.org/view/482619
    2 pm Saturday MARCH 5, 2016
    Baltimore Basilica, 409 Cathedral Street, Baltimore, Maryland 21201

    Handel Choir of Baltimore

    Arian Khaefi conductor
     
    TICKETS: $37, $27, $10 full-time students with ID and all patrons 18 or younger.
     
     
    Path of Miracles is a mesmerizing 60-minute a cappella work inspired by the Camino de Santiago, a Roman Catholic pilgrimage that has also been called "a 500 mile journey to yourself." Composed in 2005 for the noted ensemble Tenebrae, Path of Miracles was written in seven languages and a variety of singing styles from around the world and across time. It captivates both singers and audiences.
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    Middle School SSA/SAB Rosemarie Lawrencehttp://www.choralnet.org/view/482612%pm, %27 %b %2016 %18:%Jan:%th 18JanGMT+0000http://www.choralnet.org/view/482612Hello!
     
    I am looking for a new piece for our 6th and 7th grade chorus and am a little lost repetoire wise.
     
    It needs to be a fairly easy piece preferably SSA, if it is SAB the baritones need a relatively higher part, probably around G.  We have Brave and Blackbird programmed, looking for one more possibly on the more classical-ish side.
     
     
    Any help would be great!
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    Christmas Carols with strings accompaniment Gillian Dulieuhttp://www.choralnet.org/view/482611%pm, %27 %b %2016 %18:%Jan:%th 18JanGMT+0000http://www.choralnet.org/view/482611Sorry to be talking about Christmas music in January but can anyone recommend SATB carols with strings please? I've found a few in Carols for Choirs but it's a very limited selection and they are mainly congregational ones. ]]>Intern Sara Casarhttp://www.choralnet.org/view/482608%pm, %27 %b %2016 %18:%Jan:%th 18JanGMT+0000http://www.choralnet.org/view/482608
    Classical Movement has been featured in The Washington Post as a world leader in concert touring for symphony orchestras and choirs, and is seeking hardworking and motivated early career arts managers for winter and summer internships.
     
    This position will allow the intern to work with Classical Movements on assisting in the many facets of organizing international concert tours and festivals for distinguished choirs and orchestras in a fast-paced environment.  These unpaid internships are held each fall, spring and summer.  
     
    The winter, spring and summer internships have a flexible start and end date, and interns must be able to commit to a minimum of 3 weeks. Please inquire for more information regarding schedule details.
     
    This opportunity is a great resume builder under a prominent institution in the Washington DC area.   
     
    Classical Movements has arranged worldwide tours for the Morgan State University Choir.
     
    College students or recent graduates with an arts management, instrument or vocal performance, or music education degree.
     
    Please submit a cover letter and resume to Yarina@ClassicalMovements.com.
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    The Dan Meyer Choir Welcoming New Members Dan Meyerhttp://www.choralnet.org/view/482603%pm, %27 %b %2016 %17:%Jan:%th 17JanGMT+0000http://www.choralnet.org/view/482603The Dan Meyer Choir - Baltimore's most original community choir - is welcoming new members to join us as we kick off rehearsals for our next concert on Sunday, February 21, 2016, 4-6pm. We rehearse in Charles Village. There is no cost to participate and singers are provided with sheet music and practice recordings. ]]>Assistant Professor of Music/Clarke University Jeremy Mimshttp://www.choralnet.org/view/482596%pm, %27 %b %2016 %16:%Jan:%th 16JanGMT+0000http://www.choralnet.org/view/482596
    At Clarke University, everything we do is focused on making an impact on students so they can positively impact the world. For students, it means a place where more than facts are studied - it means new ways of thinking are explored. For faculty and staff, it means more than just coming to work every day - it means truly collaborating across the university to put student success first. It also means living and working in Dubuque, IA, a thriving city named one of the "most livable" small cities in the country and one of "Best Green Places" in the country.

    As an accredited institutional member of the National Association of Schools in Music (NASM), Clarke boasts a strong and vibrant music program. Undergraduate majors include Music, Music Education, and Musical Theatre. Activities and events in the music department provide a rich musical environment for the university as well as the local community. Clarke music education graduates have an excellent placement rate and are highly respected by their colleagues.

    The University is currently accepting applications for a tenure-track faculty position in music education beginning August 2016. The successful candidate will teach general music education methods K-12, studio voice lessons or choral ensembles, undergraduate music courses relevant to department need and the candidate's strengths.

    A Ph.D. or D.M.A. is required by June 15, 2016. Candidates must have a documented, strong record of successful teaching and commitment to the liberal arts in a small collegiate setting. Candidates with prior elementary or secondary music teaching experience are preferred.

    To apply for this position, visit and upload a current CV/resume, cover letter, statement of teaching philosophy, transcripts, 3 letters of recommendation and teaching/performance video directly on our site http://clarke.applicantpool.com/jobs. All documents should be uploaded in the resume section of the application. Applications will be reviewed effective immediately and will continue until the position is filled. Completed applications with all information listed above will be reviewed first.

    Application Information

    Contact:
    Human Resources
    Clarke University
     
    The University is firmly committed to non-discrimination and affirmative action and it is the policy of the University to strive to afford equal opportunity to qualified individuals, regardless of their race, color, age, disability, gender, Vietnam or disabled veterans status or national origin and to conform to applicable laws and regulations.
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    Tour Manager/Operations Manager Sara Casarhttp://www.choralnet.org/view/482594%pm, %27 %b %2016 %16:%Jan:%th 16JanGMT+0000http://www.choralnet.org/view/482594
    Leading worldwide concert touring company seeks experienced Tour Manager/Operations Manager.   Responsible for the planning, implementation and management of international and domestic concert tours for orchestras, concert bands, and choirs.   Knowledge and contacts with international and domestic concert presenters and venues, knowledge of choral and orchestral classical music, experience with arranging or participating in group concert tours, and knowledge of foreign languages specifically German or Spanish preferred.  College degree required.  Travel may be required.  Required to work in our Alexandria, VA office.  Please email cover letter and resume to Donna Jeffries, Office Manager, at Donna@ClassicalMovements.com.  Please include salary requirements, relevant experience, travel experience, classical music background, and language proficiency.  No calls please.  Benefits include paid vacation, sick leave, medical, and 401(k) plan with company match.
     
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    Marketing and Public RelationsManager Sara Casarhttp://www.choralnet.org/view/482592%pm, %27 %b %2016 %16:%Jan:%th 16JanGMT+0000http://www.choralnet.org/view/482592
    Leading worldwide concert touring company seeks experienced Marketing and Public Relations Manager.   This position is responsible for the coordination of all marketing, advertising, public relations, and development operations, as well as other special projects.  Responsibilities include coordinating and managing all press relations; reserving, designing, and managing advertisements and their respective deadlines; creating content and designing bi-weekly marketing emails; creating social media content with Facebook, Twitter, and YouTube, and maintaining an overall positive image of Classical Movements and its clients.  Proficiency in Microsoft Office (including Excel, Word, Publisher and PowerPoint), proficiency in Adobe Photoshop, proficiency in email marketing, and proficiency in social media outreach (Twitter and Facebook) required.  College degree required.  Required to work in our Alexandria, VA office.  Please email cover letter and resume to Donna Jeffries, Office Manager, at Donna@ClassicalMovements.com.  Please include salary requirements, relevant experience, and classical music background.  No calls please.  Benefits include paid vacation, sick leave, medical, and 401(k) plan with company match.
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    Love Songs of the Presidents Dan Meyerhttp://www.choralnet.org/view/482602%pm, %27 %b %2016 %17:%Jan:%th 17JanGMT+0000http://www.choralnet.org/view/482602Dan Meyer has collected the love letters and poems of 15 US Presidents (and one first lady) and set them to stunning four-part music to bring the passions of these former Chief Executives to life! A perfect way to combine Valentines Day and Presidents Day! This performance is at The Creative Alliance at the Patterson (3134 Eastern Avenue, Baltimore 21224) at 3:00pm; tickets are $5 in advance and $8 at the door. ]]>Love Songs of the Presidents Dan Meyerhttp://www.choralnet.org/view/482601%pm, %27 %b %2016 %17:%Jan:%th 17JanGMT+0000http://www.choralnet.org/view/482601Dan Meyer has collected the love letters and poems of 15 US Presidents (and one first lady) and set them to stunning four-part music to bring the passions of these former Chief Executives to life! A perfect way to combine Valentines Day and Presidents Day! This performance is at Electric Maid (268 Carroll St. NW, Washington, DC 20012) at 3:00pm, $10 suggested donation. ]]> Mercy Robyn Edgarhttp://www.choralnet.org/view/482555%am, %27 %b %2016 %05:%Jan:%th 5JanGMT+0000http://www.choralnet.org/view/482555When stuck, ask ChoralNet. I am looking for a SA, SSA or SAB arrangement on the them of Mercy of which Pope Francis has requested as the theme for this year. I need it urgently for my Catholic School (Australia) Senior induction liturgy which is scheduled for 26th February. Any suggestions? If it is a song in relation to the mercy shown by the Sister of Mercy Catherine McAuley, that would be good also as one of the College houses' is named after her. Thank you in advance. ]]>Valentino Miserachs Grau Dirk Maeshttp://www.choralnet.org/view/482565%pm, %27 %b %2016 %13:%Jan:%th 13JanGMT+0000http://www.choralnet.org/view/482565Dear members, on http://ilnaufrago.com/free-downloads/ I came across the music of Valentino Miserachs Grau. There are some examples of his music there, e.g. September 27, Anno B-3 by Valentino Miserachs Grau. The title (Anno-B) seems to suggest there is more music (Anno A and C). On the scores is a pagenumber suggesting the music is part of a larger book. Being a 'church' choir, I would love to find the book or more of his music.
    Looking forward to any help,
    Dirk Maes
    Belgium ]]>
    Hymn Competition: Notre Dame Children's Choir Mark Doerrieshttp://www.choralnet.org/view/482556%am, %27 %b %2016 %06:%Jan:%th 6JanGMT+0000http://www.choralnet.org/view/482556The Notre Dame Children's Choir announces a Hymn Competition for a new hymn with original text and original music.
     
    Theme:
    The original text and tune will address the theme of God’s love and our relationship with one another during times of turmoil. Put another way, in light of recent domestic and international violence, refugees searching for safety, nation warring against nation, and political divisiveness, craft a hymn text and tune that speaks to God’s all encompassing love that is made complete through connection with one another.
               
    John 4:12 - No one has ever seen God: but if we love one another, God lives in us and his love is made complete in us.
     
    The number of verses of the hymn is at the submitter’s discretion.
     
    Musical Guidlines:
    • The new HYMN for will be for congregational use to be led by children’s voices with organ accompaniment.
    • The HYMN must include a unison melody with descant, SATB vocal harmonization with descant preferred.
    • The music should be in the traditional hymnic style of the Episcopal 1982 hymnal, the New English Hymnal, or in the style of the English Cathedral hymn.
    • The text must be in English. Preferred Melody Range: D4-E5, Descant may reach A5
    Prize:
    The winning entry will receive $600, have their HYMN sung by the Notre Dame Children's Choir, and the HYMN will be considered for recording by the Notre Dame Children's Choir on their next album.
     
    One entry per applicant. Co-applicants my apply as text and musical authors, though only one $600 prize will be awarded.
     
    Deadline:
    Entries will be accepted between Jan. 23, 2016 and midnight on March 31, 2016.
    The winner will be announced by April 15, 2016.

    For more information, official competition rules, and to submit your entry, visit: http://www.ndcchoir.org/#!hymncompetition2016/cdqk
    Contact: Mark Doerries, Artisti Director of the Notre Dame Children’s Choir (ndcchoir@nd.edu)
    Please note that full-time employees of Notre Dame and their spouses are ineligible to participate in the competition.

    Sincerely,
    Mark Doerries

    Mark Doerries, D.M.
    Artistic Director of the Notre Dame Children's Choir
    Associate Director for Community Outreach, Sacred Music at Notre Dame
    www.ndcchoir.org
    Sacred Music at Notre Dame
    574.631.6528 (office)
    757.871.3334 (mobile)
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    Choral Potpourri: Giving Credit Where Credit is Due Marie Grass Amentahttp://www.choralnet.org/view/481112%am, %05 %b %2016 %03:%Jan:%th 3JanGMT+0000http://www.choralnet.org/view/481112       "It's amazing what you can accomplish if you do not care who gets the credit." Harry S. Truman
     
    Four years ago, Jay’s* partner was accepted to medical school in a university town with a great music school and many fine community music organizations. Jay was very happy. He got a job as the music director at a church with a wonderful organ and choir and was soon hired as the assistant music director for the premier community chorus with many university faculty members as members. He wasn’t called the “assistant music director” to begin with since Felicity*, the music director (a retired director of choral activities from the university), felt he was “only” accompanying, and should be called the “pianist” of the group, not the “accompanist” or even the “collaborative pianist” but the plain, ‘ol pianist. Felicity’s attitude then should have tipped him off.
     
    At the end of his first year with the chorus, he made a bit of a stink. It was after he threatened to resign they agreed to a title change and a slight raise. He was doing all sorts of things besides accompanying, so was made assistant music director much to the displeasure of Felicity. She didn’t want to give up one bit of prestige being Music Director but was fine with Jay doing portions of her job without recognition. Jay does respect Felicity and her body of work but she has become difficult in the last few years. She is not always on top of things musically or administratively, so the bulk of those things have fallen to him.
     
    It’s been almost four years of cleaning up after Felicity and doing the dirty work of the chorus; with more details left to him as the years go by. By rights, Jay thinks he should be called the Executive Director or the Music Director de facto and not the assistant M.D. but to convince the chorus board would take far longer than he intends to stick around. Felicity does choose the chorus repertoire—and has good taste—and waves her arms around a bit but the old girl is slowing down. This means, a LOT of details are left to him. He hires the musicians for any work with orchestra they perform. He schedules auditions twice a year and plays for them while Felicity watches, usually without comment. He often runs rehearsals by himself because of her mounting health problems. He double checks any music folders going out to the singers, even though they do have a music librarian because Felicity insists. He writes the PR for auditions and concerts and keeps the chorus website and Facebook page up to date. There are many other details too numerous and silly to mention he is expected to complete because the chorus management now expects him to do so. He has mentioned in confidence to the Executive Director and board president it might be time for Felicity to retire. THAT suggestion was met with horror!
     
    The reason Jay wrote to me was because he wanted assurance he wasn’t over-reacting to the latest issue. After the most time consuming and detail bogged down holiday concert he has ever worked on, his name was COMPLETELY left off of the program and he wasn’t given a bow during the concert. He thinks Felicity did it on purpose because he is taking over much more of her Music Director’s job….and not by choice. He has two more concerts to oversee before the end of the subscription year and isn’t sure he will be able to do them without blowing up. I told him he can do anything if he knows it will end. And it will end if he wants it to.
     
    Jay is moving on this year when his partner graduates from med school. He is so fed up with not getting credit for all the crappy work he does for this chorus, he and his partner are moving, no matter what. The chorus management doesn’t know yet nor does the music director or the singers but rest assured he is encouraging his partner to apply to residencies in other states. He can’t wait to get out!
     
    *Name Withheld
     
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    Need 9/11 tribute for middle school Patricia Andrewshttp://www.choralnet.org/view/482551%am, %27 %b %2016 %01:%Jan:%th 1JanGMT+0000http://www.choralnet.org/view/482551I am looking for a 9/11 tribute piece for my middle schoolers.  We can do SATB if it's not too arduous.  The only thing I have found is Song For the Unsung Hero from Shawnee Press, but I would love a few more options to consider.  Thanks. ]]>Articles on vocal health Tania Mannionhttp://www.choralnet.org/view/482547%pm, %26 %b %2016 %23:%Jan:%th 23JanGMT+0000http://www.choralnet.org/view/482547Would love to hear suggestions for good articles on vocal health that would be appropriate for high school choir students. Informative without being preachy, perhaps. Much of what I am running across is geared toward vocal teachers. I am looking specifically for something I can have my students read.  Any suggestions? ]]>Search by Theme Dale Trumborehttp://www.choralnet.org/view/482545%pm, %26 %b %2016 %21:%Jan:%th 21JanGMT+0000http://www.choralnet.org/view/482545New! Search choral works by composer Dale Trumbore according to theme:

    water

    music

    love

    story

    childhood

    christmas

    seasons

    light/dark

    sky

    & more, at daletrumbore.com.

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    Win $1,000 For Your Choral Composition from Illinois-ACDA philip spencerhttp://www.choralnet.org/view/482544%pm, %26 %b %2016 %21:%Jan:%th 21JanGMT+0000http://www.choralnet.org/view/482544
    All composers 18 years of age or older with an Illinois connection – i.e. residency, education, employment- are invited to submit original works to Illinois-ACDA’s 2016 Choral Composition Contest to win a $1,000 prize!  The winning composition will be premiered at the IL-ACDA Summer ReTreat in June 2016.  This year the composition must be an original work for SA or TB chorus (a cappella or accompanied), approximately 3-8 minutes in length, and meeting other specified eligibility requirements.  The work must currently be unpublished, including self-published, and not yet performed publicly.  Additional information may be obtained from Philip Spencer, Chair, Illinois-ACDA Choral Composition Contest, at pspencer@jjc.edu, or from the Illinois-ACDA website, www.il-acda.org. Entry deadline is April 1, 2016.
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    Organist/Accompanist (Part-time) Jason Falkofskyhttp://www.choralnet.org/view/482542%pm, %26 %b %2016 %20:%Jan:%th 20JanGMT+0000http://www.choralnet.org/view/482542Holy Martyrs is a Catholic parish of over 2,000 households. It was established in 1980 to serve a growing Catholic population in Northern Medina County, Ohio. Since its inception, Holy Martyrs has focused on forming community committed to faith, service, and spiritual growth. Today it is a vibrant, active parish.
    At the center of all we do is worship. Celebrating the Eucharist and the other sacraments is the source and summit of our parish’s life. The quality of worship is of great importance at Holy Martyrs. How we gather, the quality of preaching, the way we celebrate, all help shape our community and form us in faith. Liturgical music is an essential part of that mission. Great music, well played and well led, not only enhances the experience of liturgy; it has the power to deepen our prayer and help us experience community as nothing else can.
    To further our mission of quality worship, we are seeking a part-time organist/accompanist with exceptional musical abilities who can lead congregational singing, cantors and our outstanding choir on Sunday mornings and holy days.
    Responsibilities:
    1. Accompanist for weekend Masses
    - Serves as primary accompanist at three Sunday Masses, including a choir Mass (see below)
    - Serve as accompanist at holy day Masses, reconciliation services, and other liturgies as needed
    - Opportunity to serve at additional services when needed
    2. Rehearsal/Mass accompanist for Parish Choir
    - The Parish Choir (50-60 members) sings from early September through Memorial Day
    - Rehearsals: Wednesday evenings, 7:15pm-9:00pm
    - Sunday Mass: 9:30am; with 9:00am warm-up
    - Additional Masses with Parish Choir include: Christmas Eve, Holy Thursday, Easter Vigil, and others as needed.
    - Assist in sectional/cantor rehearsals as needed
    3. Additional Opportunities
    Opportunity to accompany/cantor funerals and/or weddings based on interest/availability.
    Qualifications:
    Required:
    - Accomplished keyboard skills and equally comfortable with both piano and organ;
    able to effectively lead the congregation through hymn playing; knowledge and
    understanding of organ registration
    - Excellent sight-reading ability
    - Experience as a choral/collaborative accompanist
    - Strong improvisational skills
    - Familiarity with Roman Catholic music and liturgy
    - Degree in Music or equivalent.
    Desired:
    - 3-5 years experience as a church musician
    - Ability to play solo repertoire on piano and/or organ
    - Advanced improvisational skills
    - Capability to serve as own cantor, if needed
    Supervision:
    Reports to the Pastor and Director of Music
    Compensation:
    Competitive; Commensurate with experience
    Instruments:
    - Boston Grand Piano
    - New 3-manual, 80-stop Allen Digital Organ (Quantum 390)
    Hymnal:
    - Breaking Bread (OCP)
    Start Date:
    - July 1, 2016
    To apply, e-mail letter of interest and resume to: Mr. Jason Falkofsky, Music Director, to
    jfalkofsky@att.net ]]>
    Disappointed at Choral Conducting Workshop L Pikehttp://www.choralnet.org/view/482540%pm, %26 %b %2016 %19:%Jan:%th 19JanGMT+0000http://www.choralnet.org/view/482540
    Disappointed at Choral Conducting Workshop
     
    A little food for thought here for anyone planning on attending a choral conducting workshop/symposium in the future. Do you know how much actual conducting time you will spend in front of the clinicians? In front of the host choir? Don’t be afraid to ask! My experience last year, over a 4.5 day, well organized workshop (about 10 hours a day):  we (12 conductors) received about 30 minutes of actual conducting time and 30 minutes of private conversation with one of the master conductors. For me, those 30 minutes of conducting in front of the host choir worked out to about $65 US/minute. I understand the requirement of having enough participants attending a workshop/symposium to make it economical but I was really disappointed. Perhaps you can create your own workshop with a few colleagues. Hire another director in your area and set something up. I have just asked a friend to observe me and my choir a few times this term and I am able to pay them, even with a limited professional development allowance. Just my two cents.
    What was your experience at a similar event? I would really like to know if this is the norm.
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    Join Choralation A Cappella - Vancouver BC Jennifer Balfourhttp://www.choralnet.org/view/482537%pm, %26 %b %2016 %18:%Jan:%th 18JanGMT+0000http://www.choralnet.org/view/482537
    Choralation is a 10-member, self-directed community choir based in Vancouver, BC, Canada. Our repertoire includes all styles of a cappella music, including classical, folk, jazz, and pop songs, with several original arrangements from members of the choir.
     
    We would love to have you come sing with us! We are currently recruiting for our 2016 season.
     
    Choralation rehearses on Tuesday nights from 7:30-9:30pm at various locations in Vancouver. There are no membership fees, Choralation is free to join. If you would like to know more about Choralation, please visit www.choralation.com/contact
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    Mozart: Requiem - Niles Metropolitan Chorus - NW Suburban Chicago Marek Rachelskihttp://www.choralnet.org/view/482531%pm, %26 %b %2016 %16:%Jan:%th 16JanGMT+0000http://www.choralnet.org/view/482531Tuesday Rehearsals 7:00 - 9:00 p.m. (at St. John Brebeuf, 8307 N. Harlem Avenue, Niles IL 60714) lead to a 3:00 p.m. Sunday, March 20 performance of Mozart: Requiem by the Niles Metropolitan Chorus with the Musica Lumina Orchestra led by Marek Rachelski. Call (702) 806-8421 for more information or email newmru@hotmail.com ]]>Pedals, Pipes, and Pizza at the University of Alabama Matthew Edwardshttp://www.choralnet.org/view/482530%pm, %26 %b %2016 %16:%Jan:%th 16JanGMT+0000http://www.choralnet.org/view/482530Come enjoy a morning learning about the pipe organ with The University of Alabama organ studio! Pizza lunch will be provided. Program starts at 9:00 a.m. and goes until about 2:30 p.m. This program is aimed at young music students (previous piano experience optional), so spread the word to your students and their parents! For more information and registration, visit this link: http://organ.music.ua.edu/organ-events/. ]]>Michael Teolis Singers Julie Zellerhttp://www.choralnet.org/view/482529%pm, %26 %b %2016 %16:%Jan:%th 16JanGMT+0000http://www.choralnet.org/view/482529
     
    MICHAEL TEOLIS SINGERS PRESENT “A POTPOURRI OF SONGS.”
     
    Michael Teolis Singers, an Oak Park based choral ensemble now in its 9th season, present “A Potpourri of Songs” on Sunday, February 28, 2016 at 4:00 p.m. at historic Pleasant Home in Oak Park. Rarely heard choral gems and classics of the 20th century featuring works by Barber, Copland, Ellington, Gershwin, Schuman, and Willcocks will be performed.
     
    Pleasant Home, also known as the John Farson House, is a large Prairie style mansion designed by architect George Washington Maher and completed in 1897.  The house was added to the U.S. National Register of Historic Places on June 19, 1972.
     
     
    Pleasant Home is located at 217 Home Avenue, corner of Pleasant Street and Home Avenue in Oak Park, IL. Tickets are $20.00, cash only.  For more information, phone 708-366-2889 or email info@MTSingers.com, or contact Pleasant Home at 708-383-2654 or visit www.pleasanthome.org. ]]>
    Choral settings of Wordsworth or Maya Angelou Robert Eatonhttp://www.choralnet.org/view/482519%pm, %26 %b %2016 %14:%Jan:%th 14JanGMT+0000http://www.choralnet.org/view/482519I know the poetry of some poets just easily sing and flow to music while others are a significant challenge to set musically.  I, however, have long been a fan of Wordsworth. We have performed Finzi’s “Intimations of Immortality” a couple of times.
     
    My question: Do you know other Wordsworth choral settings or composers who are good at setting that type of poetry?  I really like “Lines Written in Early Spring” and “Tables Turned.”
     
    Another poet that intrigues me is Maya Angelou.  Any musical settings of her poems?
     
    Thanks,
    Bob
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    Ladies Chorus seaching for Canadian history songs about the C.P Railway and/or St. Lawrence Seaway Robert Dueckhttp://www.choralnet.org/view/482514%pm, %26 %b %2016 %13:%Jan:%th 13JanGMT+0000http://www.choralnet.org/view/482514
    I am looking for ladies chorus arrangements with lyrics that speak about our Canadian Pacific Railway and the St. Lawrence Seaway.   Suggestions from vocal solo to SSA arrangements with piano and/or guitar accompaniment welcomed.
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    Fun with the Big Three Marianne Saint Georgehttp://www.choralnet.org/view/482500%am, %26 %b %2016 %05:%Jan:%th 5JanGMT+0000http://www.choralnet.org/view/482500I am teaching Middle School Choir and I want to give the kids more than a singer's skills - I want them to be musicians. We are doing rhythms, technique, and so on. And, I want to introduce them to, at bare minimum, Bach, Mozart, and Beethoven. I plan to spend a week on each, and I want to end on something fun, but related.
     
    Mozart is easy - The Rabbit of Seville is just perfect.
     
    But, what about Bach and Beethoven? I thought of (Lord help me!) Bill and Ted, but there isn't a lot of content there, really. So, any suggestions for fun videos or content that middle schoolers may enjoy, or at least not hate? :)
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    Looking for Showtrax recording Scott Coreyhttp://www.choralnet.org/view/482523%pm, %26 %b %2016 %15:%Jan:%th 15JanGMT+0000http://www.choralnet.org/view/482523Item: Hal Leonard Song Kit #31, "Aladdin"
    Composer/Arranger/Edition: arranged by Janet Klevberg
    Starting: ASAP
    For: until June 2016
    Copies: 1
    Willing to rent: No
     
    I am in need of the Showtrax recording for the Hal Leonard Song Kit #31, "Aladdin."  The Hal Leonard number for the recording is 07990102, and is no longer available.  
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    Drama and Choral Teacher Christine Micuhttp://www.choralnet.org/view/482497%am, %26 %b %2016 %05:%Jan:%th 5JanGMT+0000http://www.choralnet.org/view/482497

    The Bishop’s School is seeking a full-time faculty member to teach middle school drama / acting, vocal music (chorus), and musical theater classes, as well as selected high school classes.  In addition to teaching in the performing arts department, this teacher will work with fellow department members to help direct or produce extra-curricular plays, concerts, and musicals.  This position is ideal for an early to early-mid career educator, or professional transitioning into education who is eager for mentorship. The drama and voice teacher will support program leaders for Bishop’s Choral Music and Drama programs, and must be open to receiving direction and working collaboratively. Faculty members at Bishop’s also serve as advisors to small groups of students and are asked to both participate in and support the larger school community.

     

    Qualifications: Candidates need to have, at a minimum, an undergraduate degree in acting, musical theater, music education, or theater education, with three years of experience teaching at the middle and high school levels. The ability to serve as a piano accompanist would also be attractive, as would performance experience in musical theater.  Above all, the performing arts department is eager to be joined by an educator with a proven track record for successfully collaborating with colleagues to further advance performing arts education.  

     

    Founded in 1909, The Bishop’s School is a coeducational college preparatory independent day school enrolling students in grades six through twelve. Founded in 1909, the School is located in the center of La Jolla, 10 miles north of downtown San Diego. The 2014-2015 enrollment is 800 students who live throughout San Diego County. The Bishop’s School offers a competitive compensation package including benefits and is proud to be an Equal Opportunity Employer.

     

    For more information about The Bishop’s School, please visit www.bishops.com.


    To apply for this position: Please email résumé and cover letter to resumes@bishops.com. ]]>
    Polyhymnia Chamber Chorus -- Winter 2016 Performances Lorie Nierenberghttp://www.choralnet.org/view/482522%pm, %26 %b %2016 %15:%Jan:%th 15JanGMT+0000http://www.choralnet.org/view/482522Polyhymnia, an a cappella chamber chorus directed by Steven Beck, will perform in:
     
    McLean, VA at Immanuel Presbyterian Church, 1125 Savile Lane, on Saturday, January 30, at 8:00 p.m.
     
    Washington, D.C. at St. Paul's Lutheran Church, 4900 Connecticut Avenue, NW, on Sunday, January 31, at 2:30 p.m.
     
    Arlington, VA at St. George's Episcopal Church, 915 North Oakland Street, on Saturday, February 6, at 8:00 p.m.
     
    Bethesda, MD at the North Bethesda United Methodist Church, 10100 Old Georgetown Road, on Sunday, February 7, at 2:30 p.m.
     
    The concert will include some marvelous 20th Century English choral works:  Benjamin Britten's Choral Dances from his opera about Queen Elizabeth I, Gloriana; a set of English folks songs arranged by Gustav Holst, which include the sailors' song Swansea Town and the vigorous and rhythmic Song of the Blacksmith; and four settings by Thea Musgrave of the love poetry of Sir Thomas Wyatt.  Rounding out the program will be a selection of chansons from Renaissance France.  The performance is free and will be followed by a light reception.  The Polyhymnia Chamber Chorus is a 501(c)(3) nonprofit organization; more information at www.PolyhymniaSings.org.         
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    Singing with the Spirit - A Workshop on Congregational Song CJ Redden-Liottahttp://www.choralnet.org/view/482520%pm, %26 %b %2016 %15:%Jan:%th 15JanGMT+0000http://www.choralnet.org/view/482520
    Singing With the Spirit 
    A one-day workshop on enlivening congregational song.
     
    Featuring tracks for keyboardists, congregation members and singers, pastors, and worship leaders. 
     
    Saturday, February 27, 2016
    Vienna Baptist Church
    541 Marshall Road, SW, Vienna, VA
     
    Registration Costs*
    Hymn Society members: $55
    Non-members: $65
    *Students should e-mail brian@thehymnsociety.org for a special student deal
     
     
    Schedule:
    9:00 - Registration
     
    9:30 - Opening Worship
     
    10:00 - Plenary Session with Mary Louise Bringle on new hymnody
     
    11:00 - Break
     
    11:15 - Discussion Session with Mary Louise Bringle
     
    12:30 - Lunch (Included in the registration cost)
     
    1:45 - Breakout Sessions
                 ---Singers - Deb Loftis---
                 ---Pastors and Worship Leaders - Bill Roberts---
                 ---Keyboardists - Elaine Rendler---
     
    3:00 - Break
     
    3:15 - Discussion with breakout participants
     
    4:15 - Break
     
    4:30 - Closing Hymn Festival with Mary Louise Bringle (free and open to the public)
     
     
    Clinicians:
     
    Mary Louise Bringle
    Professor of Philosophy and Religious Studies at Brevard College and Past President of The Hymn Society
     
    Deborah Carlton Loftis 
    Executive Director of The Hymn Society
     
    Elaine Rendler
    Associate Professor of Music Theory at George Mason University
     
    Bill Roberts
    Professor of Church Music at Virginia Theological Seminary
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    Brothers, Sing On! Thomas Berrymanhttp://www.choralnet.org/view/482508%am, %26 %b %2016 %11:%Jan:%th 11JanGMT+0000http://www.choralnet.org/view/482508
    Join us for Brothers, Sing On! 
     
    Sunday January 31 2016 3 pm
    Wellesley High School
    50 Rice Street
    Wellesley Hills, MA 02481
     
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    Invisible Stars form the Choral Scholars of University College Dublin Aoife Dalyhttp://www.choralnet.org/view/482505%am, %26 %b %2016 %11:%Jan:%th 11JanGMT+0000http://www.choralnet.org/view/482505
    The UCD Choral Scholars will release their debut international recording in the USA and Canada on Signum Records on 12th February 2016. The disc, entitled Invisible Stars is an enchanting collection of traditional and contemporary choral music from Ireland and Scotland and features arrangements and new compositions by some of Ireland’s most celebrated composers for choir, including Michael McGlynn, Brendan Graham, Bill Whelan and the group’s artistic director, Desmond Earley.

    The Scholars are the first collegiate Irish choir to release on the label, who boast an impressive catalogue of artists ranging from The King’s Singers, Tenebrae, The Orchestra of the Age of Enlightenment, Royal Northern Sinfonia and Voces8.

    This wonderful showcase of Irish choral music is available to pre-order on Amazon and iTunes now.
     
    For further information, please contact:
     
    Aoife Daly
    Ériu Artist Management

    email                     aoife@eriu-artists.com
    uk                          +44 (0)20 8289 5311
    irl                           +353 (1) 903 6211
    mob                      +44 (0) 7779 585725
    www                     http://www.eriu-artists.com/
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    Student-Composed Oratorio "Woman at the Window: The Triangle Factory Fire" Premieres in LA Susan Gordonhttp://www.choralnet.org/view/482499%am, %26 %b %2016 %05:%Jan:%th 5JanGMT+0000http://www.choralnet.org/view/482499
    The Woman at the Window: The Triangle Factory Fire – a powerful, original oratorio based on the horrific 1911 fire at the Triangle Shirtwaist Factory in New York City in which 146 garment workers, mostly young girls from immigrant families, perished in the worst workplace tragedy in American history until the Twin Towers fell on 9/11, with music and lyrics by 85 high school choir students from downtown Los Angeles’ Ramón C. Cortines School of Visual and Performing Arts – is being premiered by the students in conjunction with the Los Angeles Master Chorale Chamber Singers in free performances on Thursday, February 4, at noon, and Friday, February 5, 2016, at 7 pm, at the high school’s main auditorium.  (Ample free on-site parking is available.) The haunting, yet inspiring, 45-minute work with compelling arias and emotional choruses, was developed through the Los Angeles Master Chorale’s award-winning “Voices Within” artists-in-residence program, designed to foster collaboration among students as they create and perform their own original choral works under the guidance of professional teaching artists.  The piece also aligns with the Chorale’s current concert season, which features oratorios by Handel and Pulitzer Prize-winning composer Julia Wolfe.
     
    As the oratorio recounts, there was no escape from the fire that broke out on the 8th floor of the Triangle Factory in lower Manhattan on March 25, 1911.  Within 20 minutes, the inferno had spread to two more floors, resulting in the death of 146 workers, mostly young girls from Italian and Jewish immigrant communities.  The event underscored the unfair labor conditions in America where female workers, in particular, were expected to work long hours for low pay.  At that time in American history, building safety standards were overlooked and fire rescue attempts were inadequate to handle high-rise structures; horse-drawn fire trucks did not have ladders tall enough to reach the upper floors.  Significantly, the Triangle Fire raised awareness regarding the newfound presence and unequal treatment of women in the workplace.  Tragically, the fire is mostly remembered for the horrible manner in which victims perished, plummeting to their deaths from windows and fire escapes as helpless bystanders watched from below.  To this day, 105 years later, the anniversary of the Triangle Factory Fire continues to be honored in New York City with memorials and tributes. The building, now owned by New York University, still stands, housing the school’s biology and chemistry labs.
     
    An oratorio is an extended musical composition with a text dramatic in character for solo voices, chorus and orchestra, performed with minimal action, costume and scenery.  Complex and sophisticated musical works, they challenge even seasoned composers, making the student’s accomplishments particularly noteworthy.
     
    The 9th through 12th grade students who composed the piece collaborated over a 20-week period with the guidance and mentorship of singer Alice Kirwan Murray, lyricist Doug Cooney and composer Michael Alfera, as well as with the school’s choir teachers, Desiree Fowler and Stormy Sacks.  They learned how to write a libretto and create the melodies for each movement of the oratorio.  They also learned techniques for capturing the “voice” of the characters, propelling the momentum of the plot and painting the mood of a scene.  After the work was completed, students auditioned for feature roles and received vocal coaching to prepare for the culmination performance.  This is the sixth year the Los Angeles Master Chorale has offered its “Voices Within” program at the school.
     
    “Voices Within,” a music education program originally designed to teach fifth graders collaborative and compositional skills by composing and performing their own original songs, has engaged over 25,000 children who have created more than 350 original songs since its launch in 2001.  Encouraged by previous successful collaborations involving elementary and middle school students, and with the support of the California Arts Council's Artists-in-School Program, the City of Los Angeles Department of Cultural Affairs, and the National Endowment for the Arts, the Los Angeles Master Chorale adapted the “Voices Within” curriculum to address the advanced maturity of high school students, specifically choral students at the noted visual and performing arts high school in downtown LA.
     
    The concert is free, and seating is first come, first served. Reservations required. Visit LAMC.ORG for details.
    Cortines High School of Visual and Performing Arts is located at 450 N. Grand Avenue, Los Angeles, CA 90012.  Campus parking is free (enter on Cesar Chavez Avenue). 
    ]]>
    NEW RECORDING: CD Release of MAGNIFICAT in D Major by Gabriel Ruiz-Bernal. Gabriel Ruiz-Bernalhttp://www.choralnet.org/view/482495%am, %26 %b %2016 %02:%Jan:%th 2JanGMT+0000http://www.choralnet.org/view/482495

    January 2016.  CD Release of Magnificat in D Major by composer Gabriel Ruiz-Bernal.  For soloists, choir and orchestra.  

     

    Recorded with extreme care to detail, sung by the extraordinary soloists soprano Colleen Daly, mezzo Jenna Lebhertz-Daly, tenor Duane Moody, and baritone Jose Sacin.

    Artistic Director and Producer:  Gabriel Ruiz-Bernal.  2016.

     

    CD available at www.gabrielruizbernal.com

    Available on iTunes / AppleMusic https://itunes.apple.com/us/album/magnificat-in-d-major/id1076709962

    CD and digital download also available at CD Baby https://www.cdbaby.com/cd/gabrielruizbernal3

     

    Full scores, Vocal scores and orchestra parts available at www.gabrielruizbernal.com

     

    You can listen to the complete Magnificat -free- before purchase at this link:  http://www.gabrielruizbernal.com/magnificat-a-perspective.html

     

     

    MAGNIFICAT in D Major is an 11-movement composition written in traditional language, for SATB choir, soloists SATB, and string ensemble with two flutes, two oboes, three trumpets, timpani and piano.  It was commissioned by the Choir of the University of Seville, Spain in July 2013 and premiered in December 2013 at the Teatro Lope de Vega of Seville with the Orquesta Sinfónica Hispalense under the direction of Prof. Dr. José Carlos Carmona.  The U.S. Premiere of this work took place on November 15, 2015 in Sacramento, California, by Camerata California under the direction of Maestro Pete Nowlen.  The CD recording of this work was released in January 2016, featuring Washington DC soloists soprano Colleen Daly, mezzo Jenna Lebhertz-Daly, tenor Duane Moody, and baritone José Sacín. The recording was produced and directed by the composer.

     

    This work was commissioned to be premiered side by side to J.S. Bach's Magnificat in D Major.  The parameters given for this composition indicated that it should have a similar length and similar orchestral configuration as Bach’s Magnificat (the composer replaced piccolo trumpets for trumpets in C, and replaced the harpsichord for piano), it had to feature the same text, also in latin, and the same soloists would be used for both Magnificat.  The timpani could not be re-tuned between pieces, therefore only two timpani were available for the entire premiere concert: One tuned to D and another one tuned to A.  For the premiere, the alto solo was sung by a countertenor.  In the U.S. premiere and the recording, it was sung by a contralto.

     

    The resulting work had to be attractive to a young audience and not difficult to learn, and the music had to keep the listener’s attention throughout the entire performance.  With this in mind it was designed in eleven short movements, each one with an individual personality, all of them reflecting the character of the written text.

     

    With these premises, Gabriel Ruiz-Bernal started writing the music in July 2013, and by October, the choir and soloists were already practicing their parts.

     

    Complete program notes available at http://www.gabrielruizbernal.com/magnificat-a-perspective.html

     

    _________________________________________________

     

    MAGNIFICAT en RE Mayor es una obra compuesta de 11 movimientos, escrita en lenguaje tradicional, para coro SATB, solistas SATB, y orquesta de cuerda con dos flautas, dos oboes, tres trompetas, timbales y piano.  Fue encargada por el Coro de la Universidad de Sevilla en Julio del 2013 y estrenada en Diciembre del mismo año en el Teatro Lope de Vega de Sevilla con la Orquesta Sinfónica Hispalense bajo la dirección del profesor José Carlos Carmona.  El estreno en los Estados Unidos tuvo lugar el 15 de Noviembre del 2015 en Sacramento, California, por Camerata California bajo la dirección del maestro Pete Nowlen.  La grabación en CD de esta pieza fue presentada en el mes de Enero del 2016, con los solistas soprano Colleen Daly, mezzo Jenna Lebhertz-Daly, tenor Duane Moody y barítono José Sacín.  La grabación fue producida y dirigida por el compositor.

     

    Esta obra iba a ser estrenada junto al Magnificat de J.S. Bach.  Las condiciones para la composición de esta obra indicaban que tuviese la misma duración y orquestación similar al Magnificat de Bach (el compositor sustituyó las piccolo por trompetas en Do, y el clavecín por el piano), debía tener el mismo texto, también en latín, y los dos Magnificat usarían los mismos solistas.  Los timbales no tendrían oportunidad de cambiar la afinación entre obras, por lo cual se contaba con sólo dos timbales para el concierto: Uno afinado en Re y otro afinado en La.  Para el estreno en Sevilla, el solo de contralto fue cantado por un contratenor.  En el estreno de los Estados Unidos y en la grabación, es cantado por una contralto.

     

    El resultado tenía que ser una obra atractiva para una audiencia joven, que no fuese difícil de aprender, y que mantuviese la atención del público durante su duración.  Con estas condiciones, fue diseñada en un formato de once movimientos cortos, cada uno con una personalidad diferente y reflejando el carácter del texto.

     

    Con estas premisas, Gabriel Ruiz-Bernal comenzó a trabajar en Julio del 2013, y en Octubre, el coro y los solistas ya estaban aprendiendo las partituras.

     

    Notas de programa y descripción en el siguiente enlace: http://www.gabrielruizbernal.com/magnificat-a-perspective.html

     

    _________________________________________________

     

    GABRIEL RUIZ-BERNAL, M.M., Ph.D., Established in Washington, DC, but still well connected with his native Spain.  His compositions range from solo instruments, to vocal and instrumental ensembles, orchestra, and music for the stage and film.  He has formed his musical studies at the Conservatorio Superior de Música of Málaga, Shenandoah University, Universidad de Sevilla, Yale University and New York University.  His web site is:  www.gabrielruizbernal.com.

     

    GABRIEL RUIZ-BERNAL, M.M.,  Ph.D., Está  establecido en Washington, D.C. pero muy conectado con su España natal.  Sus composiciones abarcan instrumentos solistas, grupos vocales e instrumentales, orquesta, y música de escena y cinematográfica.  Sus estudios musicales se han formado en el Conservatorio Superior de Música de Málaga, Shenandoah University, Universidad de Sevilla, Yale University y New York University.  Su página web es:   www.gabrielruizbernal.com.

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    CRAZY COLD BEAUTIFUL Robin Eschnerhttp://www.choralnet.org/view/482489%am, %26 %b %2016 %00:%Jan:%th 0JanGMT+0000http://www.choralnet.org/view/482489
    WORLD PREMIERE
    the John Beargrease Song Cycle
    Composed by Robin Eschner
    2014 McKnight Foundation Visiting Composer through the American Composers Forum
     
    The Borealis Chorale and Orchestra
    Directed by William Beckstrand
    in concert with Take Jack
     
    FRIDAY • FEBRUARY  5 • 7:00PM
    Bethlehem Lutheran Church
    417 First Ave. West • Grand Marais, MN
    with
    Sawtooth Elementary School students
    directed by Kerri Bilben
    and
    The Stonebridge Singers Drum, from Grand Portage
    Admission • free-will offering
     
      
    SATURDAY • FEBRUARY 6 • 4:00PM
    Sacred Heart Music Center
    201 West  4th Street • Duluth, MN
    with
    Hermantown Elementary School students
    directed by Jerry Kaldor
     
    A song cycle about the history and culture of sled dog mushing in
    northern Minnesota. Inspired by 19th-century mail carrier John Beargrease
    and by the spirit of the annual John Beargrease Sled Dog Marathon.
     
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