“There are so many commonalities between directing a community choir and the church music experience,” says Tom Dooling of First Presbyterian Church San Antonio.
As a graduate conducting student at Temple University in the 1980s, Diana V. Saez recalls being frustrated that there was no mention of Latin American composers—except for the famous composers Villalobos from Brazil and Ginastera from Argentina. When she moved to Washington DC, in 1990, she found a bustling choral music scene, with a wide variety of choruses. But Latin American music was not part of the standard repertoire.
After performing the Brahms Requiem as the centerpiece of Chorus America’s Robert Shaw Centenary Symposium in mid-April, the Atlanta Symphony Orchestra and Chorus brought the work to New York for a special performance at Carnegie Hall. Music journalist Matthew Sigman attended the New York performance—which also included Jonathan Leshnoff’s newly-commissioned work Zohar—and reflects on his experience hearing the masterpiece for the first time.
The Brahms Requiem served as the artistic focal point of Chorus America’s Robert Shaw Centenary Symposium, which centered around the Atlanta Symphony Orchestra and Chorus’s April 2016 performance of this masterwork. Symposium faculty shared their thoughts on issues conductors ought to address as they prepare the piece.
How does a chorus's legacy continue after its visionary founder is no longer around? It takes the will of a community.
This issue of the Research Memorandum Series focuses on the choral output of two influential Canadian composers - John Weinzwieg and John Beckwith. Although their choral output is relatively small in relation to their other output, it has had significant impact both in Canada and abroad. A brief biography of each composer is given before the listing of their choral compositions.
A powerful piece based on the dying words of African-American men killed in police encounters is an opportunity to reflect on universal issues of love, loss, and our shared humanity.
When Shira Cion hunted down Kitka Women’s Vocal Ensemble in 1988, it was a different era. There were no websites with which small niche arts organizations could make themselves visible to the world.
When done right, these choral directors say, early music transcends its intimidating reputation and connects with audiences.