What is our responsibility as singers and as choruses when historic choral works are offensive, even hostile, to a whole group of people? Tom Hall, music director of the Baltimore Choral Arts Society, discusses Bach's St. Matthew Passion and St. John Passion.
American Choral Review 53.1
To choral singers, Handel's Messiah is as familiar—and as well loved—as their favorite pair of slippers. But what do we really know about this choral masterwork? Harvard music professor and historian Thomas Kelly talks to Chorus America about how this great oratorio came to be and why it captures our hearts like no other piece.
Choral music—especially a cappella choral music—is more popular than ever it seems. Chorus America sat down with Deke Sharon, founder of the Contemporary A Cappella Society (CASA) and a producer of NBC's The Sing-Off, to get the inside scoop behind the a cappella choral music movement and its current place in pop culture.
Handel’s practice of borrowing from other composers allows us the opportunity to probe into the great composer’s style and creative thought processes. A number of scholars have shown without question that the majority of Handel’s borrowings transform his source materials into new creations entirely his own. But what does “entirely his own” really mean?
Adventuresome repertoire, distinctive voices, flexible organizations, and innovative productions have expanded the concept of what a professional chorus looks like today—here's what it takes to excel.
American Choral Review 52.1
Research Memorandum Series No. 196
What allows one chorus to thrive for more than a century while another is forced to close down after just a few years? Leaders of some of the longest-running choral organizations credit a combination of factors for their longevity.
American Choral Review 51.2